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1-R_ SYNTHESIZE/l
GR-33
Thank you, and congratulations on your choice of the Roland
GR-33 Guitar Synthesizer.
;-i':, '. ,,_::(-,, :---_-.::-:,:-~--, :;._ ....,. ___,_ _-;:--/:_-----\i'\">1/': _ :,:<i-<;::-;':-:-:,:_::~
Befo.reu.si!l!.fhi~:unitJ~~r~fOH.Y read.thei se<ltions entitled; ..
USINGttE f.JNITSAFEL(page2;;..a)
IMPof.trAtft' Not~$ (~~g~ 9) >
itWARNING &WARNING
Before using this unit, make sure to read the Do not excessively twist or bend the power cord, t<::\
instructions below, and the Owner's Manual. nor place heavy objects on it. Doing so can \.Y
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
Do not open (or modify in any way) the wut or its t<i\ hazards!
AC adaptor. \!)I
This unit, either alone or in combination with an t<::\
Do not attempt to repair the unit, or replace parts t<::\
amplifier and headphones or speakers, may be \.Y
capable of producing sound levels that could
within it (except when this manual provides \.Y cause permanent hearing loss. Do not operate for
specific instructions directing you to do so). Refer a long period of time at a high volume level, or at
all servicing to your retailer, the nearest Roland a level that is uncomfortable. If you experience
Service Center, or an authorized Roland any hearing loss or ringing in the ears, you should
distributor, as listed on the "Information" page. immediately stop using the unit, and consult an
audiologist.
Never use or store the unit in places that are:
Subject to temperature extremes (e.g., direct Do not allow any objects (e.g., flammable material,
sunlight in an enclosed vehicle, near a heating coins, pins); or liquids of any kind (water, soft
duct, on top of heat-generating equipment); or drinks, etc.) to penetrate the unit.
are
Damp (e.g., baths, washrooms, on wet floors);
or are
Humid; or are Immediately turn the power off, remove the AC !.\.ff\
adaptor from the outlet, and request servicing by ~
Exposed to rain; or are
your retailer, the nearest Roland Service Center, or
Dusty; or are an authorized Roland distributor, as listed on the
Subject to high levels of vibration. "Information" page when:
2
i'.'.tWARNING i'.'.tCAUTION
e In households with small children, an adult The unit and the AC adaptor should be located so
should provide supervision until the child is their location or position does not interfere with
capable of following all the rules essential for the their proper ventilation.
e
safe operation of the w1it.
3
.
Contents
Chapter 3 Controlling Functions and Effects with the Base Module Pedals ..... 26
"Pedal Effect Mode": What It Is, and How to Call It Up ......................................................... 26
Getting the Same Effect While in Play Mode ............................................................................ 26
Turning Arpeggiator and Harmonist On/Off ............................................................................ 27
Changing Effects with the Pedals ................................................................................................ 28
Getting a Pedal Wah Effect (Wah) .............................................................................................. 28
Changing Pitch Dynamically (Pitch Glide) ............................................................................... 28
Holding a Synth Tone After the String is Stopped (Hold) ...................................................... 28
Calling Up the Tuner Function with a Pedal ............................................................................. 29
4
Contents I
Chapter 4 Five Basic Modes ................................................................30
Play Mode ......................................................................................................................................... 30
Pedal Effect Mode ........................................................................................................................... 31
Patch Edit Mode: What It Means, How It Works ...................................................................... 32
System Mode .................................................................................................................................... 33
Procedures in Tuner Mode ............................................................................................................ 33
Getting Into and Out of Each Mode ............................................................................................ 34
5
I Contents
6
Contents I
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 ........................................................................................................... 93
Input Procedures and Settings for Each Device ....................................................................... 93
About "Local Control Off" .......................................................................................................... 94
Creating Realistic Plucked String Instrument Sounds (Data) ................................................ 94
Recording Arpeggiator and Harmonist Performances ............................................................ 94
Reducing the Size of a MIDI Pitch Bend Message .................................................................... 95
Practical Use of MIDI Channels .................................................................................................. 96
What to do When You Have Difficulty Sequencing ................................................................ 96
Index .....................................................................................................121
7
,..
Getting Started
.
About the Guitar Synthesizer
The GR-33 guitar synthesizer, though small and compact, is With these points in mind, the guitar synthesizer was
big on functions and high-quality sounds. developed as an instrument that, while played like a guitar,
Say "synthesizer," and people generally think of the typical could be used for sound generation much like other
kind with a keyboard controller. However, since the keys on synthesizers.
a keyboard synthesizer are in essence simply advanced The guitar synthesizer is set up with separate pickups for
versions of basic on/ off switches, synthesizers cannot really each of the guitar's metal strings. These pickups register and
offer a faithful expression of strings or wind instruments. send the frequency and amplitude information in each
On the other hand, with the guitar, the part of the instrument strings's vibration to the synthesizer, which then in turn
that actually vibrates (i.e. the string) is touched directly. As a expresses the data as pitch, volume, and tone.
result it excels in ~he expressive power that arises from slight By connecting an external MIDI device (e.g. another sound
changes in pitch--changes even smaller than a semitone--or generator) via the MIDI OUT connector, you can also export
vibrato or muting. And because guitars are easy to play, guitar performance data while simultaneously playing the
there are more people playing guitars than keyboards. instrument's internal sound generator.
8
IMPORTANT NOTES
In addition to the items listed under "USING THE UNIT SAFELY" on page 2, please read and observe the following:
Repairs and Data Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
Please be aware that all data contained in the unit's
memory may be lost when the unit is sent for repairs. 0 Some connection cables contain resistors. Do not use
Important data should always be backed up in another cables that incorporate resistors for connecting to this
MIDI device (e.g., a sequencer), or written down on paper unit. The use of such cables can cause the sound level
(when possible). During repairs, due care is taken to avoid to be extremely low, or impossible to hear. For infor-
the loss of data. However, in certain cases (such as when mation on cable specifications, contact the manufac-
circuitry related to memory itself is out of order), we h1rer oi the cable.
regret that it may not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.
9
Panel Descriptions
IRciandj
3 SYSTEM Button
8 EFFECTS Button
This button selects System mode.
Press this button to access Patch Edit mode's EFFECTS
Press this button to enter System mode. When you are
settings-these settings allow you to adjust the patch's
in System mode, you can make settings to the GR-33
reverb, chorus, and multi-effect.
itself, as opposed to making settings for specific
sounds.
9 STRING SELECT Button
4 TUNER Button When selecting and activating the tones to be played in
a patch (LA YER), and when setting transposition
This button selects Tuner mode.
(TRANSPOSE) and other individual-string settings, use
When you press this button, the Tuner function will be
this knob to select the shing you wish to set up.
turned on, and you can tune your instrument.
10
Panel Descriptions I
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
adjust parameter values.
13 Three-digit Display
In Play mode, the three-digit display shows the
currently selected patch's number.
In System mode, Patch Edit mode, and Pedal Effect
mode, thls display shows "SYS," "Edt," or "PdL,"
respectively, to indicate the current mode. For
parameters that can be set independently for each
string, the display indicates the currently selected
string's number.
14 Display
In Play mode, the main display shows the currently
selected patch's name and the current Harmonist/
Arpeggiator stah1s.
In other modes, the display shows the value and stah1s
of the currently selected item, or "parameter." Various
messages also appear on this display.
15 Foot Pedal
These are four foot-operated switches. In Play mode,
together with the GK-2A's "Sl," they primarily switch
patches. After pressing the GK-2A's "S2" to go into
Pedal Effect mode, you can step on a switch to activate
performance effects such as wah, pitch glide, and hold.
16 Expression Pedal
Use this pedal to control a variety of things, including
the volume, tone and pitch of the current synth sotmd,
and the arpeggiator tempo.
11
IPanel Descriptions
20 BANK SHIFT Jack The explanations in this manual include illustrations that
Use this jack for connecting a patch bank expansion depict what should typically be shown by the display.
foot switch to the GR-33. Note, however, that your tmit may incorporate a newer,
You can connect two Boss FS-SU foot switches using a enhanced version of the system (e.g., includes newer
PCS-31 cable (each sold separately). Expansion foot sounds), so what you actually see in the display may not
switches control different functions in all modes except always match what appears in the manual.
Play mode. ~ ,
12
,.
GR-33 base module, with included accessories (AC adapter, 13-pin cable)
Amplifier, speakers, nnd cnbles-a completely stereophonic system is preferable-tlr stereo headphones
GK-2A divided pickup
Metal-stringed guitar with GK-2A properly installed
I
In addition to the above items, you should also have the following items on hand if needed:
Guitar amplifier, guitar effects (for adding to guitar sounds)
External bank shift switches (Boss FS-SU, optional) - to use two foot switches, a branch cable (stereo x 1 ~ mono x 2, 1 / 4"
phone plugs) is required (p. 23)
MIDI foot controller (FC-200 or similar unit, optional) (p. 24)
~
* Be sure the Divided Pickup is correctly oriented: the cord from
the Pickup s/zould emerge from under tl1c sixth string.
