Roland GR-33 manuale d’uso

Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of June 1, 2000 (Roland) ARGENTINA Instrumentos Musicales S.A. Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057 BRAZIL Roland Brasil Ltda. R. Coronel Oc[...]

For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipm[...]

3 013 ● In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit. .......................................................................................................... 014 ● Protect the unit from strong impact. (Do not drop it!)[...]

4 Contents Getting Started ........................................................................................ 8 About the Guitar Synthesizer ......................................................................................................... 8 What You Can Do with the GR-33 ................................................................[...]

5 Contents Chapter 4 Five Basic Modes ................................................................ 30 Play Mode ......................................................................................................................................... 30 Pedal Effect Mode ...........................................................................[...]

6 Contents Chapter 6 Using the Built-in Effects .................................................... 53 About the Effects Processors and Available Effects ................................................................. 53 Making Multi-effects Settings ................................................................................................[...]

7 Contents Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE]) ..... 92 What to do if an External Module Doesn’t Produce Sound as Expected.............................. 92 Using the GR-33 as an External Sequencer Input Tool ........................................................... 93 Connecting to a Sequencer........[...]

8 Getting Started About the Guitar Synthesizer The GR-33 guitar synthesizer, though small and compact, is big on functions and high-quality sounds. Say “synthesizer,” and people generally think of the typical kind with a keyboard controller. However, since the keys on a keyboard synthesizer are in essence simply advanced versions of basic on/of[...]

9 IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following: Power Supply 301 ● Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). 302 ● The AC adaptor will begin to gen[...]

10 Panel Descriptions fig.0-01 1 VOLUME Knob The VOLUME knob adjusts the signal volume output from the MIX OUT jack. The center mark provides an easy reference setting when connecting the GR-33 to an instrument amp or mixer. * The output level from the GUITAR OUT jack is controlled separately. 2 PLAY Button This button selects Play mode. To play so[...]

11 Panel Descriptions 11 BANK/PARAMETER Button Press these buttons in Play mode to switch patch banks. In System mode and Patch Edit mode, these buttons select the parameter to be adjusted. 12 PATCH/VALUE Dial In Play mode, turn this dial to scroll through the different patches or tones in order. In System mode and Patch Edit mode, use this knob to[...]

12 Panel Descriptions fig.0-02 17 MIX OUT Jacks L(PHONES)/R(MONO) The output of the synthesizer is sent out, or “output,” from here. Ordinarily, two cables are plugged into the L and R jacks, and the signal is then sent to a stereo amplifier. You can use the L (PHONES) jack as a headphone jack for stereo headphones that have a standard 1/4” s[...]

13 Chap. 1 Chapter 1 Producing Sounds What You Need The following items are necessary for getting sounds from your GR-33: ● GR-33 base module, with included accessories (AC adapter, 13-pin cable) ● Amplifier, speakers, and cables—a completely stereophonic system is preferable—or stereo headphones ● GK-2A divided pickup ● Metal-stringed [...]

14 Chapter 1 Producing Sounds Making Connections After setting up the guitar part of your system, connect your other equipment following the examples shown in the connection diagram below. fig.1-01 * To prevent malfunction and/or damage to speakers or other devices, always turn down the volume and turn off the power on all devices before making any[...]

15 Chapter 1 Producing Sounds Chap. 1 For settings appropriate to your output device, refer to “Specifying the output device (OUTPUT SELECT)” (p. 19). Necessary Steps—From Powering Up to Performance * Once your connections have been completed (p. 14), turn on power to your various devices in the order specified. By turning on the devices in t[...]

16 Chapter 1 Producing Sounds Reset to Default Factory Settings (Factory Reset) The Factory Reset operation undoes any settings you have changed and discards any edits you have made to its patches. If you have settings or patches you wish to preserve, use the Bulk Dump operation (p. 37) to save them to an external MIDI device, such as a sequencer, [...]

17 Chapter 1 Producing Sounds Chap. 1 Overall Settings for the GR-33 (SYSTEM) Adjusting the Brightness of the Display (LCD Contrast) ■ Adjusting the Brightness of the Display 1. Press [SYSTEM] to enter System mode. 2. Press [PARAMETER] to select “LCD CONTRAST.” fig.1-06 3. Turn [VALUE] to adjust the contrast. 4. When you have finished adjusti[...]

18 Chapter 1 Producing Sounds 3. Turn [VALUE] to select Gtr1–Gtr4. The setting you select will be loaded. * With the factory settings, this is set to “Gtr1.” If you wish to create a new input-sensitivity setup, press [PARAMETER] to select “PICKUP SENS,” and then adjust the sensitivity settings for the current guitar’s six strings. 4. Af[...]

19 Chapter 1 Producing Sounds Chap. 1 fig.1-12 5. Tune each of the other strings, 5 to 1, to A, D, G, B, and E, respectively. 6. When you are finished tuning, press any foot pedal, [S1] or [S2] on the GK-2A, or [PLAY], to return to Play mode. Selecting the output device (OUTPUT SELECT) In order for the GR-33 to produce the correct output levels, yo[...]

