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Introduction to the GR-300 and G-808 Guitar:
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The Roland GR-300 and G-808 guitar combination was the original flagship of the early 1980s Roland guitar synthesizers. It was this combination most prominently featured in advertising promoting the breakthrough Roland guitar technology. While more people are familiar with the G-303 guitar, thanks to Pat Metheny, the G-808 was the premium guitar, with complete through-neck construction, gold hardware and more. The G-808 was simply one of the best guitars available at the time, and sold with the GR-300, the finest and fastest guitar synthesizer ever built.
In many ways, the original GR-300 and G-808 combination was a continuation of the earlier GS-500 and GR-500 guitar and synthesizer combination. These two systems used the same 24-pin cable, but the GR-300 was in many ways a simpler system than the earlier GS-500/GR-500. However, the GR-300 and G-808 offered a level of playability that had been promised since the introduction of the guitar synthesizers. When players picked up a GR-300 and G-808, they did not have to adjust their style to play this expressive system. And with the G-808, players did not have to compromise of their choice of guitar. The G-808, with its high end hardware, through-neck construction, and ebony fret board, was as good as any mass-produced guitar on the market.
The initial success of this system lead Roland to introduce a variety of controllers, ending in the mount-on GK-1. And the GK-1 was followed by the GK-2 and the new Roland 13-pin standard. The overall trend in the last twenty-five years of Roland guitar synth design has been to reduce the profile and features of the controller, and add more features to the synthesizer. The new VG-99 continues this trend, with ribbon and d-beam controllers on the unit itself, and the FC-300 extensive foot controller. In fact, it is a lasting tribute to the GR-300 that one of the key features of the new VG-99 is a complete emulation of the original GR-300! But for fans of analog, vintage synthesizers, there is nothing like the original GR-300 and G-808.
Additional Information on the GR-300 on this Website:
| How the GR-300 Works: A short tutorial on the workings of the GR-300. |
| GR-300 Footswitch Options: Using the footswitch features of the GR-300. |
| GR-300 -24 dB Filter Pedal: Controlling the dramatic analog filter in the GR-300 with a foot pedal. |
| GR-300 Remote Control Pedal: Designs for building a remote control pedal for the GR-300. |
| Original 1980 Fact Sheet: Initial GR-300 product information from Roland. |
| 1980 Brochure: Detailed Brochure from Roland on the GR Series. |
| Guitar Electronics: Comparisons and information on the internal guitar electronics. |
| Repair Tips: Suggested repairs for common GR synth failures. |
| Roland BC-13: Roland converter designed for using the G-808 with modern 13 pin synths. |
| BX-13: Details on the BX-13, updated version of the original BC-13. |
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Roland GR-300 "The World’s Fastest Guitar Synthesizer":
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Features of the GR-300:
- 6-voice polyphony
- 2 oscillators per voice
- VCOs are directly harmonically locked to each string, but can be tuned separately
- VCF with variable length sweep up and down
- Low Frequency Oscillator, for Vibrato Effects
- Built-in foot switch controls the VCO mode (single/dual)
- Built-in foot switches control the VCO harmonize pitch (detuning of the VCO's)
- Built-in foot switch controls the VCF mode (on, bypass, or inverted)
- Pedal control input for the VCF
- The GR-300 can output either the guitar, the synth, or a mix of the two
- Synchronized, flashing LED status indicators
- Heavy-Duty Construction with Quality Components
- All-Analog Construction
Roland G-808 Through-Neck Guitar Synthesizer Controller:
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Finish: Acrylic, natural Neck: Maple and Mahogany, thru neck construction Fingerboard: Select Ebony Frets: 22 Bridge: Adjustable Nut: Polycarbonate Tuning Machines: Gotoh Pickups: Two Roland humbuckers Scale: 24 3/4” Truss Rod: Single, adjustable Neck Width: 1 11/16 ” Body Width: 13 ” Body Depth: 1 3/4 ” Overall Length: 38 3/4 ” |
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The Roland G-808 is simply the finest guitar synthesizer controller ever built. The G-808 was built around a modification of the Greco GO 1000 Guitar, a top-of-the-line guitar sold exclusively in Japan, and never imported into the United States.
The G-808 was designed for the cutting-edge player ready to pay top dollar for the very finest guitar that could be built. The G-808 is often described as a reverse Les Paul, with a mahogany over maple body. The fingerboard is ebony, which gives the guitar the strength and stability for accurate pitch tracking. Even today, Godin Guitars make a point of using an ebony fingerboard to provide stability for synth tracking. Also, like a Les Paul, the G-808 has a beautiful carved top that makes the guitar a joy to hold and play.