Some guitar manufacturers are currently shipping guitars
* Assembly instructions for use of the GK-2A with tlze other that can be connected directly to the GR series with a 13-pin
device may appear in the GK-2A owner's manual. Installation cable, without the use of a GK-2A. For more information,
jtlr use with the GR-33fol/ows t/1e same lagic. please ask your dealer or these guitar manufacturers.
To confirm the quality of the GK-2A installation, please take * Take care when dealing with guitars I/rat have more than 25
special note of the following points: frets. or 11m1sually lziglz t1111i11gs, as tire response around Ilic
Make sure that the space between each string and its 11pper frets may not lie sufftr:ientfor takingf111/ advantage of
pickup is exactly 1 mm when you press the top fret. (Do the GR-33.
not allow the string to get too close to the pickup.)
Do not allow the space between the guitar bridge and the
GK-2A pickups to exceed 20 mm.
Make sure that the placement of each of the pickups' six
yokes (pole pieces) in relation to each string is correct.
For more detailed instructions, please refer to the GK-2A
owner's manual.
13
IChapter 1 Producing Sounds
Making Connections
After setting up the guitar part nf your system, connect your other equipment following the examples shown in the connection
diagram below.
Synthesizer amp
Stereo set, (keyboard amplifier, PA system, etc.) Guitar with GK-2N
radio-cassette player. etc. other GR-compatible guitar
.
-\ tJ
Seep. 15 Seep. 23
AC adaptor
(BRC series)
Stereo
headphones
! ! !
The (L) MIX OUT jacks can also
be used as dual stereo headphone
jacks.
Also be aware that you cannot
simultaneously use one jack as a
LINE OUT while using the other
as a headphone jack - that is,
you can't use a monaural plug
and a stereo plug at the same
time.
To prevent malfunction and/or damage to speakers or other If you are outputting a mono signal from the GR-33, co1111cct
dez,ices, always turn down tlze volume and tum off the power the ca/1/e to the R (MONO) jack of the MIX OUT jacks.
011 all devices before maki11g any connections.
Raise the volume of the amplifier only after you tum 011 the ~
power to all connected devices. <Stereo Out>
To prevent tlie inadvertent disruption of power to your unit- To get the optimal performance from the GR-33, and to fully
as a result of the plug being pulled out accidcntally--and to experience the quality of its patches, connect your setup to a
avoid applyi11g undue stress to the AC adapta jack, anclzor the stereo (two-channel) amplifier/ speaker system, or to stereo
power cord using the cord hook as shown in the illustration. headphones. Stereo equipment is the best way to hear the
fullness of the GR-33's sound.
MODEL GR33
SER.NO.
Roland
MA.DE IN JAPAN
14
Chapter 1 Producing Sounds I
Necessary Steps-From
I
r ~
15
I Chapter 1 Producing Sounds
The Factory Reset operation undoes any settings you have User Patch:
changed and discards any edits you have made to its Patch settings will be restored to their original state.
patches. If you have settings or patches you wish to preserve, PCNumber:
use the Bulk Dump operation (p. 37) to save them to an Program Change numbers are re-assigned according to
external MIDI device, such as a sequencer, before performing the current order of the patches.
the Factory Reset operation.
_,C LIC,_,
;:::/
Sure -:
Pre;:;.;:;. 1.,JF.: I TE
16
Chapter 1 Producing Sounds I
Overall Settings for the GR-33 (SYSTEM)
PICKUP SEt-~5
D
Sensitivity: lo
I
1. Press [SYSTEM] to enter System mode. 6-5: [>[>[>[>[>[>[::-[::-[::-1
2. Press [PARAMETER] to select "LCD CONTRAST." PI Cf<I_IP 5Et6 Sensitivity: hi
6-8: ~~~~~~~~~D~
_,.=,
5-LIC LCD COr-ff Pi=tST
If the indicator furthest to the left is lit, the level is set too
high, so tum [VALUE) to lower the sensitivity.
String Num!r t
Input Sensitivity
t
Level Meter
You can store four separate string-sensitivity setups that can
be called up to match any of four guitars you are currently
using.
3. When String 6 of the guitar is played, the string Calling Up the Different Sensitivity Settings
number in the display automatically switches to "6." 1. Press [SYSTEM] to enter System mode.
The level meter shown in the display will light from the
left, showing how strongly the string is played. 11,e 2. Press [PARAMETER] to select "GUITAR SELECT."
current input-sensitivity setting for the string will also be
displayed next to the string number. ,- LI,- GU I THF.'. SELECT
4. Use [VALUE] to adjust the sensitivity so that the square
=,_,=, Gt.d
indicator lights when you play most strongly in actual
performance.
17
I Chapter 1 Producing Sounds
The master tuning (basic pitch) set at the factory for the GR-
33's sounds and internal tuner is A= 440.0 Hz. 2. Play String 6 on the guitar.
If you need to match the GR-33's tuning to the tuning of The string number automatically switches to "6."
another instrument-or if you want to change the master The note to which String 6 is currently tuned-notes are
tuning for any other reason-perform the following steps. tuned by semitones-is shown in the second position on
the display. ("D#'' in the figure shown below.)
Changing the Master Tune Setting
E,- 0 I Cl
1. Press [SYSTEM] to enter System mode. Tuner 440.0 Hz
2. Press [PARAMETERJ to select "MASTER TUNE."
[> [>[>[>l!li-[>D<]<J<J<J<J <J
t
C LI
.:J .:J _,
C: MASTEF.'. TUt4E
4*~1. ~3 Hz
Pitch name
("D#" - The marking in the third place denotes sharp)
adjusting the master tuning, you should 11se the Tuner 4, Make fine adjustments to the string's tuning peg until
fimctio11 to re-t1111e your g11itar to the new basic pitch, a11d the the mark illuminated in the display moves to the center
pitch of the synth sounds will play in the new t11ning. position and both side.
When the center indicator lights, String 6 is tw1ed
precisely to "E."
18
Chapter 1 Producing Sounds I
5. Tune each of the other strings, 5 to 1, to A, D, G, B, and
[::- [>[>[>[>[>D<l<l<l<l<l -4
I
E, respectively.
[>
[>
[>[> [> [>. l<]<J<J <]<]
[>[>[>~=-l!i-D<l<l<l<l<l
GUITAR AMP:
C l I,- (:i. HMP SIM
Select this when using a dedicated guitar amp.
.=, =1 =, On
LINE:
Select this when using a keyboard amp, general-purpose 3. Tum [VALUE] to select "Off."
instrument amp, mixer, MTR, or headphones.
Off:
TI1e amp simulator will not be used.
The GR-33's sound generator is a PCM synthesizer that can
On:
reproduce a wide range of timbres. To optimally capture its
TI1e amp simulator will be used when OUTPUT SELECT
rich synthesizer sounds, use a keyboard amp, other general
is set to "LINE."
instrument amplifier, PA system, or other such equipment
instead of a g11itar amplifier if possible. 4. Press [PLAY] to return to Play mode.
* Changing the OUTPUT SELECT setting will not affect the * Wizen you 011cc again wish to use the amp si11111/ator, select
settings that a,-c stored in caclt patch. "011" in Step 3.
19
I Chapter 1 Producing Sounds
How to Play the GR-33's Sounds with the 0 To Hear the Normal Guitar Sound ...
Guitar Set the GK-2A's selector switch to "MIX." If you then
switch to "GUITAR," the synthesizer sound generator
1. Make sure that the display indicates Play mode (p. 15).
will be muted, and only the sound of the guitar will
2. Set the GK-2A's selector switch to "SYNTH." remain.
3. Tum SYNTH VOL on the GK-2A counterclockwise to 0 To Change the Volume of the Synth Sound Generator ...
raise the volume to a suitable level. Adjust the volume using either the SYNTH VOL knob
on the GK-2A or the GR-33's VOLUME knob.
4. Set the VOLUME knob on the GR-33 to its center
position. @
Turning the GR-33's VOLUME knob changes the overall
5. When you press Pedal 3, the number in the display
volume output from the MIX OUT jacks. Thus, when the
changes to "Al3,'' and the corresponding patch (sound)
is selected. guitar sound is included in the MIX OUT signal, both guitar
and synthesizer sound levels are changed. (The guitar sound
You are now ready to play. Play your guitar while gradually
output from the GUITAR OUT jack is not affected. The guitar
turning up the volume on your amplifier, and you will hear
volume is also unchanged when you use the GK-2A's
the selected patch-patch A13-from the GR-33's internal
sound generator. SYNTH VOL knob.)
~
If the volume levels of the strings vary widely, please recheck
your input sensitivity (PICKUP SENS) settings (p. 17).
20
...
I
indicates that patch number All has been called up, and that Here you can create patches to fit a song, or for other
the unit is ready to be played. purposes, and then store those patches in memory.
This unit's basic unit of sound is the "tone." Tones consist of (When you purchased your GR-33, the patches stored in
sound waveforms, such as "GR Piano," "Pipe Organ," and these groups were the same as the following preset patches.