20 Chapter 1 Producing Sounds Playing the Internal Synth Sounds with the Guitar After checking the connections to the amplifier you are using, completing the sensitivity setup and tuning your guitar, try playing some sounds. ■ How to Play the GR-33’s Sounds with the Guitar 1. Make sure that the display indicates Play mode (p. 15). 2. Set the GK[...]

21 Chap. 2 Chapter 2 Selecting and Playing Sounds (Patches) What Is a Patch? “Patch” is the term for the GR-33’s tones that can be called up at any time with a foot switch or other device. There are 256 patches stored in the GR-33. As an example, the “A11” that appears in the display when the power is switched on indicates that patch numb[...]

22 Chapter 2 Selecting and Playing Sounds (Patches) 3. Use [VALUE] to select “Patch Select.” • Patch Select: You can continuously switch patches with [S1] and [S2] on the GK-2A. • Normal: Normal status. You cannot switch patches on the GK-2A. 4. Press [PLAY] to return to Play mode. 5. Pressing the GK-2A [UP/S2] once brings you to the next h[...]

23 Chapter 2 Selecting and Playing Sounds (Patches) Chap. 2 fig.2-06 3. While pressing [S1] on the GK-2A, step on [BANK ▲ ] (pedal 4) or [BANK ▼ ] (pedal 3). As long as the [S1] button is held down, pedal 4 works as a [BANK ▲ ] (BANK UP), and pedal 3 as a [BANK ▼ ] (BANK DOWN). The display starts to flash, and when you step on pedal 3 or 4,[...]

24 Chapter 2 Selecting and Playing Sounds (Patches) * Sometimes when pressing and releasing the foot switch to switch banks, you may find that while the bank does change, the patch number may not (light will flash); however, this does not indicate any malfunction. You can also make the setting with the FS-5U polarity switch, as shown in the figure [...]

25 Chapter 2 Selecting and Playing Sounds (Patches) Chap. 2 Changing the Patch Order When sequencing patches while performing a piece, or while you are on stage, if the patches are from the same group/ bank (for example A11 to A14), you can switch patches very smoothly by using the pedals on the base module. To change the order of the patches, perf[...]

26 Chapter 3 Controlling Functions and Effects with the Base Module Pedals “Pedal Effect Mode”: What It Is, and How to Call It Up ■ How to Switch to Pedal Effect Mode 1. Press [SYSTEM] to enter System mode, and set the “S1/ S2 FUNCTION” to “Normal.” For more detailed information and instructions for this procedure, refer to “Selecti[...]

27 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Chap. 3 Turning Arpeggiator and Harmonist On/Off The GR-33 comes with Multi-Effects, Arpeggiator, and Harmonist functions that can be turned on and off using the pedals. * The MULTI-FX Bypass, Arpeggiator and Harmonist can be turned on or off individually for each Patch. To [...]

28 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Changing Effects with the Pedals In Pedal Effect mode (p. 26), you can get different effects by pressing Pedals 1 to 4 in the follow way. Getting a Pedal Wah Effect (Wah) You can get several of the most commonly used wah effects by pressing Pedal 1 (WAH). Repeatedly pressing[...]

29 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Chap. 3 Calling Up the Tuner Function with a Pedal 1. While pressing [S1] on the GK-2A, step on Pedal 1 (TUNER). * Perform this operation with “S1/S2 FUNCTION” set to “Normal.” The Tuner function is called up, and the following appears in the display. fig.3-03 2. Adj[...]

30 Chapter 4 Five Basic Modes The three main modes of the GR-33 allow you to: • Select tones and perform “Play mode” • Get effects such as wah or hold using the pedal on the base module “Pedal Effect mode” • Create and modify patches, and write them into memory “Patch Edit mode” • Establish settings for the entire GR-33 “Syste[...]

31 Chapter 4 Five Basic Modes Chap. 4 Pedal Effect Mode In Pedal Effect mode, buttons and dials work as follows. Additionally, you can change the nature of the available effects by pressing Pedals 1 to 4 in each patch. You can also change and re-record effects settings in User Patches A11 to d84. [BANK/PARAMETER] Button Goes forward and back throug[...]

32 Chapter 4 Five Basic Modes Patch Edit Mode: What It Means, How It Works In this mode, you can program patches. Patch Edit mode is divided into three sections: COMMON, TONE, and EFFECTS. fig.4-01 • COMMON This is where you name a Patch or set up pedal effects. • TONE This is where you set up the tones that serve as the basis for synth sounds.[...]

33 Chapter 4 Five Basic Modes Chap. 4 System Mode In this mode you can make settings for the entire GR-33 — i.e., settings that do not change when you switch patches — such as input sensitivity and display brightness. In System mode, the buttons and dials work as follows: [BANK/PARAMETER] Button Use these buttons to select the parameter that yo[...]

34 Chapter 4 Five Basic Modes Getting Into and Out of Each Mode Here we will explain how to get into and out of each of the five modes: Play mode, Pedal Effect mode, Patch Edit mode, System mode and Tuner mode. For modes other than Pedal Effect mode, you can press a single button on the GR-33 to enter the desired mode from any other mode. The follo[...]