Details: Front of G-808
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Details: Back of G-808
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Rare White G-808
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Rare White G-808 Photos from Daniel Rose:
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- Thanks to Daniel Rose for taking the time to email these cool photos of a White G-808 guitar.
Video Demos of the G-808 and GR-300:
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| In this video you can hear the dry, direct output of the G-808, with no effects. By itself, this is a sensational, versatile guitar. Later in the video, you can hear some hex fuzz samples and the G-808 used with the GR-300 with a classic Pat Metheny type tone. Brad Rabuchin plays guitar. | |
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| First you hear VG-88 modeled acoustic guitar (panned left) with a saxophone patch from the Roland XV-5080, triggered by a Roland GM-70. Next is a MIDI guitar (XV-5080) again triggered by the GM-70. The older GM-70 still offers fast, accurate spot-on pitch-to-MIDI conversion. Brad Rabuchin plays guitar. | |
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| This final video clip is just all about the G-808 and GR-300. Nothing sounds or plays like the G-808 and GR-300. Fast, responsive, natural, this is a guitar synth for guitar players. Brad Rabuchin plays guitar. |
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I would like to thank my friend Brad Rabuchin for helping me out with these demos. I was a bit weary of hearing myself play the same tired pentatonic riffs, and Brand kindly stepped in to liven things up! Also, if you notice some slight clipping in the demos, this was my fault as I was inadvertently overdriving the input to my Canopus ADVC-100 video capture unit.
GR-300 Case, Plastic Cover and Shipping Box:
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Front Details:
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Side and Back Details:
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Rear Panel Details:
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The "Turbocharged" GR-300:
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Features of the GR-300 audio path upgrade:
- +12 dB more output
- More dynamic range
- Less noise
- More sustain
- Better guitar-to-synthesizer balance
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I originally developed the ALG Output Upgrade because I always had to crank the input gain on my audio interfaces to get a decent recording of the GR-300. But adding ten or fifteen dB of gain also added more noise and hiss, degrading the quality of the sound. Even with 24-bit recording technology, if you are barely hitting the meters when recording, you are capturing sound at only 8 or 10 bit quality, far from the true potential of the GR-300.
After studying the GR-300 schematic, I began experimenting with alternate components in key positions. I called the upgrade the Audio Lab of Georgia output upgrade, because ALG was one of the few places that sold the discrete, high fidelity parts I needed.
At the end of the day, the process of development was as much experimentation as calculation. I wanted something increased the level, but did not overly exaggerate the output of the GR-300. When you use the balance control to compare the GR-300 synthesizer output to the standard guitar output, I believe you will hear a much better balance of the two sounds.
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Here is how the upgrade works: select components are changed in the output path to add more gain to the GR-300. I use one percent tolerance metal film resistors in the upgrade, along with parts I could only find through the Audio Lab of Georgia after an extensive online search. My upgrade does not change tonal quality of the GR-300, but it does add +12 dB more output. This elevated output signal hits the noise gate at a higher level than a standard GR-300, so it takes longer for a sustained sound to fall below the trigger threshold of the noise gate. The result is more dynamic range and sustain from the GR-300. Also, since the sound is louder leaving the GR-300, less gain needs to be added at the amplifier/console/pre amp input, resulting a better signal-to-noise ratio, i.e. less noise.
I am a real purist when it comes to the GR-300, and almost all my processors are designed to enhance the features of the GR-300 without requiring any physical changes to the GR-300 or to the guitar synthesizer controller. I make an exception in this case, as this one modification actually makes a GR-300 sound better!
Compare an upgraded GR-300 with a standard GR-300, and there is no doubt that Roland should have designed the original GR-300 with these features. More output, more sustain, more dynamic range, and less noise! However, this is a delicate upgrade, and involves completely disassembling the GR-300. While installing this upgrade I also clean the unit of any internal debris, lubricate the control pots, check for factory calibration, and also upgrade the tantalum capacitors in the power supply.
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| Check out this video clip with two GR-300s, one with the upgrade, the other stock factory. Hear the difference in quality with a ALG Output Upgrade. | |
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| This video clip shows the amazing sustain of the Roland G-303 guitar and the Roland GR-300 Vintage Analog Guitar Synthesizer. The ALG Upgrade also increases the sustain time of the GR-300. |
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This work should only be done by an experienced professional, as I compare this to elective surgery on the GR-300. You do not want to damage a perfectly functioning GR-300! I started with a damaged unit that needed repair. If you want me to modify your GR-300, the price for the "Audio Lab of Georgia" audio path upgrade is $129.00 plus shipping. As mentioned, the upgrade includes the audio path work, calibration, cleaning and lubrication of the GR-300 controls, and power supply maintenance upgrade. Contact me for details on availability and scheduling.