"Nylon Gtr mp" A total of 384 such tones are provided If you want to reset the GR-33 patches to the original
onboard. (How to choose tones-+ p. 49; list of tones-+ p. conditions, please carry out the Factory Reset operation
122) explained on p. 16.)
In any patch, up to two selected tones are combined, and
then various settings and adjustments, such as brightness,
attack, difference between synthesizer and guitar pitch, and Read-only Patches (Preset Patches)
the like are made. The user has foll freedom to make these Patches in Groups E through H
settings and adjustments so that the patch may best suit the (Ell to E84, Fll to F84, Gll to G84, and Hll to H84)
song to be played. -':)II,.,
This is a collection of 128 preset patches, which have already
Another result of changing these settings is that you can been completely prepared by Roland. These patches are
write and store 128 patches (in the first half of the patch read-only, so although they can be changed, they cannot be
bank). (For more detailed information about patches, please written over with another patch. However, this also means
refer to p. 35.) no worries that they might be erased accidentally.
Patch numbers are indicated by a three-digit code: "a letter of Preset patches are called up and used in the manner as user
the alphabet A-H (Group)," followed by "a numeral 1 to 8 patches. Furthermore, they are convenient as references and
(Bank)," and then "a numeral 1 to 4 (number on the pedal)." basic material for the user wishing to create original patches.
(Example: AS3, d24, F61, etc.)
0 I I
I1 I I
I I L Numerals 1 to 4 (Pedal Numbers)
Numerals 1 to 8 (Banks)
Letters A, b, C, d, E, F, G, H (Groups)
~
Consecutive numerals 001 to 256 can also be substituted (p. 24).
Selecting a Patch
Using the Guitar (GK-2A) to How to Select a Patch Using the Guitar
Select Patches 1. Press [SYSTEM] to enter System mode.
Sometimes (such as when you want to listen to all of the 2. Press [PARAMETER) to select "S1/S2 FUNCTION."
patches one after the order) you will want to select patches
using only the guitar (GK-ZA). In such cases, follow the steps
below. (It is unnecessary to touch any pedal or anything else 1.- LI c- s1....-s2 FUtK:TIOt4
on the base module.) .J ::::, ::::, t4orr,1.::1 l
21
Chapter 2 Selecting and Playing Sounds (Patches)
3. Use [VALUE] to select "Patch Select." Using the Base Module to Select
Patch Select: Patches
You can continuously switch patches with [Sl] and [S2]
on the GK-2A.
Selecting Patches Using the Pedal
Normal:
You can select patches using the pedal only when "S1/S2
Normal status. You ca1mot switch patches on the GK-2A.
FUNCTION" is set to "Normal."
4. Press [PLAYI to return to Play mode.
~
5. Pressing the GK-2A [UP/S2] once brings you to the next For the "S1/S2 FUNCTION" settings, refer lop. 21.
higher patch; by holding the switch down, you can
0 To Use the Pedal for Calling Up Patches from the
switch continuously. Furthermore, when the other
Same Group or Bank
button (here the [DOWN/SI] button) is then also
pressed, the switching occurs even faster. Pressing the When playing live or in the studio, by using the pedal on the
[SI] and [S2] buttons in the reverse fashion will base module, you can instantly select one of four patches
similarly return you to previous patches. from the same group or bank.
22
Chapter 2 Selecting and Playing Sounds (Patches)
I
2. Press [PARAMETER] to select "DIAL FUNCTION."
C _,
.=, LIC
_, Dit=IL FUtK:Tiot-~
F't=ITCH 8: UALUE
3. While pressing [Sl] on the GK-2A, step on [BANK&] 3. Use [VALUE] to select "PATCH&VALUE."
(pedal 4) or [BANK Tl (pedal 3). PATCH&VALUE:
As long as the [S1] button is held down, pedal 4 works as The dial can be used both for selecting the patch number
a [BANK&] (BANK UP), and pedal 3 as a [BANK T) and for modifying values while editing.
(BANK DOWN). TI1e display starts to flash, and when VALUE Only:
you step on pedal 3 or 4, numbers for the bank digit (the The dial can be used only for modifying values while
middle number in the display) go down or up. editing.
PCS-31
Red White
BANK BANK
BANK
DOWN UP
SHIFT
23
Chapter 2 Selecting and Playing Sounds (Patches)
* Sollletimes wizen pressing and releasing the foot switch to 4. Use [VALUE] to select "Decimal."
switch banks, you may find that wlzile the bank docs clzange, Decimal:
1/ze patc/z 1111111ber 11111_11 not (iig/zt will.flash); lwweuer, t/zis does Patch numbers will be displayed as a decimal number in
not indicate any malfunctio11. You can also make the setting the range of 001-256.
with the FS-SU polarity switch, as slzown in the figure below.
Grp/Bnk/Num:
Patch numbers will be displayed as a group/bank/
number from A11-H84.
UIDIOUT !
!31.aOSSFCSOMIOIAIIITCONRDLLEII Im"'
Gro11p/bank/11umber format.
Additionally, user patches (001 to 128, or All to D84)
can usually be selected when MIDI program change data
is sent from the MIDl foot controller immediately after
~~~~~~
MIDI Foot Controller
the power is turned on.
* MIDI program change numbers recehed by the GR-33 have a
lJ1JU fixed one-to-one correspo11de11ce with the patches (001 to 128,
or All to D84) they represent; this cannot be clumged. (On
2. Press [SYSTEM) to enter System mode. the other hand, w/1e11 patches arc selected usilrg tlze GR-33,
The patch number dL~play corresponds tn the display on yo11 /rave the.freedom to change and save tire MIDI program
the MIDI foot controller, but with numbers 001 to 256 change n11111bers that send the data to outside eq11ip111e11t. ---,; p.
instead of the alphanumeric symbols in patch numbers 88)
used by the GR-33.
DI SPLA'-,-' T'-.-'PE
GrF-/Bnk .-liWJ
24
Chapter 2 Selecting and Playing Sounds (Patches)
,,c.
l7 7 I
I
Sr.Are -;:,
Pre::-::- 1.,JF.: I TE
17
RC. I
I
H,:,1.,.1 l.1.lr it. i n9
25
Chapter 3 Controlling Functions and Effects
with the Base Module Pedals
11
Pedal Effect Mode": What It Is, and How to Call It Up
, Getting the Same Effect While in
Play Mode
. , About Pedal Effect Mode
If you have set "Sl/S2 FUNCTION" in System mode to
"Patch Select" in order to use the buttons of the GK-2A for
By using the four pedals on the GR-33, you can tum on
selecting patches, you can use pedal effects in Play mode.
and off the Arpeggiator (and Harmonist) function, and
The four pedals will act as they do in Pedal Effect mode
get effects such as synth sound hold and wah pedal.
instead of selecting patches as they normally would in Play
This is called "Pedal Effect mode," and along with the mode. ("Pdl" will appear once every four seconds or so in
Play mode, is often used in performance. the 3-digit display, indicating that pedal effects are
~ ~
available.)
~ * With the exception of the arpeggio latch hold (p. 76), pressing
For more detailed information and instructions for this more than one pedal at the same time c1111 result in unexpected
procedure, refer to "Selecting a Patch/Using the Guitar (GK- beluwior, so please exercise due ca11/io11.
2A) to Select Patches" (p. 21).
DOI
Il L
I
26
Chapter 3 Controlling Functions and Effects with the Base Module Pedals
? About Harmonist
Arpeggiator On/Off
"Arp" or "oFF" appears for approximateryone second in
This creates harmonies in designated keys using either the three-digit display.
guitar and synthesizer sounds, or two synthesizer
The display responds as shown below when the
sounds together.
Arpeggiator is being turned on.
I&'
For more detailed information and instructions for this
procedure, refer top. 78 and 82.
27
Chapter 3 Controlling Functions and Effects with the Base Module Pedals
Getting a Pedal Wah Effect (Wah) Holding a Synth Tone After the
You can get se\'eral of the most commonly used wah effects String is Stopped (Hold)
by pressing Pedal 1 (WAH). Repeatedly pressing and Press Pedal 3 (HOLD) to activate the Hold function. When
releasing the pedal produces changes in the sound you use this effect, the synthesizer sound continues to play
resembling those produced by a guitar wah-wah pedal, even after the guitar string has stopped vibrating.
allowing you to apply this effect to synthesizer sounds.
You can select from a number of variations - hold the
You can choose from a number of pre-programmed synthesizer chord while the guitar plays a melody, hold only
\'ariations that use different combinations of rate of sound one of two layered tones, hold only Strings 5 and 6, and more
change, degree of d1ange, panning, how different the sound - and then save them in patches.
becomes, and so on. These can then be saved in each patch.