35 Chap. 5 Chapter 5 Setting/Changing Sounds (Patches) Details of Putting a Patch Together Every patch is constructed as shown in the following figure. fig.5-01 What is a “Tone”? As shown in the above figure, you can select any two of the 384 built-in tones—the raw material for synth sounds—and use them in a patch. The two tones in a patch [...]

36 Chapter 5 Setting/Changing Sounds (Patches) The Relationship Between Arpeggiator/ Harmonist and Patches When you are playing, you can use the arpeggiator or the harmonist. For each patch, you can select one of these functions (p. 78, 82) and also determine whether or not it will be active (p. 77, 81) when the patch is selected. Likewise, you can[...]

37 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Saving Patches From the GR-33 to Sequencers or Other MIDI Devices (Bulk Dump) Settings for all user patches—as well as all system settings— can be transferred in and out of the GR-33 using MIDI. You can also save patches externally to equipment that can record MIDI data. For this kind of op[...]

38 Chapter 5 Setting/Changing Sounds (Patches) 7. Press [PLAY] to return to Play mode. * If you send data for a single patch to the GR-33, you will need to perform the Patch Write operation (p. 36) on the GR-33 to store the patch in a patch memory location. When writing the received patch, you can specify the desired destination, so you are not for[...]

39 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 • When both the first and second tones are present. • When the Reverb send level or Chorus send level is set to a high level. • When a high volume level is a characteristic of the tone itself. • When the brightness setting value is high. • When wah effects are applied. Changing the Fe[...]

40 Chapter 5 Setting/Changing Sounds (Patches) The eight types “Accl Normal,” “Accl Finger,” “Accl Hard,” “Accl Soft,” “Accl Tapping,” “Accl No Dynamics,” “Accl Envelope1,” and “Accl Envelope2” add the Accel function to the previously listed eight types. Notes will sound more quickly than the first eight types. For d[...]

41 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Changing Sound Placement (PAN) You can pan each of a patch’s two tones to its own stereo location. For example, you can pan one tone to the far left in the stereo field, and the other to the far right. You can also create complex stereo movement using a variety of pre-programmed stereo effect[...]

42 Chapter 5 Setting/Changing Sounds (Patches) Dividing Continuous Pitch Changes into Semitones (CHROMATIC) The GR-33 faithfully reproduces the slight pitch changes and in-between notes you get from fingering your guitar’s strings. However, should the need arise, you can also limit this subtle pitch response to semitone changes only. This is call[...]

43 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Selecting Wah Types (WAH TYPE) There are 35 types, in seven groups, of wah effects you can get by stepping on and releasing pedal 1 in Pedal Effect mode, with differing ranges of tone change and different speeds, and along with one type of modulation (vibrato), there are a total of 36 variation[...]

44 Chapter 5 Setting/Changing Sounds (Patches) * If you use wah once, the sound from a patch with a muffled sound may continue, or some other kind of peculiarity may change, even after releasing the wah pedal. If this happens, switch to another patch, and then call up the desired patch again to return to the original sound. * When the wah is “clo[...]

45 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Selecting Hold Type (HOLD TYPE) With the Hold function on pedal 3 in Pedal Effect mode, for the qualities such as the sustaining of a tone’s sounding, there are fifteen ready-made variations that can be selected according to the particular purpose, and saved to patches. ■ Selecting Hold Typ[...]

46 Chapter 5 Setting/Changing Sounds (Patches) Sostenuto All: This sostenuto hold works on all internal and external MIDI sound generators. Sostenuto 1st: This sostenuto hold works only on the first internal sound generator. Sostenuto 2nd: This sostenuto hold works only on the second internal sound generator. Sostenuto 1&2: This sostenuto hold [...]

47 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Using the Expression Pedal By using the expression pedal (EXP pedal) attached to the GR-33, you can add various effects to synth sounds. You can choose from among eighteen effects that can be controlled with the EXP pedal, including pitch, volume, arpeggiator tempo and the like. You can also us[...]

48 Chapter 5 Setting/Changing Sounds (Patches) Pan (Normal) (Normal Pan): “PAN” (p. 41) settings in the patch are ignored, and stereo placement is controlled by the EXP pedal. Both of the patch’s tones are panned together. Both tones are panned right when the pedal is pressed forward, and left when the pedal is brought back. Pan (Cross Tones)[...]

49 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Creating Synth Sounds You can select from among the 384 built-in sounds that provide the foundation for the GR-33’s patches, choosing a “1st tone” (first tone) and a “2nd tone” (second tone). Following the steps below, let’s actually select some tones and assemble a patch. Selecting[...]

50 Chapter 5 Setting/Changing Sounds (Patches) Changing Tone Release (RELEASE) With the “RELEASE” setting, you can change the decay of the 1st (or 2nd) tone you selected with 1ST SELECT (or 2ND SELECT). By increasing the release time, the sound fades away more gradually at the end of a note, even after the strings stop vibrating. With a short r[...]

