STRING9: Electro-Harmonix did it again

Yes, the hold/freeze function with a powerful string pad is a pleasure to play. My favorite MIDI converter after having tried them all (including the GR-55) was the Axon AX100 MKII. I was using it live with a Kurzweill K2500R rack, a Fantom XR and a Nord Modular G2 engine.
Never got to play an Axon, but it did pop up when I was searching.
 
Compare the real Solina/ARP (02:08 of this video) with the STRING9 (06:22 of the OP video)



BTW: Bill Rupert is a great player. And also an brilliant programmer. He helped the VGuitarForums community to create very cool sounds for the VG-99

But he never shared his presets, only educated us :D

A quote from him:

To me, the use of posted patches leads to a plug and play musician.
It short cuts the creative process of this great new instrument.
That is what was SO bad for Synths in the 1980's.
Every DX-7 sounded the same and you could hear it on every record.

Be creative not just a user.

Hope you understand
 
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I get that, but just saying that for my purposes I see this as too limiting (maybe niche). It seems to do it's thing well, but the 55 does huge orchestral/string/voice stuff very well. You can also do a freeze/hold with it; that's actually one of my favorite things to do underneath a few repeating chords. Add that all of the other possibilities and there's, at least for me, no comparison. (The 55 also does capture nuances, it's not just a cold triggered rendition. I think many people fail to properly set up the pickup and/or the unit).

BTW-I researched between the SY-1000 and GR-55 long and hard before getting my 55 so I do understand.

EDIT: This could be a great product for someone getting into this type of thing. It would give you great functionality w/o other expenses that go with it.
The "nuances" the 55 captures are ones I for one absolutely do not want captured. You have to play like a stilted robot to avoid all of it's quirks no matter how bulletproof your setup is and how on point your technique is. Playing at home sitting down calmly is fine. But in a live setting, moving around on a stage and through a 50,000 watt PA; those bum notes sure do sting :oops: :D

My litmus test for guitar synths is how fast of a run I can play without any glitches. Now obviously; guitar technique is huge in this regard. But there is also a point where you notice the limits to the technology. I'm not expecting Yngwie runs (for a number of reasons :| ) but I should be able to play the horn parts to Soul Man cleanly without mistriggers.

FWIW; the 1000 is not for someone wanting PCM sounds. Which certainly irritated me at first. But it is the most expressive guitar synth I have played from Roland by a long shot. I wish they could take their experience with it and apply it to a new GR unit.
Yes, the hold/freeze function with a powerful string pad is a pleasure to play. My favorite MIDI converter after having tried them all (including the GR-55) was the Axon AX100 MKII. I was using it live with a Kurzweill K2500R rack, a Fantom XR and a Nord Modular G2 engine.
Still have yet to try the Axon. Stuck in Roland land for life.
 
The "nuances" the 55 captures are ones I for one absolutely do not want captured. You have to play like a stilted robot to avoid all of it's quirks no matter how bulletproof your setup is and how on point your technique is. Playing at home sitting down calmly is fine. But in a live setting, moving around on a stage and through a 50,000 watt PA; those bum notes sure do sting :oops: :D

My litmus test for guitar synths is how fast of a run I can play without any glitches. Now obviously; guitar technique is huge in this regard. But there is also a point where you notice the limits to the technology. I'm not expecting Yngwie runs (for a number of reasons :| ) but I should be able to play the horn parts to Soul Man cleanly without mistriggers.

FWIW; the 1000 is not for someone wanting PCM sounds. Which certainly irritated me at first. But it is the most expressive guitar synth I have played from Roland by a long shot. I wish they could take their experience with it and apply it to a new GR unit.

Still have yet to try the Axon. Stuck in Roland land for life.
Well, it'll definitely make you clean up your technique for sure. I find any ghost note problems are largely dependent on which type of sound you're triggering (you've also got to properly setup the system for each guitar you use). The only effects that really have given me much difficulty are the more percussive ones (drums, celesta, bells, xylophone) which I don't use much anyway. I do find the nuances useful, especially strings and nylon guitar emulation.

Don't think I'd recommend jumping around a stage while using one that's for sure.

Didn't mean to "poo poo" on the OP. It's just that once you've used something like a GR-55 (previously owned a GR-20), it'd be difficult to go to something like this. No one has yet found a way to do away with a 13-pin system.

I think this product is definitely useful and promising. I see it as either whetting someone's taste for the possibilities and wanting more or deciding it's not for them (which is an economical way to explore this stuff).
 
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Well, it'll definitely make you clean up your technique for sure. I find any ghost note problems are largely dependent on which type of sound you're triggering (you've also got to properly setup the system for each guitar you use). The only effects that really have given me much difficulty are the more percussive ones (drums, celesta, bells, xylophone) which I don't use much anyway. I do find the nuances useful, especially strings and nylon guitar emulation.