In addition, when you select "Modulation" in "WAH TYPE,"
you will hear a deep vibrato (undulating or wavering pitch) For more detailed information and instructions for this
when the pedal is pressed instead of wah-type effects. This procedure, refer to "Selecting Hold Type (HOLD TYPE)" (p.
creates the mechanical-sounding vibrato characteristic of 45).
synths - if you prefer, you can create a more natural- When tile arpeggiator is 011, the behavior and arnilable
sounding vibrato using your guitar fingering. variations for the Hold f1111ctio11 are different than when the
arpeggia/or is off
For more detailed information and instructions for this
procedure, refer to "Selecting Wah Types (WAH TYPE)" (p. For more detailed information and instructions for this
43). procedure, refer to "Effective Use of the Hold Function
* You may find that whrn you.first press Pedal 1 (WAH), the During Arpeggios" (p. 76).
sound is different than when the patch was first selected. The
sound may be muffled, or have a strange quality to it. Ret11m ,
<Some Notes About the Display>
to the original patch, switch to a different patch, and then
re/um to the original patch again. If a ba11k shift pedal is When Pedal 1 (WAH) Is pressed
comzected, you can re/um to the original patch l1y pressing the "UAH" or "Mod" appears in the three-digit display.
bank down pedal while still in Pedal Effect mode.
When Pedal 2 (P-GLIDE) is pressed
"P.GL" appears in the three-digit display.
Changing Pitch Dynamically When Pedal 3 (HOLD) Is pressed
(Pitch Glide) "HLd" appears in the three-digit display.
Press Pedal 2 (P-GLIDE) to get a pitch glide effect. This effect "-
creates continuous changes in pitch over variable time
intervals, long or short. With chords-since you can glide
while maintaining the hannonic intervals within the chord-
this differs from a guitar's vibrato arm/vibrato bar/
whammy bar, providing a unique effect.
As for the time duration and glide intervals, you can select
from seven pre-programmed pitch rise and fall patterns, and
then save them in patches.
28
Chapter 3 Controlling Functions and Effects with the Base Module Pedals
c,-
lou Ti.mer 440. 0 Hz
String !umber t
Note Name
I
For more detailed information and instructions for tuning,
refer to" Adjusting the Guitar Tuning (Tuner Function)" (p.
18).
29
Chapter 4 Five Basic Modes
The three main modes of the GR-33 allow you to: Establish settings for the entire GR-33 "System mode"
Select tones and perform "Play mode" Adjusting the tuning "Tuner mode"
Get effects such as wah or hold using the pedal on the How buttons, dials, and knobs work varies depending on the
base module "Pedal Effect mode" mode you are in.
Create and modify patches, and write them into memory
"Patch Edit mode"
Play Mode
In Play mode, the buttons and dials work as follows: GK-2A [S1]
[BANK/PARAMETER] Button
While this is held down, pedal workings can be changed (p.
22, 29). (TUNER, GROUP A, BANK A, BANK -Y)
Moves you forward and back through patch banks
GK-2A [S2]
[PLA VJ Button
Switches to Pedal Effect mode (p. 26).
Has no function in this mode.
External Bank Shift Pedal
[SYSTEM] Button
For switching patch banks.
Switches to System mode (settings for the GR-33 itself).
(This does the same thing as BANK T and BANK A).
[TUNER] Button
Switches to Tuner mode (p. 18).
When "S 1 /52 FUNCTION" is Set to "Patch
[WRITE] Button Select"
Writes the contents of a patch (p. 36). When "SI /S2 FUNCTION" is set tu "Patch Select," use
the GK-2A's [Sl] and [S2] buttons to move up and down
[COMMON] Button
through the patches. Operation of the following buttons
Switches to Patch Edit mode, COMMON (overall patch will differ from normal Play mode as follows.
settings).
Buttons and dials not listed here willf1mctio11 the same
[TONE] Button way as in 11or111a/ Play mode.
Switches to Patch Edit mode, TONE (sound-related patch
Pedal1-4
settings).
Function as in Pedal Effect mode (p. 31).
[EFFECTS] Button
GK-2A [S1]
Switches to Patch Edit mode, EFFECTS (effect-related patch
Advances through patches.
settings).
GK-2A [S2]
[STRING SELECT] Button
Goes back through patches.
Has no function in this mode.
External Bank Shift Pedal
[OUTPUT SELECT] Button
Goes forward and back through patches.
Changes the output device selection (p. 19).
[PATCH/VALUE] Dial
Moves forward and back through patches (p. 23). When you want to check something by listening to
* ~ftlie "DIAL FUNCTION" is set to "VALUE Only," t/1is patches played in order- or want to toggle between a
will be ignored. pedal effect such as hold, and a patch-this is a
convenient way to do so without having to switch
Pedal1-4
modes. With PATCH INC /DEC BY Sl /S2 selected,
Switches patches (p. 22). patch numbers are shown in the display, with "Pd L"
Expression Pedal appearing about once every four seconds.
Changes the value of the selected parameter (p. 47).
30
Chapter 4 Five Basic Modes I
Pedal Effect Mode
In Pedal Effect mode, buttons and dials work as follows. Pedal1
Additionally, you can change the nature of the available WAH ~ Adds effects such as a wah pedal-like sound or
effects by pressing Pedals 1 to 4 in each patch. You can also mechanical-sounding vibrato.
change and re-record effects settings in User Patches Al 1 to
Pedal2
d84.
P-GLIDE ~ Adds pitch glide, an effect that creates wide,
[BANK/PARAMETER] Button smooth changes in pitch.
Goes forward and back through banks.
Pedal3
[PLAY] Button HOLD ~ Causes synthesizer sounds to continue to play
Returns you to Play mode. even after the guitar string has stopped vibrating.
I
[TUNER) Button
auxiliary pedal for holding arpeggios (p. 76).
Switches to Tuner mode (p. 18).
Expression Pedal
[WRITE] Button
Changes the value of the selected parameter (p. 47).
Writes the contents of a patch (p. 36).
GK-2A [S1] and [S2]
[COMMON) Button
Press either of these to return to Play mode.
Switches to Patch Edit mode, COMMON (overall patch
settings). External Bank Shift Pedal (Bank Up)
This is used for the arpeggiator's Tap Tempo Teach function
[TONE] Button
(p. 79). Also toggles between major and minor when using
Switches to Patch Edit mode, TONE (sound-related patch harmonist (p. 85).
settings).
External Bank Shift Pedal (Bank Down)
[EFFECTS] Button
Returns sounds that have been changed with the wah
Switches to Patch Edit mode, EFFECTS (effect-related patch function back to the way they sounded when the patch was
settings). first selected. (Returns to the original sound even after
[STRING SELECT] Button normal patch-switching pwcedures.)
Has no function in this mode.
[PATCH/VALUE] Dial
Goes forward and back through patches (p. 23).
* If "DIAL FUNCTION" is set to "VALUE Only," tlris will be
ignored.
31
IChapter 4 Five Basic Modes
Patch Edit Mode: What It Means, How It Works
In this mode, you can program patches. [EFFECTS] Button
Patch Edit mode is divided into three sections: COMMON, Switches to Patch Edit mode, EFFECTS (effect-related patch
TONE, and EFFECTS. settings).
* If you are already viewing EFFECTS settings, pressing
Patch Edit mode
[EFFECTS] Hi/1 turn tire bypassf1111cti011011/ojf (p. 75).
icoMMoNj TONE I EFFECTS I [STRING SELECT] Button
When adjusting a parameter that can be set independently
COMMON for each string, use this button to select the string with which
This is where you name a Patch or set up pedal effects, you want to work (p. 35).
TONE * For parameters //wt are 110/ set i11depe11de11tlyfor mclr string,
This is where you set up the tones that serve as the basis this button will have 110 effect,
for synth sounds. [OUTPUT SELECT] Button
EFFECTS Changes the output device selection (p. 19).
This is where you can set up reverb, chorus and multi-
[PATCH/VALUE] Dial
effects. Arpeggiator and Harmonist settings are also
Changes tl1e value for the selected parameter.
made here.
Pedal1-4
In Patch Edit mode, the buttons and dials work as follows: Used as auxiliary pedals in making any number of settings,
and for confirming effects.
[BANK/PARAMETER] Button
Use these buttons to select the parameter that you wish to Expression Pedal
adjust. Used as auxiliary pedal in making any number of settings,
and for confirming effects (p. 47).
[PLAY] Button
Returns you to Play mode. GK-2A [S1] and [S2]
Changes the value for the selected parameter.
[SYSTEM] Button
Switches to System mode (settings for the GR-33 itself). External Bank Shift Pedal
Changes the value for the selected parameter.
[TUNER] Button
Switches to Tuner mode (p. 18).
[WRITE] Button In Patch Edit mode, when you have modified even one
Writes the contents of a patch (p. 36). parameter of the selected patch, the three-digit display will
change. The decimal point of tl1e lowest digit will light to
[COMMON] Button
indicate that the patch's settings have been modified.
Switches to Patch Edit mode, COMMON (overall patch
settings). Patch Edit mode
32
Chapter 4 Five Basic Modes I
System Mode
In this mode you can make settings for the entire GR-33 - [TONE] Button
i.e., settings that do not change when you switch patches - Switches to Patch Edit mode, TONE (sound-related patch
such as input sensitivity and display brighh1ess. settings).