51 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Combining/Layering Two Sounds (Tones) Determining Which Tones Will Be Sounded (LAYER) You can determine how the 1st and 2nd tones will be combined using the TONE “LAYER” parameter in Patch Edit mode. This parameter allows you to activate only the 1st tone, only the 2nd, or both. LAYER, comb[...]

52 Chapter 5 Setting/Changing Sounds (Patches) 3. Use [STRING SELECT] to select the string you wish to set up. For more detailed information about the “STRING SELECT” button, refer to “Making separate settings for each string (STRING SELECT)” (p. 35). * When you want to make settings to all of strings together, choose “ALL.” 4. Turn [VA[...]

53 Chap. 6 Chapter 6 Using the Built-in Effects About the Effects Processors and Available Effects The GR-33 has the following three onboard effect processors. a. MULTI-FX (Multi-effects) b. CHORUS c. REVERB The overall structure of the EFFECTS as follows. fig.6-00 Chorus and Reverb coneects in series. MULTI-FX is Multi-effects which contains 40 ty[...]

54 Chapter 6 Using the Built-in Effects Selecting a Type (MULTI-FX TYPE) Multi Effects provides 40 different effects types (MULTI-FX TYPE). For each of these effect types, you can specify parameter values. By changing these parameters, various effects can be applied. Parameters for each effects type are given on the following pages. 1: STEREO-EQ ( [...]

55 Chapter 6 Using the Built-in Effects Chap. 6 About Multi-Effects Parameters 1: STEREO-EQ (Stereo equalizer) This is a stereo equalizer which allows you to adjust the tone quality using a low range, two mid-range, and a high range control. fig.6-05 LOW FREQ (Low frequency) 200 Hz/400 Hz Select the frequency (200 Hz/400 Hz) at which the low freque[...]

56 Chapter 6 Using the Built-in Effects 3: DISTORTION Distortion produces a more intense distortion than the Overdrive effect. fig.6-07 DRIVE 0–127 # Adjust the amount of distortion. The volume will change together with the amount of distortion. PAN (Output pan) L64–0–R63 Specify the stereo location of the output sound. A setting of L64 is fa[...]

57 Chapter 6 Using the Built-in Effects Chap. 6 BAND4 (Band 4 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 1250 Hz. BAND5 (Band 5 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 2000 Hz. BAND6 (Band 6 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 3150 Hz. BAND7 (Band 7 gain) -15–+15 dB Specify [...]

58 Chapter 6 Using the Built-in Effects LOW SLOW (Low frequency slow rate) 0.05–10.0 Hz Specify the low-speed (SLOW) rotational speed of the low- range rotor. HIGH FAST (High frequency fast rate) 0.05–10.0 Hz Specify the high-speed (FAST) rotational speed of the high- range rotor. LOW FAST (Low frequency fast rate) 0.05–10.0 Hz Specify the hi[...]

59 Chapter 6 Using the Built-in Effects Chap. 6 PAN (Output pan) L64–0–R63 Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right. POST GAIN 0/+6/+12/+18 dB Specify the level of the output sound. LOW GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the low frequency range.[...]

60 Chapter 6 Using the Built-in Effects 13: SPACE-D Space-D is a multiple chorus that applies two-stage modulation in stereo. It does not produce a sense of modulation, but creates a transparent chorus effect. fig.6-17 PRE DELAY (Pre delay time) 0.0–100 ms Specify the delay time from the original sound until the chorus sound is heard. RATE 0.05?[...]

61 Chapter 6 Using the Built-in Effects Chap. 6 15: STEREO-FL (Stereo Flanger) This is a stereo flanger (the LFO has the same phase for left and right). This produces a metallic resonance reminiscent of a jet airplane taking off and landing. A filter is provided so that you can adjust the tone of the flanger sound. fig.6-19 FILTER TYPE Off/LPF/HPF [...]

62 Chapter 6 Using the Built-in Effects LOW GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range. HIGH GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the high frequency range. Positive (+) settings will emphasize (boost) the hig[...]

63 Chapter 6 Using the Built-in Effects Chap. 6 18: MOD-DELAY (Modulation Delay) Modulation-delay is an effect which adds modulation to the delay sound. It produces a flanger-like effect. fig.6-22 FB MODE (Feedback mode) Normal/Cross Specify the input destination to which the delay sound will be returned. Normal: The left delay sound will be return[...]

64 Chapter 6 Using the Built-in Effects DELAY CENTER (Delay time center) Specify the delay time from the original sound until the center delay sound is heard. * The setting values are the same as for DELAY LEFT. FEEDBACK (Feedback level) -98%–+98% # Specify the proportion (%) of the delay sound that is to be returned to the input. Positive (+) se[...]

65 Chapter 6 Using the Built-in Effects Chap. 6 HF DAMP 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut. If you do not want the sound to be cut, select Bypass. BALANCE (Effect balance)[...]

66 Chapter 6 Using the Built-in Effects FINE B (Fine pitch B) -100–+100 Adjust the pitch shift amount in 2-cent units (1 cent = 1/ 100th of a semitone) for pitch shift B. PRE DELAY A (Pre delay time A) 0.0–500 ms Specify the time delay from the original sound until the pitch shift A sound is heard. PRE DELAY B (Pre delay time B) 0.0–500 ms Sp[...]