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"The gain is dramatically increased, to the point that I was able to turn the gain down inside my G-303 on all six strings; they had previously been maxed out. The sustain is noticeably improved, even on high notes, where it was too short in the past. I also noticed that when notes fade out, they do it more gracefully, with less abruptness and without sounds of static at the last moment of fade out, which used to happen on some notes occasionally before the upgrade. But the GR-300 tonality that I love so much is completely preserved.
In short, I'm very happy with the upgrade!
Every GR-300 should have this upgrade; it's really the way they should have done the design in the first place. I wouldn't be surprised if Pat Metheny becomes one of your customers!
Thanks for doing this! When it comes to guitar synthesizers, you are THE MAN!"
GR user David
"I had a chance today to connect it (ALG modified GR-300) up and tested it last night and it is a vast improvement! I use a Rane 1RU line mixer and of course the stock version of the GR-300 needed the mixer gain cranked to get usable levels. The higher GR-300 output levels improved the headroom dramatically and that, for example, allows me to use the invertible filter and resonance just on the hex fuzz sound alone to good effect. Once again, thanks very much for your great work on the mod and on supporting the GR-300 in general."
GR User Leigh Smith
GR-300 Block Diagram:
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VG-99 Roland GR-300 Emulation and Vintage GR-300 Compared:
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Check out the November issue of Premier Guitar magazine! Wayne Scott Joness does an extensive side-by-side comparison of the virtual Roland GR-300 emulation in the Roland VG-99 with a vintage Roland GR-300.
The article includes the results of timing tests and oscilloscope screen capture photos of a real and emulated GR-300. This is the most extensive comparison of this legendary vintage analog synthesizer ever published! |
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Roland G-303 and GR-300 Japanese Magazine Advertising:
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This advertisement originally appeared in Music UK in 1984.
Andy Summers, the innovative guitarist in the worlds biggest band, The Police, is posed with the ultimate Roland guitar rig. Not only is he using a G-303 guitar and a GR-300, but also has a Roland SH2 and a Cube 40 combo amp. Andy is sitting on the Cube 40 amp. That’s how much he loves it. In the back ground rack you can find all kinds of cool Roland rack gear: The SPV-355 monophonic gutar/horn/voice synthesizer, the SIP-300 and SIP 301 guitar and bass preamps, plus the SRE-355 chorus/echo, and the SDD-320, stereo chorus unit, the famous "Dimension D" are all there. And Andy had a SPA-240 power amp. Click on the image to see a larger version of this advertisement. |
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This advertisement originally appeared in the February 1982 issue of International Musician and Recording World magazine!
Twenty-seven years ago! Rocking out with state-of-the-art Roland guitar synth gear is Andy Powell, the guitarist for the popular British group, Wishbone Ash. This is a rare magazine ad that shows all the latest Roland synth gear fully setup. In addition to the G-505, GR-100 and GR-300, there is a Roland US-2, plus a GR-300 three-way control switch hooked up, along with a filter pedal for the GR-300. And in the background is a Roland G-202 guitar! How popular was this rig? It is the same setup as described in the Mix Magazine article detailing Andy Summers’ rig for Every Breath You Take. Click on the image to see a larger version of this advertisement. |
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This advertisement originally appeared in the April 1982 issue of Guitar Player.
Understanding technology Series Roland took out a two page spread in the April 1982 issue of Guitar Player magazine to highlight the use of the GR-300 by some of the most famous guitar players of the day: Andy Summers, Robert Fripp, Jimmy Page and Jeff (Skunk) Baxter. Click on the image to see a larger version of this advertisement. |
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This advertisement originally appeared in the April 1982 issue of Guitar Player.
Lesser known is bass player Leon Gaer, talking about the GR-33B Bass synthesizer! This is one of the few examples of Roland touting the bass guitar equivalent of the legendary GR-300! Click on the image to see a larger version of this advertisement. |
Early Roland Magazine Advertising:
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GR-300 on YouTube:
Above: Neff Irizarry plays his rare white, G-303 guitar at the Kennedy Center.
Above: GR-300 demo videos from Analogger.
Above: Classic Pat Metheny and Andreas Oberg.