In System mode, the buttons and dials work as follows:
[EFFECTS] Button
[BANK/PARAMETER] Button Switches to Patch Edit mode, EFFECTS (effect-related patch
Use these buttons to select the parameter that you wish to settings).
adjust.
[STRING SELECTI Button
[PLAY] Button Has no function in this mode.
Returns you to Play mode.
[OUTPUT SELECTI Button
[SYSTEM] Button Changes the output device selection (p. 19).
Has no function in this mode.
[PATCHNALUE] Dial
I
[TUNER] Button Changes the value for the selected parameter.
Switches to Tuner mode (p. 18).
PedaI1-4
[WRITE] Button Has no function in this mode.
Writes the contents of a patch. This is disabled during
Expression Pedal
"BULK LOAD" (p. 37). It is used for initiating procedures
and for confirmation in "BULK DUMP" and "FACTORY Changes the value of the selected parameter (p. 47).
RESET" (p. 37, 16). GK-2A [S1] and [S2]
[COMMON] Button Changes the value for the selected parameter.
Switches to Patch Edit mode, COMMON (overaJl patch External Bank Shift Pedal
settings).
Changes the value for the selected parameter.
33
IChapter 4 Five Basic Modes
.-----------,GK-2A's,___ _ _ _ _ _ _...,
Play mode [PLAY] [S2] Pedal Effect mode Play mode [PLAY] [S2] Pedal Effect mode [S2]
IR I II -+
IPdLI IR I II -+ IPdLI
System mode [SYSTEM] Patch Edit mode
I TONE I
[TONE]
Patch Edit mode
I EFFECTS [EFFECTS] I
!Edel I COMMON [COMMON] I
0 0
l5F 1 l,SF 1
34
,.
I
12K User Patches
All-D84
#1 -#384
(Piano, Organ, elr.)
Attack
Tone Adjustment
Release
It's possible to make settings
to each string individually.
1:2BALANCE
Patch Name and Level settings, etc.
Pan settings
Pedal settings
1st/2nd Level Balance
Brightness MIDI settings
I
What is a 11
Tone"? Making separate settings for
As shown in the above figure, you can select any two of the each string (STRING SELECT)
384 built-in tones-the raw material for synth sounds-and Three of the TONE parameters-"LA YER," "IST
use them in a patch. TRANSPOSE," and "2ND TRANSPOSE-and the four
The two tones in a patch are called the "1st tone" and the COMMON parameters-"MIDI [PC]," "MIDI [CCO]," "MIDI
"2nd tone." [CC32]," and "MIDI [TRANSPOSE]"-can be set separately
You can assign the selected tones separately to individual for each string using the [STRING SELECT] button.
strings, and then layer them (p, 51). You can also adjust When you press [STRlNG SELECT], the three-digit display
parameters such as attack (p. 49), release (p. 50), brightness will indicate the selected string as follows.
IR LL, ..o
(p. 50), and transpose (p. 51). In addition, you can also
independently select a transposition (TRANSPOSE) for each
All strings selected String 1 selected
string.
In addition to tone selections, tone settings can be saved in
... t
patches. Strings 5 and 6 selected 15 - SI Q String 2 selected
... t
Recording and Settings of Each D
String 6 selected l.___5=--1 String 3 selected
Patch ...
t
Besides patch tone-selection and string assignments-as well String 5 selected LJ~LJ String 4 selected
as tone settings-you can set and store the following items in To set each string independently, press the [STRING SELECT)
a patch, as well as other items. button to select the desired string, and then tum the [VALUE]
Patch name (p. 38) dial to change the currently selected parameter's setting, For
How effects are applied (p. 53) example, if you use the [STRING SELECT) button to select "5,"
and then tum the [VALUE) dial, the currently selected
Arpeggiator patterns and related settings (p. 76)
parameter's setting will change only for String 5. You can
Harmonist settings (p. 80) continue and adjust the settings for the other strings using the
What happens when you step on a pedal (p. 43) same method.
Program numbers sent to external MIDI devices (p. 88) * /{you 11se tile [STRING SELECT] button to select "ALL" or
"6-5," tile parnmetff's value may blink, sign/fyi11g that tile
External sound generator transpositions (p. 51)
settings for the selected stri11gs arc d!(fercntfrom one anotlzcr.
For more information about these settings, please consult the lfyou turn tlte [VALUE] dial to select a value, the value will
reference pages listed above for each item. be applied to each scleclcd string: to nil strings if "ALL" is
displayed, or to Strings Sand 6 !f "6-5" is displayed.
3S
Chapter 5 Setting/Changing Sounds (Patches)
The Relationship Between Arpeggiator/ Likewise, you can select arpeggio patterns-the sequence of
strings that the arpeggiator function creates and plays-for
Harmonist and Patches each patch individually from among the available 50
When you are playing, you can use the arpeggiator or the patterns.
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. For more details about making these settings, refer to
"Selecting Arpeggio Patterns (ARP PATTERN)" (p. 79).
Saving Patches
Generally, you create and modify patches by using 4. After making sure that you want to complete this
[PARAMETER] to select parameters in Patch Edit mode, and operation-and that you are ready to write over the
turning [VALUE] to select the desired values. patch currently in the selected destination location-
It is important to remember that if you simply switch to press [WRITE] once again.
another patch, the changes you have made will be lost, and
IR
the edited patch will revert to its original state. (The lowest
I
decimal point in the three-digital display lights (p. 32) to
warn you of this.) To save any changes you have made, use I /[ tfo1.,.1 1.,.lr it. i n':I
1. Press [WRITE]-you enter Write mode, and a screen * To cancel the operation, press [PLA YJ.
like the one shown below appears. Once you have performed these steps, the changes you have
made to the patch will be recalled when that patch is
[R I
I II 1.r.lri t.e t.o
A21 USER PATCH 2
[R I
I
/[ sw-e?
Pres::. 1.,.IF.'. I TE
external expression pedals, will not be saved. This also
applies to the temporary switching off of internal effects
using the effect bypass function (p. 75).
* You do not /zapc to mmwally save the System 111ode
pam111eters that 111111/y to the entire GR-33. Changes made Iv
these settings are saved automatically, mu/ are stored even
after the power is turned off.
36
Chapter 5 Setting/Changing Sounds (Patches)
disk, or data entered by other means can be stored in a MIDI 1O. Press [PLAYJ to return to Play mode.
sequencer using the sequencer's realtime recording or bulk
librarian function. You can also send/ receive SysEx data
directly from one GR-33 to another by connecting the two via
Receiving previously saved
MIDI. system or patch data (Bulk Load)
Here's how you can receive system or patch data from an
Sending System Settings or Patch Data to
external device capable of recording MIDI data, or from
an External MIDI Device
another GR-33.
I
1. Turn off the power to the GR-33. * Exclusive messages can lie received only in the Bulk Load
screen.
2. Connect the GR-33's MIDI OUT to the MIDI IN
connector on the external MIDI device. Receiving system settings or patch data
from an external MIDI device
3. Turn on the power of the GR-33.
4. Press [SYSTEM] to enter System mode. 1. Turn off the power to the GR-33.
5. Press [PARAMETER] to select "BULK DUMP." 2. Connect the external MIDI device MIDI OUT to the
MIDI IN connector on the GR-33.
6. Turn (VALUE] to select the type of data you wish to 5. Press [PARAMETER] to select "BULK LOAD."
transmit.
All:
System:
All user patches and system settings
System settings
C:
C LI _,
.:::::., .:::::.,
E:ULK LORD
1.,.1.:i i +_. i n:I
User Patch: All user patches (128 patches)
Patch Group A: The 32 patches All to A84
Patch Group B: The 32 patches B11 to B84 6. Transmit the data from the external device.
Patch Group C: The 32 patches Cl 1 to C84
Patch Group D:
Patch A11:
The 32 patches D11 to 084
Patch All only C LIC
.:::::., .:::::., .:::::.,
E:ULK LORD
F.:ece it...1 ir,9
Patch A12: Patch A12 only
8. Press [WRITE].
C
.:::::., _,LIC_, E:ULf< LORD
1.,.1.:i i +_. i n':I
37
Chapter 5 Setting/Changing Sounds (Patches)
7. Press [PLAY] to return to Play mode. * Except for tlze receiving of A11 tlzrough D84 as single patc/1es,
* If you send data for a single patch to tlze GR-33, you will need 110 special conditions apply for storing patch or system
to pe1for111 tlze Patch Write operation (p. 36) on tltc GR-33 to parameter data received via SysEx.
store tlzc patch in a patch memory location. When writing tlzc * Since data can be lost slzould 1111eXJJL'ciLd ere11/s ocrnr, we
received patch, yo11 can specifiJ tlte desired destination, so you strongly reco111111e11d regularly 11sing the Bulk Dump feature to
are not forced to overwrite tlze same-1111mbered patch if it is one back up your GR-33 data.
you wish to keep.