67 Chapter 6 Using the Built-in Effects Chap. 6 24: REVERB Reverb adds reverberation to the original sound, simulating an acoustic space. fig.6-27 TYPE (Reverb type) Room1/Room2/Stage1/Stage2/Hall1/Hall2 Specify the type of reverb. Room1: Short reverberation with high density Room2: Short reverberation with low density Stage1: Reverberation with he[...]

68 Chapter 6 Using the Built-in Effects 26: OD ➔ CHO (Overdrive ➔ Chorus) This effect connects an overdrive and chorus in series. fig.6-29 OD DRIVE 0–127 # Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion. OD PAN (Overdrive pan) L64–0–R63 Specify the stereo location of the o[...]

69 Chapter 6 Using the Built-in Effects Chap. 6 28: OD ➔ DLY (Overdrive ➔ Delay) This effect connects an overdrive and a delay in series. fig.6-31 OD DRIVE 0–127 # Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion. OD PAN (Overdrive pan) L64–0–R63 Specify the stereo location [...]

70 Chapter 6 Using the Built-in Effects 32: EH ➔ CHO (Enhancer ➔ Chorus) This effect connects an enhancer and a chorus in series. fig.6-35 EH SENS (Enhancer sensitivity) 0–127 Specify the sensitivity of the enhancer. EH MIX (Enhancer mix level) 0–127 Specify the volume of the overtones generated by the enhancer, relative to the original sou[...]

71 Chapter 6 Using the Built-in Effects Chap. 6 34: EH ➔ DLY (Enhancer ➔ Delay) This effect connects an enhancer and delay in series. fig.6-37 EH SENS (Enhancer sensitivity) 0–127 Specify the sensitivity of the enhancer. EH MIX (Enhancer mix level) 0–127 Specify the volume of the overtones generated by the enhancer, relative to the original[...]

72 Chapter 6 Using the Built-in Effects LEVEL (Output level) 0–127 Specify the output volume. 36: FL ➔ DLY (Flanger ➔ Delay) This effect connects a flanger and a delay in series. fig.6-39 FL PRE DLY (Flanger pre delay time) 0.0–100 ms Specify the time delay from the original sound until the flanger sound is heard. FL RATE (Flanger rate) 0.0[...]

73 Chapter 6 Using the Built-in Effects Chap. 6 FL FEEDBACK (Flanger feedback level) -98–+98 % Specify the proportion (%) of the flanger sound that is to be returned to the input. Positive (+) settings will return the sound to the input with the original phase, while negative (-) settings produce an inverted phase. You can set a value from -98% t[...]

74 Chapter 6 Using the Built-in Effects Making Chorus Settings Here’s how to adjust parameters such as modulation depth and speed for the chorus sound. ■ Procedure for Setting Chorus 1. Select the patch for which Chorus is to be set, and press [EFFECTS] to go into Patch Edit mode. 2. Use [PARAMETER] to select the CHORUS-related parameter. For a[...]

75 Chapter 6 Using the Built-in Effects Chap. 6 Hall1: Reverb with clear reverberation. Hall2: Reverb with rich reverberation. Delay: Standard delay Pan Delay: A delay effect with echoes that pan left and right. REV SEND LEVEL (Reverb/Delay Send Level) Specifies the volume of the reverb (or delay). Increasing this setting will raise the volume. REV[...]

76 Chapter 7 The Arpeggiator Function The GR-33 is equipped with an Arpeggiator function that is uniquely suited to guitar performances. When turned on, Arpeggiator takes over when a chord is strummed, and plays the chord’s notes for you in simple or complex ways. The arpeggiator can be create a basic backing using synthesizer sounds as you play [...]

77 Chapter 7 The Arpeggiator Function Chap. 7 Latch TypeA (Latch hold type A): With an ordinary hold function, pressing the pedal starts the hold, and releasing the pedal ends it. With a latch hold, however, pressing the pedal once begins the hold, and pressing the pedal again ends it. On the GR-33, a latch hold is available only when using Arpeggi[...]

78 Chapter 7 The Arpeggiator Function * Alternatively, when one of the arpeggiator setting items “HAR/ARP CONTROL,” “HAR/ARP SELECT,” or “ARP PATTERN” are selected, you can use pedal 4 (CTRL) to turn the arpeggiator on/off. * The arpeggiator on/off setting is independent for each patch. When you execute the Patch Write operation, the st[...]

79 Chapter 7 The Arpeggiator Function Chap. 7 Selecting Arpeggio Patterns (ARP PATTERN) The GR-33 contains 50 preset arpeggio patterns. For each patch, you can select any one of the preset arpeggio patterns. For more detailed information about arpeggio patterns, please refer to “About “Arpeggio Patterns” (p. 76).” ■ Selecting Arpeggio Pat[...]