Don't think I'd recommend jumping around a stage while using one that's for sure.

Didn't mean to "poo poo" on the OP. It's just that once you've used something like a GR-55 (previously owned a GR-20), it'd be difficult to go to something like this. No one has yet found a way to do away with a 13-pin system.

I think this product is definitely useful and promising. I see it as either whetting someone's taste for the possibilities and wanting more or deciding it's not for them (which is an economical way to explore this stuff).
I'm with you on the 13 pin. It sucks that the conversation seems to always be "oh no one wants these sounds" then you read all sorts of questions from people asking how they can do this in a cover band context because there is a shortage of musicians and it is easier to just do it yourself at a certain point.

No poo-poo on OP either but the EHX stuff is always so maddening. Roland design choices are irritating enough, but at least they realize these kinds of sounds are going to be used in a preset accessed based way and not by some pedal junkie with his bagpipe emulator pedal on a tray at arm height, adjusting it as needed. Seems like a stubborn design done on purpose just to be difficult.
 
I'm with you on the 13 pin. It sucks that the conversation seems to always be "oh no one wants these sounds" then you read all sorts of questions from people asking how they can do this in a cover band context because there is a shortage of musicians and it is easier to just do it yourself at a certain point.

No poo-poo on OP either but the EHX stuff is always so maddening. Roland design choices are irritating enough, but at least they realize these kinds of sounds are going to be used in a preset accessed based way and not by some pedal junkie with his bagpipe emulator pedal on a tray at arm height, adjusting it as needed. Seems like a stubborn design done on purpose just to be difficult.
I feel the same way about UA's guitar related products. Maddening indeed.
 
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I would love to see a non hex pickup that could do all the midi stuff so I could trigger vst instruments etc. - there is a vst called jam origin which I have used but with varying degrees of success
You mean Midi Guitar 2? Jam Origin is the company...

I find it to work just as well as my GR-30 with GK-2A but I don't need any special pickups, cables, etc.

Of course then you can't do any per string processing but I'm ok with that.
 
Man Bill Rupert knows how to pull the magic out of these things. Even whipped out some Mahavishnu in the beginning.

I have a good musician friend who just turned 66 and is completely technologically impaired when it comes to all the newer tech. However, he has perfect pitch, went to Peabody for composition and conducting and blows me away with theory knowledge. I showed him these 9 pedals thinking they just might be something he could handle. Well he went crazy and bought 4 of them straight away. I was like “just get one and see how it really works before going all in”. It was just too much temptation for him. He’s been getting a grip on it. He has all these little notes of paper with all the control positions for all the song parts he wants to use them. For me I would just use them at arms length and tweak on the fly. He’s presently saving for the String9. Hearing about the failure rate is a bit disconcerting.

I’ve been tempted to get the GR-55 many times, but I waited so long that I figure Roland will finally come out with something new a month after I get it. The Boss GP-10 looks cool too. Here again it’s rather dated. I didn’t realize its capabilities until the posts @Piing posted the other day. When I got the FM3 I figured I would get my non guitar/synth sound fix along with my Eventide H9. For the most part it has scratched that itch, but not completely. Everything seems a must have when watching a video with an experienced player.
 
I’ve been tempted to get the GR-55 many times, but I waited so long that I figure Roland will finally come out with something new a month after I get it.
Just jump in and do it. The GR-55 is a bit pricey, if you're not certain about the purchase (I think the high resale values speak well of it). I first bought a GR-20 to test the waters. You can find a -20 for around $250 with a pickup included. Anyway, I quickly knew it was for me, sold the -20 for a profit and bought the -55.

The key is patience on Reverb or your local market. I put a watch on the -55 on Reverb, got a feel for the market, then snatched up a new listing that was priced to sell (from a reputable seller).

If Roland would at least update the guitar modeling to their current stuff it could be a stand alone multieffects/midi platform. People never focus much on the multieffects aspect, but it'll do that plus the midi (simultaneously). Obviously it's not in Fractal's league, but it's still usable for a live gig (very basic signal chain, i.e., amp/drive-modulation-delay-reverb).

Warning: This may induce further GAS. I have since purchased two guitars equipped with built-in midi pickups. Godins and Kiesels are great for this.
 
Just jump in and do it. The GR-55 is a bit pricey, if you're not certain about the purchase (I think the high resale values speak well of it). I first bought a GR-20 to test the waters. You can find a -20 for around $250 with a pickup included. Anyway, I quickly knew it was for me, sold the -20 for a profit and bought the -55.

The key is patience on Reverb or your local market. I put a watch on the -55 on Reverb, got a feel for the market, then snatched up a new listing that was priced to sell (from a reputable seller).