1. Select the patch whose name you want to change, and ;i1 R .:::: [
press [COMMON] to enter Patch Edit mode. J ... :I zl { I
2. Press [PARAMETER) to select "PATCH NAME."
* You can press [COMMON] to switclz between 11ppercase mzd
1, Select the patch whose volume you want to change, and * After pe1jim11ing the Patclz Write operation, you will
press [COMMON) to enter Patch Edit mode. a11/0111111ically return to Play mode.
* If you don't want to save the Patclz, press /PLAY] to return to
2. Press [PARAMETER) to select "PATCH LEVEL."
Play 111ode.
* Even with PATCH LEVEL values tlze same, t1olz1111e levels
Eclt PATCH LEUEL may c/111nge according to other settings. ln the example below,
the level has been set lziglz. if PATCH LEVEL is tlu?11 set to a
low level, tlze bal1111ce of m10tlzcr patclz is used. (The
co111bi11afio11 <?f lite settings shown below may cause
excessively high volume levels, so be careful 1101 to allow this to
result in d1111111ge to amps and speakers.)
38
Chapter 5 Setting/Changing Sounds (Patches)
When both the first and second tones are present. When the brightness setting value is high.
When the Reverb send level or Chorus send level is set to When wah effects are applied.
a high level.
When a high volume level is a characteristic of the tone
itself.
Ed I:: F'LA'.,.' FEEL hammering-on, this setting provides very stable sound
expression. The range of power that can be expressed is a bit
narrow.
3. Use [VALUE] to change the value.
No Dynamics (no dynamics):
* For a detailed explanation, sec the subsequent section, "The Witl1 this setting, no matter how hard or softly you play, you
PLAY FEEL settings a11d their effects." get uniform volume and tone. Use this setting with tones like
Synth Lead or Organ when you want to transmit a feeling
4. Press [WRITE] to perform the Patch Write operation (p.
without expression.
36).
* A~er pe1jonning the Patch Write operation, you will Envelope1 (envelope follow type1 ):
automatically retum to Play mode. This is for setting how much the synthesizer volume
influences the amplitude of the strings.
* lfyou don't want to save tile Patch, press [PLAY] to return to
Play mode.
For details, see the subsequent section, "Following the Guitar
+ The PLAY FEEL settings and their effects Sound Shape (Envelope Follow)."
There arc eight settings ("Normal," "Finger," "Hard," "Soft,"
"Tapping," "No Dynamics," "Envelope}," "Envelope2"), and Envelope2 (envelope follow type2):
eight settings that add the Acee! function to each of these This is for setting how much the overall tone (brightness) is
("Ace! Normal," "Ace! Finger," "Accl Hard," "Accl Soft," influenced by the amplitude of the strings.
"Ace! Tapping," "Accl No Dynamics," "Accl Envelope},"
"Ace! Envelopc2"). ~
For details, see the subsequent section, "Following the Guitar
These meanings are as follows: Sound Shape (Envelope Follow)."
Normal:
General picking, thus the standard setting for play.
39
Chapter 5 Setting/Changing Sounds {Patches)
When you select the "Envelopel" and "Envelope2" settings 4. Use [VALUE] to select "AutoWahl-5."
in the above PLAY FEEL section, the envelope follow
function comes on, giving you that effect. ~
For more details on WAH TYPE, refer to "Selecting Wah
In this condition, changes in the strings' amplitude (changes
Types (WAH TYPE)" (p. 43).
due to picking, or from how the soLU1d decays) are
influenced by the volume or tone of the synthesizer sounds. 5. Play the guitar to confirm that the wah effect is
You can get the following types of effects. responding to the strength of the picking.
Envelope1 (envelope follow type1 ): * To save the settings in patcltes, press [WRITE] to pcrfonn the
Here, the synthesizer volume influences the amplitude of the Patch Write opemtio11 (p. 36).
strings. You can get a natural feel when using decay tones * Wilm "Envelopel" or "Envelop<'2" is selected }i>r PLAY
(from guitars, electronic pianos, and so forth), so do try this FEEL, the e,we/opefo/low data will l>e sent from MIDI OUT
setting. (Change in the synth sound's volume is a little more as controller 110. 18 (general purpose controller 3).
compressed, a bit more restrained than that of the guitar.
40
Chapter 5 Setting/Changing Sounds (Patches)
I
3. Use [VALUE] to select the desired pan mode.
even-numbered strings-2, 4, and 6-panned right. "Even-
* Fo,- more details, see the s11bseque11t section, "Available value Odd" will produce the same effect as if "Odd-Even" were
Jo,- PAN, and their effects." exchanged left to right.
* If yo11 a,-e not using No,-mal o,- C,-oss Tones, proceed to step 6.
Random Both, Random 1st, Random 2nd:
4. Press [PARAMETER] to select "PAN." TI1e stereo placement of the 1st and 2nd tones changes
randomly. "Random 1st" and "Random 2nd" cause only the
corresponding tone to move around randomly-the other
41
Chapter 5 Setting/Changing Sounds (Patches)
Type2:
minor 2nd
(semitone) If the pitch is changed smoothly, the pitch will change in
semitone steps. When the pitch changes, the sound for the
minor 2nd 2nd minor 3rd 3rd
new pitch will be started over, or "retriggered." Thus,
Actual pitch change
when bending whenever the pitch changes, you will hear a new attack. If
the retrigger occurs as a string's vibration is trailing off
(decaying), the retriggered note will play at an appropriately
Turning the Chromatic Function On and Off reduced volume.
and Saving It to Patches
Type3:
1. Select the patch you want to change, and press Thi.s i.s basically the same effect as "Type2," except that the
[COMMON] to go into Patch Edit mode. retriggered sound level is not influenced by the current state
2. Press [PARAMETER) to select "CHROMATIC." of the string's vibration.
IE d I: I ICHROMATIC
When You Want to Make a
Chord Resonate Beautifully
Due to subtle pitch changes resulting from the way each
3. Tum [VALUE] to select the desired setting. string is pressed, with patches using long notes, chords may
end up sounding muddy. If this occurs, turn Chromatic on so
* For II det11iled exp/111111/ion, see t/,e subsequent section,
that only pure semitones are heard, thus producing a
"Chromatic Settings and Available Effects."
beautifully in-tune chord. If you select "Typel," pitch
4. Press [WRITE) to perform the Patch Write operation (p. differences will be barely audible, creating a natural-
36). sounding resonance.
* After pe1for111i11g tl,e Patel, Write operatio11, you will
1111/omatiC11lly re/um to Piny mode. When You Want to Reproduce
If you don't w1111t to sapc the Patch, press [PL4 YI to retum to Piano-like Pitch Changes
Pl11y mode.
In patches that emulate instruments which do not use pitch
changes smaller than a semitone, Chromatic allows you to
more easily imitate the instrument's sound. In such cases,
when "Type2" or "Type3" is selected, the attack is
reproduced with each pitch change. (Depending on the tone
or melody, there may be times when "Typel" or Off" yield a
better effect, so select the setting you like best.)
42
Chapter 5 Setting/Changing Sounds (Patches)
C IL l.1.IHH T'..-'F'E guitar is picked. In this situation, the pedal still works to add
LOL !.,Jah1 affect, so you can use both of these options together. When
combined with the Play Feel setting "Envelope2" on tones
like Synth Bass, you can get a smooth "touch wah" effect.
3. Use [V ALUEl to change the setting.
* For a dl'lailed exp/a11atio11, see the s11bseq11e11t section, "Wah ~
For details on setting the "touch wah" effect, refer to
I
Pedal Variations that can l1e selected in WAH TYPE."
"Following the Guitar Sound Shape (Envelope Follow)" (p.
Wizen making settings, play the guitar with pressing pedal 1 40).
to try the effect.
Brightness1-5:
4. Press [WRITE] to perform the Patch Write operation (p. This controls only the brightness of the sotmd, without
36). adding the characteristic sound of the wah itself. In all other
* After performing the Patch Write operation, you will actions, it is absolutely identical to Wah 1 to 5.
a11to111atically return to Play mode. NarrowWah1-5:
If you don't want to save the Patch, press {PLAY] to return to This compresses the tone difference from stepping on and
Play mode. releasing the pedal to half the range of the normal wah (Wah
1 to 5). ln all other actions, it is absolutely identical to Wah 1
+ Wah Pedal Variations that can be selected to 5.
in WAH TYPE
R.Wah1-5 (Reverse Wah 1-5):
The digit (1-5) at the end of the displayed type name This reverses the tones from stepping on and releasing the
indicates the speed at which the tone will change. When you pedal in normal wah (Wah 1 to 5) (i.e. step~ dark sound,
step on and release the pedal, the numbers show, with "1" release-. bright).
indicating the fastest tone change, and as these numbers get
larger, the speed decreases. R.Brightness1-5 (Reverse Brightness 1-5):
This reverses the tones from stepping on and releasing the
pedal in the brightness setting (Brightness 1 to 5) (i.e. step-.
dark sotmd, release-. bright).
R.NarrowWah1-5 (Reverse Narrow Wah 1-5):
This reverses the tones from stepping on and releasing the
pedal in Narrow (Narrow Wah 1 to 5) (i.e. step-. dark sound,
release~ bright).