80 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) The GR-33 lets you use the TONE “TRANSPOSE” setting (p. p. 51) to shift the pitch of the 1st and 2nd tones relative to the guitar’s pitch, creating an always-parallel harmony. However, to create harmonies that are more musically useful, the differences in pitch between notes must[...]

81 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 Operation Turning the Harmonist On and Off (HAR/ARP CONTROL) Using pedal 4 (CTRL) to turn Harmonist on/off If you wish to turn Harmonist on/off while you perform, make the following settings. 1. Press [COMMON] to enter Patch Edit mode. 2. Use [PARAMETER] to select “CTRL PEDAL[...]

82 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Selecting Harmony Tones (HAR/ ARP SELECT) The “HAR/ARP SELECT” (Harmony/Arpeggio select) parameter for each patch determines whether the 1st tone, the 2nd tone, or an external sound generator produces the harmony. ■ Setting Harmony Select 1. Select the patch for which Harmonist s[...]

83 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 The various settings produce the following intervals between the melody and the harmony. fig.8-05 * When HARMONY STYLE is “+3,” and HARMONY KEY is set to “minor,” the harmony is made in a minor scale. Setting Transpose and “HARMONY STYLE” Transpose settings include [...]

84 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Setting the Key (HARMONY KEY) The “HARMONY KEY” setting selects the key in which the patch’s melody is to be played, such as C or Gm (G minor). ■ Setting the Harmony Key 1. Select the patch for which the Harmony key setting is to be modified, and press [EFFECTS] to go into Patc[...]

85 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 7. Refer to the owner’s manual for the external device, and send MIDI note messages to the GR-33. If you are using the FC-200, press the “MODE” button on the pedal to switch to the Note mode. No matter what mode the GR-33 is in, it will receive MIDI Note On messages and s[...]

86 Chapter 9 Connecting to External Sound Generators and Sequencers Connecting an external sound generator to the GR-33 makes it possible to play sounds not included the 384 built-in tones, and to create fatter sounds by combining notes from the GR- 33 and the external device. The GR-33 can also serve as a convenient input tool for a MIDI sequencer[...]

87 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 * For a detailed explanation of Mono mode and Poly mode, see the subsequent section, “Transmitting in Mono Mode or Poly Mode.” * When using the GR-33 in combination with a multitimbral sound module (a sound generator offering a number of performance parts) or a sequence[...]

88 Chapter 9 Connecting to External Sound Generators and Sequencers “GUITAR,” a value of zero is sent to the external sound generator on the Control Change message No. 7, and sound from the external sound generator also stops. When “MIX” or “SYNTH” is selected, values corresponding to the state of the GK-2A volume or the expression peda[...]

89 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 Conversely, if there is a patch which should be played using only the external sound generator, just set the GR-33 patch “LAYER” setting (p. 51) to “Mute.” * It’s not possible to alter the correspondences between Program Change numbers received by the GR-33 and th[...]

90 Chapter 9 Connecting to External Sound Generators and Sequencers 8. Press [WRITE] to perform the Patch Write operation (p. 36). * After performing the Patch Write operation, you will automatically return to Play mode. * If you don’t want to save the Patch, press [PLAY] to return to Play mode. When you call up a patch for which the settings des[...]

91 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 The Relationship Between Envelope Follow Function and MIDI Message Patches that use the Envelope Follow function (p. 36)—in other words, patches for which “Envelope1” or “Envelope2” has been selected for the COMMON “PLAY FEEL” setting in the Patch Edit mode—[...]

92 Chapter 9 Connecting to External Sound Generators and Sequencers Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE]) When using an external sound generator, notes in the bass (or treble) range not on the guitar can be sent by changing the COMMON setting “MIDI [TRANSPOSE]” in the Patch Edit mode to transpose the ou[...]

93 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 Using the GR-33 as an External Sequencer Input Tool By connecting the GR-33 to a MIDI sequencer (a performance-recording and playback device), even guitarists who don’t play keyboards can perform real-time recording to the sequencer. Connecting to a Sequencer Use MIDI cab[...]

94 Chapter 9 Connecting to External Sound Generators and Sequencers About “Local Control Off” While the GR-33’s internal sound generator and guitar controller are connected together, it is set to “Local On.” In contrast to this, “Local Off” is when the GR-33’s internal sound generator and guitar controller are separated, and only MI[...]

95 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 * As in Example 1 above, it is perfectly all right to record the arpeggios themselves with “Arpeggio Ext,” then return this data unchanged from MIDI OUT on the sequencer (to a patch for which first and second tone arpeggios are off) to re-create the arpeggios. However, [...]

96 Chapter 9 Connecting to External Sound Generators and Sequencers Practical Use of MIDI Channels fig.9-16 A single MIDI system has 16 channels, and ordinarily 16 instrument parts can exist.With a guitar synthesizer, however, each of the six strings takes up one channel. This means that, for instance, two-part input with the guitar synth to an ens[...]

97 Chap. 10 Chapter 10 Other Convenient Functions Re-assigning Program Change Numbers in the Order of Patches If you have repeatedly changed the original settings of patches and re-written them to different memory locations, or have otherwise reordered the patches, the Program Change numbers “(MIDI [PC])” assigned to the patches no longer corre[...]