If Roland would at least update the guitar modeling to their current stuff it could be a stand alone multieffects/midi platform. People never focus much on the multieffects aspect, but it'll do that plus the midi (simultaneously). Obviously it's not in Fractal's league, but it's still usable for a live gig (very basic signal chain, i.e., amp/drive-modulation-delay-reverb).

Warning: This may induce further GAS. I have since purchased two guitars equipped with built-in midi pickups. Godins and Kiesels are great for this.
LOL, I was just looking at new and used prices. Yes GAS is hard thing to fend off especially this time of year. I have one of my guitars in mind that would make a perfect platform.
 
Man Bill Rupert knows how to pull the magic out of these things. Even whipped out some Mahavishnu in the beginning.

I have a good musician friend who just turned 66 and is completely technologically impaired when it comes to all the newer tech. However, he has perfect pitch, went to Peabody for composition and conducting and blows me away with theory knowledge. I showed him these 9 pedals thinking they just might be something he could handle. Well he went crazy and bought 4 of them straight away. I was like “just get one and see how it really works before going all in”. It was just too much temptation for him. He’s been getting a grip on it. He has all these little notes of paper with all the control positions for all the song parts he wants to use them. For me I would just use them at arms length and tweak on the fly. He’s presently saving for the String9. Hearing about the failure rate is a bit disconcerting.

I’ve been tempted to get the GR-55 many times, but I waited so long that I figure Roland will finally come out with something new a month after I get it. The Boss GP-10 looks cool too. Here again it’s rather dated. I didn’t realize its capabilities until the posts @Piing posted the other day. When I got the FM3 I figured I would get my non guitar/synth sound fix along with my Eventide H9. For the most part it has scratched that itch, but not completely. Everything seems a must have when watching a video with an experienced player.

If you can save for the SY-1000, it is far above the GP-10. It doesn't have internal PCM MIDI-triggered sounds like the GR-55, only modeling/synthesis and oscillators, but it has a MIDI converter with a MIDI output that you can connect to any external synth. I still haven't used that feature, but at VGuitarForums they say that, once it is properly configured, it tracks as good or better than any other Roland MIDI Guitar

Edit: just the Nylon, Acoustic and Bass guitars make the GP-10 or the SY-1000 worth their price
 
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Since the OP has participated in hijacking his own thread, I'll post this vid. :p

This really helped me get my head around the two types of guitar synths out there and why I opted for the GR-55, because it really does hinge on whether you want the PCM tones. He's using the SY-300, but it operates the same as the 1000.

 
If you can save for the SY-1000, it is far above the GP-10. It doesn't have internal PCM MIDI-triggered sounds like the GR-55, only modeling/synthesis and oscillators, but it has a MIDI converter with a MIDI output that you can connect to any external synth. I still haven't used that feature, but at VGuitarForums they say that, once it is properly configured, it tracks as good or better than any other Roland MIDI Guitar

Edit: just the Nylon, Acoustic and Bass guitars make the GP-10 or the SY-1000 worth their price
it is a pity the sy-300 can't do the guitar midi like the sy-1000
 
If you can save for the SY-1000, it is far above the GP-10. It doesn't have internal PCM MIDI-triggered sounds like the GR-55, only modeling/synthesis and oscillators, but it has a MIDI converter with a MIDI output that you can connect to any external synth. I still haven't used that feature, but at VGuitarForums they say that, once it is properly configured, it tracks as good or better than any other Roland MIDI Guitar

Edit: just the Nylon, Acoustic and Bass guitars make the GP-10 or the SY-1000 worth their price
Yes, I was seeing that it appears the SY-1000 is the way to go aside from the cost. Sweetwater has the GP-10 with the GK-3 for $627. I have to admit that I overlooked these Boss products as being less than what they are and I’m not even sure I knew the SY-1000 existed.

BTW, the String 9 sounds impressive. Loved the Solina String Ensemble sound.

Edit:
@fcs101 When I said “the way to go” I meant with the BOSS units. I have fretted over the GR-55 for a long time. Played it a few times and loved it. In some ways getting the FM3 took its place. Even though they’re not apples to apples at all.
 
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When I said “the way to go” I meant with the BOSS units. I have fretted over the GR-55 for a long time. Played it a few times and loved it. In some ways getting the FM3 took its place. Even though they’re not apples to apples at all.
Just wanted to be sure you knew the ins and outs of each unit. I almost jumped on the SY-1000 until I really got to digging, because for me it's more important to have the PCM tones (but as JiveTurkey and I were discussing above, it does demand you have a clean technique).
 
I'd love to see all these pedals packaged into one programmable unit - as others have said, it seems like such a missed opportunity for EHX.

Too bad Cliff wasn't able to buy it (yet? ;-) ... or just reverse engineer the tech.
 
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