Modulation:
\Vhen you select this setting, as you step on the pedal, then
rather than a wah-type effect, a deep vibrato (wavering
nme ..... pitch) effect is added. Differing from the mood created by
Examples of Wahl to Wah5. Brightness, to Brightness5. etc.
(Changes over time)
playing finger vibrato on the guitar, it gives a mechanical,
synthesizer-sounding vibrato.
The speed and depth of the vibrato you get with this function
is predetermined for each tone.
43
Chapter 5 Setting/Changing Sounds (Patches)
If you 11sc wah once, the so11nd from a patch with a muffled When the wait is "closed," that is, the s011nd of the wait effect
sound may contin11e, or some other kind of pernliarity may is loo dark (or m11[fled), switch "WAH TYPE" to eit/1er
clumge, even after releasing the wall pedal. If this happens, "NarrowWah 1 to 5" or "R.NarrowWah 1 to 5," and adjust
switc/1 to another patch, and then call 11p the desired patch this by changing the "BRIGHTNESS" (p. 50) setting.
again to retum to the original sound. The application of wah-type effects varies with the selected tone.
Up6 (Down6):
The pitch change in this effect is an octave, but both the time
for the pitch to change and the return time are longer.
Up7 (Down7):
Press the pedal for an instant one-octave rise (or drop).
* The pitclr change widtli when "Pitch" or "Tempo&Pitch" is
assigned to an external expression pedal (p. 47) also
corresponds to the selection in GLIDE TYPE (fourth, fifth, or
one octave).
With the Pitch Glide function, depending 011 the tone and
range, the width of the pitcl1's rise may be limited.
44
Chapter 5 Setting/Changing Sounds (Patches)
4. Press [WRITE] to perform the Patch Write operation (p. melody over that with synth sound played by strings 1
36). through 4.
After performing the Patch Write operation, you will Releasing the pedal stops the held sound.
automatically return to Play mode. Here are the fifteen types, which can be selected by using
~f you don't want to save the Patch, press [PLAY] to return to [VALUE], as they achially appear (when Arpeggiator is off).
Play mode. Damper All:
This damper hold works on all internal and external MIDI
+ Variations that can be selected for HOLD soW1d generators.
TYPE
Damper 1st:
ll1ere are three types of hold effects you can select: damper;
ll1is damper hold works only on the first internal sound
sostenuto; and string.
generator.
0 Damper Hold/Damper:
Damper 2nd:
When you play the guitar while holding down the pedal, the
This damper hold works only on the second internal sound
sound is sustained while playing continues, an effect like that
generator.
of a piano's damper pedal.
When you hold the pedal down, you can play chords Damper 1&2:
without letting the sound from all the notes played die away. This damper hold works on both the first and second internal
However, even during Hold you catmot play the same string sound generators. (Not effective on external sound
more than once in an attempt to layer the synth sounds generators.)
coming from the same string.
Damper Ext:
* Tlze guitar recognizes tlze pitch only as long as the string This damper hold works only on external MIDI sound
continues to c>ibratc, and this is reflected in the pitch of the generators.
synt/z s01111d at all times.
Damper Ext&1:
This damper hold works on the first internal sound generator
and on external MIDI sotmd generators.
Damper Ext&2:
This damper hold works on the second internal sound
generator and on external MIDI sound generators.
45
Chapter 5 Setting/Changing Sounds (Patches)
Sostenuto 1 &2: * Wlie11 Arpeggiator is Oil, the f!ftecn choices slzowll above are
This sostenuto hold works on both the first and second reduced to four: "Damper"; "Sostenuto"; "Latch Type A"; and
internal sound generators. (Not effective on external sow1d "Latch TypeB." At such times, the Hold function is effective
genera tors.) only on arpeggios, and you can use it in special ways such as
c/11111gi11g the arpeggios to chords without the rhythm of t/1e
Sostenuto Ext: arpeggios being stopped.
This sostenuto hold works only on external MIDI sound
generators. ~
For details, refer to "Effective Use of the Hold Function
During Arpeggios" (p. 76).
46
Chapter 5 Setting/Changing Sounds (Patches)
I
sound /ias been selected.
However, if both of the patches being switched between !U1ve Tone Param (tone parameter):
"Volume," "Volume 1st," or "Volume 2nd" assigned to them, Modifies the parameters that are specific to the selected tone.
the premiling volume ft7el, as dl'famined by the positio11 of The change will depend on the selected tone.
tile EXP pedal before the patch cha11gc, will be carried over to
Multi-FX Param (multi-effect parameter):
tile patch being switched to.
Modifies the parameters that are specific to the selected
multi-effect. The change will depend on the selected multi-
To Switch Effects (EXP PEDAL) effect type.
* After selecting "Multi-FX Pparam," you may notice a slight
Selecting the Expression Pedal Effect Type noise as you move the EXP pedal---this is not a 111111f1111ctio11.
1. Select the patch whose effect type you want to change, Brightness:
and press [COMMON] to go into Patch Edit mode. Creates a continuous change to the brightness of the synth
sound.
2. Press [PARAMETER] to select "EXP PEDAL."
Wah (Wah Pedal):
Creates a guitar wah-wah-like effect, adding that
Cdl
L l C
characteristic sow1d to the patch's tones.
Pitch:
While preserving the structure of a chord, changes the pitch
3. Tum [VALUE] to select the desired setting. of the synthesizer's sound. With the pedal back, the sound
* For more details, sec tile subsequent sectio11, "Variations that plays at its normal pitch. The width of the pitch change is
cnn be selected for EXP PEDAL." controlled by the change width setting selected for Pedal
* When setting up iffecls, play the guitar while prt'ssing Pedal 1 Effect mode's GLIDE TYPE.
to try out the effect.
~
4. Press [WRITE] to perform the Patch Write operation (p. For the "GLIDE TYPE" settings, refer to "Selecting Pitch
36). Glide Type (GLIDE TYPE)" (p. 44).
47
Chapter 5 Setting/Changing Sounds (Patches)
Pan (Normal) (Normal Pan): CC1 to 31, CC64 to 95 (MIDI Control Change):
"PAN" (p. 41) settings in the patch are ignored, and stereo Sends control change data from MIDI OUT in response to
placement is controlled by the EXP pedal. Both of the patch's changes in the EXP pedal's position. Select any control
tones are panned together. Both tones are panned right when change number from 1 to 31, or from 64 to 95. Use this when
the pedal is pressed forward, and left when the pedal is you want to control external effects processors or parameters
brought back. in external devices. Th.is has no effect on the GR-33's internal
sound generators.
Pan (Cross Tones) (cross tone pan):
By manipulating the EXP pedal, you can move the location of * After selecting "Pan (Normal)" or "Pan (Cross Tones)," you
the patch's 1st tone and 2nd tone over a range of -50- +50. may notice a slight noise as you move the EXP pedal-this is
The tones will move in opposite directions left/right, with 0 not a malfu11ctio11. F11rthcrmore, "Pa11 (L-R)" and "Pan
as the center location. The 1st tone is panned right with the (Cross Tones)" do not 1ffect the placement of reverb or cl10rns.
pedal pressed forward, and left with the pedal all the way * Use the "Arp Tempol," "Arp Tempo2," "Arp Tempo3," 1111d
back. The 2nd tone is panned in the opposite directions. "Tcmpu&Pitc/1" settings whe11 the arpeggiator is 011.
Cho Send Level (chorus send level): * "Volume 1st," "Volume 211d," and "Balance," are most
Changes the chorus level using the EXP pedal. When the effective if both the 1st a11d 2nd tones are selected with
pedal is pressed forward, the chorus level set in the patch is "LA YER" (p. 51), and "1:2 BALANCE" (p. 49) is not
added to its sound. No chorus is added with the pedal all the assigned to only one of the tones.
way back. * When "Pitch" or "Tempo&Pitch" is selected, depending 011
Rev Send Level (reverb send level): the tone 1111d pitch ra11ge, the width of the pitch's rise may be
Changes the reverb level using the EXP pedal. (This does not
limited.
affect the chorus level.) When the pedal is pressed forward, * The effect of "Brightness" or "Wail" varies according to the
the reverb level set in the patch is added to its sound. No pate/i's tones and their "BRIGHTNESS" (p. 50) settings.
reverb is added with the pedal all the way back.
Tempo&Pitch:
Changes pitch and arpeggio tempo simultaneously, creating
a special effect that resembles the changing of a tape
recorder's speed. The width of the pitch change is controlled
by the change width setting selected in Pedal Effect mode's
GLIDE TYPE.
~
For more on the "GUDE TYPE" settings, refer to "Selecting
Pitch Glide Type (GLIDE TYPE)" (p. 44).
48
Chapter 5 Setting/Changing Sounds (Patches)
1. Select the patch you want to start with, and press Changing the ATTACK TIME
[TONE] to enter Patch Edit mode.
1. Select the patch whose ATT ACK you wish to change,
2. Press [PARAMETER] to select "lST SELECT." and press [TONE] to enter Patch Edit mode.
If you wis/1 to select tlzc 2nd to11e, choose "2ND SELECT."