98 Chapter 10 Other Convenient Functions ■ Terminating Transmission of the MIDI Controller No. 7 1. Press [SYSTEM] to enter System mode. 2. Press [PARAMETER] to select “VOL SEND SW.” fig.10-04 3. Turn [VALUE] to select “Off.” 4. Press [PLAY] to return to Play mode. * This is a system-wide setting, and not a patch setting, so there is no n[...]

99 Chap. 11 Chapter 11 Appendices Troubleshooting During Normal Play with Just the GR-33 No synth sounds are heard when the guitar is played ● If the unit’s volume knob turned down too low? → Adjust the volume to an appropriate level. ● Is the volume on the GK-2A turned down too low? Is the GK-2A’s selector switch set to GUITAR? → Set t[...]

100 Chapter 11 Appendices ● Is the TONE “1:2 BALANCE” setting (p. 52) set to “50” or “-50”? → Change the setting to a value closer to “0” and check operation. The built-in effects don’t work ● Is the EFFECTS setting item “REV SEND LEVEL” (p. 75), “CHO SEND LEVEL” (p. 74) set to “0,” or “MULTI- FX SW” (p. 53) [...]

101 Chapter 11 Appendices Chap. 11 Settings cannot be made independently for individual strings ● Is the setting one that cannot be made for individual strings? → The seven settings that can be made independently for each of the strings using the [STRING SELECT] button are TONE “Layer,” “1ST TRANSPOSE,” and “2ND TRANSPOSE,” COMMON ?[...]

102 Chapter 11 Appendices Pitch doesn’t change smoothly ● Is data being sent in the Poly mode? When transmitting in the Poly mode, pitch changes during chord performances are in semitone steps (p. 88). → Play with single notes, or use the Mono mode to send data. ● Is the Bend Data Thin function (p. 95) in use? → Do not use the Bend Data T[...]

103 Chapter 11 Appendices Chap. 11 Roland Exclusive Messages 1. Data Format for Exclusive Messages Roland’s MIDI implementation uses the following data format for all Exclusive messages (type IV): •MIDI status: F0H, F7H An Exclusive message must be flanked by a pair of status codes, starting with a Manufacturer ID immediately after F0H (MIDI ve[...]

104 Chapter 11 Appendices * The size of the requested data does not indicate the number of bytes that will make up a DT1 message, but represents the address fields where the requested data resides. * Some models are subject to limitations in data format used for a single transaction. Requested data, for example, may have a limit in length or must b[...]

105 Chapter 11 Appendices Chap. 11 MIDI Implementation Model: GR-33 Date: Jul. 21, 2000 Version: 1.01 1. Recognized Receive Data ■ Channel Voice Message ● Note Off STATUS SECOND THIRD 8nH kkH vvH 9nH kkH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 kk=Note Number: 00H - 7FH (0 - 127) vv=Velocity: 00H - 7FH (0 - 127) ● Note On S[...]

106 Chapter 11 Appendices ❍ Hold1 STATUS SECOND THIRD BnH 40H vvH n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 vv=Control Value: 00H - 7FH (0 - 127) 00H-3FH=OFF, 40H-7FH=ON * Can be received only through the Basic channel when this channel is set to POLY1- POLY16. ❍ General Purpose #5 STATUS SECOND THIRD BnH 50H vvH n=MIDI Channel Nu[...]

107 Chapter 11 Appendices Chap. 11 ● OMNI OFF STATUS SECOND THIRD BnH 7CH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 * Can be received only through the Basic channel. * Will act the same as All Note Off. ● OMNI ON STATUS SECOND THIRD BnH 7DH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 * Can be received only thro[...]

108 Chapter 11 Appendices ❍ General Purpose #2 STATUS SECOND THIRD BnH 11H vvH n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 vv=Control Value: 00H - 7FH (0 - 127) 00H-3FH=Major, 40H-7FH=Minor * Transmitted when an external pedal is used to switch the harmony key between Major/ Minor. ❍ General Purpose #3 STATUS SECOND THIRD BnH 12H vv[...]

109 Chapter 11 Appendices Chap. 11 3. Exclusive Communications The GR-33 can transmit or receive system and patches parameters using system exclusive messages. Model ID of exclusive message available on the GR-33 is 00H 30H.Device ID is fixed at 10H. When the GR-33 receives an Identify Request inquiry message, it will transmit an Identity Reply. ?[...]

110 Chapter 11 Appendices ● Inquiry Message ❍ Identity Request Bytes Comments F0H Exclusive Status 7EH ID number (Universal Non-realtime Message) 10H Device ID 06H SubID#1 01H SubID#2 F7H EOX (End of Exclusive) * The 7FH (Broadcast) device ID is also supported. * Identity request can be received when Bulk Load is standby in System mode. * When [...]

111 Chapter 11 Appendices Chap. 11 |——————————+—————————+———————————————————————————————————+—————————————————————————————————————————————————?[...]

112 Chapter 11 Appendices |——————————+—————————+———————————————————————————————————+————————————————————————————————————————————————————?[...]