GR-300 and GR-300 Alternatives:
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| A quick demo of a Roland G-505 Guitar with the Roland GR-300 Analog Guitar Synthesizer. All functions are checked, filter, resonance, hex fuzz, LFO, etc. | |
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| The GR-300 emulation in the VG-99 is pretty amazing. If you are big GR-300 fan, check out this video of a trans black Les Paul driving a VG-99. | |
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| Brief video clip from the early nineties. Classic Pat Metheny shredding with the Roland G-303 and GR-300. | |
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| The VG-99 does an outstanding simulation of the classic Roland GR-300. CV#1 controls volume, and CV#2 controls filter cutoff. The mode switch works just like the GR-300 mode switch! Up for synth, down for hex guitar, and middle for hex plus synth guitar. | |
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| This demo shows a Warmoth Strat with internal GK-3 hardware. The modified S1/S2 toggle switch works just like the GR-300 mode switch! Up for synth, down for hex guitar, and middle for hex plus synth guitar. | |
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| While Pat Metheny always plays a Roland G-303 controller, the distinctive sound of Pat’s guitar synthesizer can be generated with any Roland vintage G-series controller and a GR-300 synthesizer. This is a sample of a G-707 driving a GR-300, recorded through a Yamaha 01V mixer with delay and reverb added. | |
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Guitar Controller: MIDI Keyboard Size: 400K Notes: Scott Summers developed this convincing GR-300 patch by sampling his own GR-300. Quite simply, it sounds great. I played these parts on a keyboard, and added delay and reverb with Digital Performer. My inspiration was "Offramp." |
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Guitar Controller: Ibanez X-ING IMG2010 Size: 283K Notes: 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 with the SBC+ at the same time through a Yamaha 01V console, with reverb and delay added by the 01V. |
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| With the Roland VG-99, a very accurate simulation of the GR-300 is built-in the software. However, I was surprised that there was no "Pat Metheny" lead patch. Pat sets the filter on his GR-300 fairly wide open, with a little resonance, and some delay and chorus. You can download my version of this sound, in the Roland VG-99 editor format below. These are the settings I used for the demos above. Filter is on the F1 front panel knob, and Resonance is on the F2 front panel knob. Control Switch 1 transposes the sound up one octave, and Control Switch 2 engages the Filter Modulation. I also have the compressor activated on the GR-300, and well as some Poly Compression to recreate the smoother envelope found in the original GR-300. My VG-99 has version 1.04 software, and the VG-99 Editor was the Macintosh version, 1.01. |
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| With Version 2.0 software, the VG-88 has a new algorithm, Wave Synth, which works very much like the original GR-300. Working side-by-side with my GR-300, I created the VG-88 patch heard above that is very close to the original GR-300 sound, and tracks equally well. The SBC+ was used so I could play the GR-300 and VG-88 at the same time. Save the file linked below, "GR300.SYX", and open it with the program VEditor. In addition patch number 1-1, "Pat G300," you will find patch number 1-2, "Slo G100," a square wave type GR-100 patch. Also, check out patch 1-4, "L/R-AG+." This is the patch I used to create simultaneous stereo acoustic and distortion guitar tones with the VG-88 in the demo files. |
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When Roland introduced the SR-JV80-04 Vintage Synth card, they included many waveforms from classic analog synthesizers, plus two distinctive sawtooth waveforms sampled from the Roland GR-300. Roland programmer and vintage GR player Scott Summers created an outstanding patch called "Pats GR-300" that does an amazing job of capturing the sound of a Pat Metheny solo.
When Roland created the new Roland SRX-07 Ultimate Keys they included all the original waveforms from the SR-JV80-04 Vintage Synth card, but reprogrammed the Pat Metheny lead as "The Real Pat." I think the original "Pats GR-300" is closer to Pat’s sound. Owners of the Roland SRX-07 Ultimate Keys card can use the included CD-ROM to re-load the original patch into their synthesizer module. I added delay and reverb from Digital Performer to try to capture the sound of Pat’s soaring solo on the title track "Offramp." It should be noted that the patch "Pats GR-300" is monophonic, and it makes very effective use of portamento and programmed pitch slides to simulate Pat’s solo phrasing. If you want to play the demo heard above on your own synth, you can download the Standard MIDI File using the link below. |
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GR-300 and G-808 Short Audio Demos:
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Origin of the Roland Guitars:
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It is often reported that the Roland guitars and the Ibanez IMG2010 guitar were built by the Japanese guitar builder Fuji Gen Gakki. The name "Fuji" comes from Japanese icon, Mount Fuji. "Gen" means stringed, and "Gakki" means musical instrument. Fuji Gen Gakki built a lot of guitars, for a lot of people, including Greco Guitars. Greco Guitars were sold almost exclusively in Japan. Fuji Gen Gakki also built guitars for Ibanez, Fender, Fender/Squire, Yamaha, and of course Roland.
Contractors could provide their own designs to Fuji Gen Gakki, but often they would consult with the Fuji Gen Gakki engineers, and make modifications of existing designs. This explains the similar designs and features of Roland and Ibanez guitars of the same era. The 1981 Greco Catalogue shows every Roland guitar synth product in production at that time. The Roland G-808 is a modified version of the Greco GO1000. These Greco guitars are excellent, top-of-the-line instruments. In case you are wondering, it has been suggested that the "GR" at the top of every Roland guitar actually stands for Greco-Roland. |
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