113 Chapter 11 Appendices Chap. 11 +————————————————————————————————————————————————————————————————————————————————————————————————————————?[...]

114 Chapter 11 Appendices | |# 7. LEVEL | 00 - 7F | 0 - 127 | | | 8. - | - | - | | | 9. - | - | - | | | 10. - | - | - | | | 11. - | - | - | | | 12. - | - | - | |——————————————————————————+————————————————————————+—————————+———[...]

115 Chapter 11 Appendices Chap. 11 | | 2. DELAY LEFT | 00 - 7E | 0.0 - 500 [msec] | | | 3. DELAY RIGHT | 00 - 7E | 0.0 - 500 [msec] | | | 4. FEEDBACK | 00 - 62 | -98 - 98 [%] | | | 5. HF DAMP | 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600, | | | | | 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass| | |# 6. RATE | 00 - 7D | 0.05 - 10.0 [Hz] | [...]

116 Chapter 11 Appendices | | 8. LEVEL | 00 - 7F | 0 - 127 | | | 9. - | - | - | | | 10. - | - | - | | | 11. - | - | - | | | 12. - | - | - | |——————————————————————————+————————————————————————+—————————+—————————?[...]

117 Chapter 11 Appendices Chap. 11 | | 3. CHO DEPTH | 00 - 7F | 0 - 127 | | | 4. - | - | - | | | 5. CHO BALANCE | 00 - 64 | D100:0E - D0:100E | | | 6. DLY TIME | 00 - 7E | 0.0 - 500 [msec] | | | 7. DLY FEEDBACK | 00 - 62 | -98 - +98 [%] | | | 8. DLY HF DAMP | 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600, | | | | | 2000,2500,3150,4000,5000,6[...]

118 Chapter 11 Appendices * 4)Arpeggio pattern number corresponds to each Pattern name as follows. +——————————————————+ |No.| Pattern Name | |———+——————————————| | 1| Arpeggio 1 | | 2| Arpeggio 2 | | 3| Arpeggio 3 | | 4| Arpeggio 4 | | 5| Arpeggio 5 | | 6| Arpeggio 6 | | 7| Arpeg[...]

119 Chapter 11 Appendices Chap. 11 MIDI Implementation Chart Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Prog Change System Exclusive System Common System Real Time Aux Message Notes Transmitted Recognized Remarks Default Changed Default Messages Altered True Voice Note ON Note OFF Key's Ch'[...]

120 Chapter 11 Appendices Specifications GR-33: GUITAR SYNTHESIZER ● Sound generator 1 Part (Mono mode M=6/Poly mode switchable) ● Maximum Polyphony 48 voices ● Tones 384 ● Patches User: 128 Preset: 128 ● Display 16 segments 6 characters backlit LCD 7 segments 3 characters LED ● Effects MULTI-FX (40 types) Chorus Reverb ● Connectors/J[...]

121 Index A Acceleration ................................................................... 40 ARP PATTERN .............................................................. 79 ARP TEMPO .................................................................. 79 Arpeggiator .................................................................... 76 Arpeggio Pat[...]

122 No. Name No. Name No. Name No. Name Tone List <PIANO> 1 GR Piano 2 Cool Piano 3 Dark Piano 4 Old Upright 5 Piano&String 6 Piano&Choir <E.PIANO> 7 SA Rhodes 8 StageRhd Sft 9 StageRhd Hrd 10 StageRhd Vsw 11 PopE.Pno Sft 12 PopE.Pno Hrd 13 PopE.Pno Vsw 14 BritePop EP 15 Detuned EP 16 E.P.&Strings 17 E.P.&SynVox <ORGA[...]

123 Tone List No. Name No. Name No. Name No. Name 192 Horn Sect 193 Big Brass 194 BrassSect x4 195 BrassFalloff <SYN.BRASS> 196 Mellow Horn 197 OBXP Brass 198 MG Brass 199 Saws Brass 200 Brassy Saw 201 Synth Brass1 202 Synth Brass2 203 Solo SynBrs <SOFT LEAD> 204 OB Lead 1 205 OB Lead 2 206 Sqr Lead 1 207 P5 Pipe 208 JP-8 Square 209 Sqr[...]

124 Patch List Group A (E) No. PatchName A11 JAZZ SCAT A12 DIDGERI FLT A13 JANGLE PAD A14 GR-300 LEAD A21 ★ 12ST GUITAR A22 ★ 303 TEKNO A23 GR STRINGS A24 E.ORGAN/PDL A31 ROMANTIC PAD A32 FRETLESS BS A33 DAFT WAVE A34 ● Cmaj-STRINGS A41 ★ NYLON STR GT A42 MIDI PIANO A43 ● DIST. GUITAR A44 E.SITAR A51 TABLA&SITAR A52 DIDGERI PIPE A53 T[...]

125 MEMO[...]

126 MEMO[...]

For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipm[...]

Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of June 1, 2000 (Roland) ARGENTINA Instrumentos Musicales S.A. Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057 BRAZIL Roland Brasil Ltda. R. Coronel Oc[...]