2. Press [PARAMETER] to select "lST ATTACK."
I
By pressing [TONE] you can switch /Jetwec11 "1 ST
If you wa11t to change the A TTACK TIME of the 2nd tone,
ATTACK" and "2ND ATTACK."
choose "2ND A TTACK."
By pressiHg [TONE] you ca11 switch /Jetween "1ST
~
For details on "LA YER" settings, refer to "Specifying which
tone will be sounded by each string (LA YER)" (p. 51).
49
Chapter 5 Setting/Changing Sounds (Patches)
Edi= 11 ST F.:ELEHSE * If yo11 mm/ to chn11gc the BRIGHTNESS of the 2nd tone,
clwose "2ND BRIGHTNESS."
* By 17rcssi11g [TONE] you can switch between "1ST
3. Tum [VALUEJ to select a value in the range of -50-50. BRIGHTNESS" and "2ND BRIGHTNESS."
Increasing the value setting will lengthen the release
time. Decreasing the value will shorten the release time.
(Setting the value to "O" causes the original release of the 1ST E:F.: I GHH~ESS
selected tone to be used.)
* The release selling is II method o_fadjusting each tone's
individual release characteristics. Depending 011 lht' way in 3. Tum [VALUE] to select a value in the range of -50-50.
which the original lone ends, the amount of possible clu111ge Increasing the value will make the sound brighter and
varies wit'1 the selected tone. crisper. Decreasing the value will create a darker,
muffled sound. (Setting the value to "O" preserves the
4. Press [WRITE] to perform the Patch Write operation (p.
original brighh1ess of the selected tone.)
36).
* The brightness selling is a method of adjusting each tone's
' After pe1fonning the Patch Write operation, you will
bright11ess characteristics. Depending 011 the tone's original
a11to111alimlly return lo Play mode.
sound, the mn01mt of possible chn11ge mries with the selected
If you do11'/ want to save the Patch, press [PLAYi to return to to11e.
Play mode.
4. Press IWRITE] to perform the Patch Write operation (p.
* [("LAYER" is set to "Mute," "1st To11e," or "2nd To11e,"
36).
either the 1st or 2nd to11e-or neither tone-will sound.
Change the Lil YER setting as 11eccssary. Ajicr pe1:for111i11g the Patch W1ite opemtion, you will
automatically return to Play mode.
~ (f you don't wa11t to sme the Patch, press [PLAY] to retum to
For details on "LA YER" settings, refer to "Determining
Play mode.
Which Tones Will Be Sounded (LA YER)" (p. 51).
* If LA YER is set lo "Mute," "1st Tone," or "2nd Tone," either
tJ11, hi or 211d tone--;_,r neither tone, will so1111d. Clwngc the
LA YER setti11g as necessan1.
50
Chapter 5 Setting/Changing Sounds (Patches)
0' L'
l7L
LAVEF.:
B,:,t.h T,:,ne
51
Chapter 5 Setting/Changing Sounds (Patches)
3. Use [STRING SELECT] to select the string you wish to 3. Tum [VALUE] to select a value in the range of -50-50.
setup. Setting the parameter to "50" causes only the 1st tone to
sound, while "-50" causes only the 2nd tone to sound.
~ "O" causes both tones to sound at equal volume.
For more detailed information about the "STRING SELECT"
button, refer to "Making separate settings for each string 4. Press [WRITE] to perform the Patch Write operation (p.
(STRING SELECT)" (p. 35). 36).
When you want to make settings to all of strings together, After performing the Patch Write operation, you will
choose "ALL." a11to111atically retum to Play 111ode.
4. Tum [VALUE] to select the desired value. * If you don't want to save the Patch, press [PLAY] to return to
Play mode.
The available range of transposition, by semitone units,
is -36 to +24. Setting the transposition to "12" raises the
pitch by one octave; set it to "-24," and the pitch is What to do When a Tone is
shifted downward two octaves.
Supposed to Sound, but Doesn't
5. If you wish to set up other strings, repeat Steps 3-4.
In cases where only the 1st or 2nd tone can be heard, one of
6. Press [WRITE] to perform the Patch Write operation (p. the following may be the cause. Check the following items,
36). and if one of them turns out to be the problem, refer to the
specified page and change your settings accordingly.
After pe1forming the Patch Write operation, you will
automatically retum to Play mode. 0 All or one of the strings is set to "1st Tone" (1st tone
If you don't want to save the Patch, press [PLAY] to ret11m to only) or "2nd Tone" (2nd tone only), in LA YER (p. 51).
Play mode. 0 ls the "1:2 BALANCE" setting (p. 52) set to "50" or"-
If LAYER is set to "Mute," "1st Tone," or "2nd Tone," either 50"?
the 1st or 2nd tone-or neither tonc-wilf s011nd. Change the 0 When "Cross Tones" is selected as the COMMON "PAN
LA YER setting as necessary. MODE" setting (p. 41) and the tones are panned left and
right (50 and -50), only one chmmel is being output from
~ your amp.
For details on LA YER settings, refer to (p. 51).
0 "Volume 1st," "Volume 2nd," or "Balance" are selected
as the expression pedal setting (p. 47), and the pedal is
Determining the Volume Balance all the way back (or all the way forward).
of Two Tones ( 1:2 BALANCE) When neither the 1st nor 2nd tones can be heard, please refer
When the 1st and second tones are being played top. 99 and consult the checklist there.
simultaneously, you will need to balance the volume of the
two tones. You can set the tone balance for each patch using
the TONE "1:2 BALANCE" parameter in Patch Edit mode.
Ede E:ALAtK:E
52
Chapter 6 Using the Built-in Effects
c tL
L l0 L
MULTI -F:=-=: Sl.1.I
Bcit.h
You can also press pedal 4 (CTRL) to switch bypass on/off
for the multi-effect in Patch Edit mode as well if a multi-
effect related setting item is selected.
53
I Chapter 6 Using the Built-in Effects
1:
2:
STEREO-EQ
OVERDRIVE
(~P- 55)
(~P- 55)
Edt: MULTI -F:=-~ T'r'PE
1: STEF-:EO-EG!
21: TIMECTRL-DL Y (~P- 65) The value of effect type items (parameters) marked with
22: 2VOICE-P. SFT (~p.65) a "#" symbol can be controlled by the EXP pedal. For
details on EXP pedal settings, refer to "Using the
23: FB-P. SFT (~p.66)
expression pedal" (p. 47).
24: REVERB (~p.67)
\._
25: GATE-REVERS (~P- 67)
26: oD~cHo (~p.68)
27: oD~FL (~p.68)
28: OD~DLY (~p.69)
29: Ds~cHo (~p.69)
30: Ds~FL (~P- 69)
31: DS~DLY (~p.69)
32: EH~CHO (~P- 70)
33: EH~FL (~P- 70)
34: EH~DLY (~P- 71)
35: CHO~DLY (~P- 71)
36: FL~DLY (~P- 72)
37: CHO~FL (~P- 72)
38: CHO/DLY (~P- 73)
39: FUDLY (~P- 73)
40: CHO/FL (~p. 73)
54
Chapter 6 Using the Built-in Effects I
About Multi-Effects Parameters P2 GAIN (Peaking 2 gain) -15-+ 15 dB
Specify the gain (amount of boost or cut) that will take place
in the region specified by P2 FREQ and P2 Q.
1: STEREO-EQ (Stereo equalizer)
Positive (+) settings will emphasize (boost) the region
This is a stereo equalizer which allows you to adjust the tone specified by P2 FREQ and P2Q.
quality using a low range, two mid-range, and a high range
control. LEVEL (Output level) 0-127 #
Specify the output volume.
Lin---.; 4-Band EO 1---- Lout
2: OVERDRIVE
Rin---.; 4-Band EQ i----, Rout Overdrive produces a natural-sounding distortion similar to
that produced by a vacuum tube amplifier.
LOW FREQ (low frequency) 200 Hz:/400 Hz:
Select the frequency (200 Hz/ 400 Hz) at which the low Lin
frequency range will be adjusted. Amp 2-Band
Simulator EO
LOW GAIN -15-+ 1 5 dB Rin
Specify the low frequency gain (amount of boost or cut).
Positive(+) settings will emphasize (boost) the low range. DRIVE 0-127 #
Specify the depth of distortion. The volume will change
HIGH FREQ (High frequency) 4000 Hz:/8000 Hz: together with the depth of distortion.
Select the frequency (4 kHz/8 kHz) at which the high range
will be adjusted. PAN (Output pan) L64-0-R63
Specify the stereo location of the output sound.
HIGH GAIN -1 5-+ 1 5 dB A setting of L64 is far left, 0 is center, and R63 is far right.
Specify the high frequency gain (amount of boost or cut).
I
Positive(+) settings will emphasize (boost) the high range. AMP TYPE (Amp simulator type)
Small/Built-ln/2-Stack/3-Stack
P 1 FREQ (Peaking 1 frequency) Select the type of guitar amp.
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
Small: Small amp
4000/5000/6300/8000 (200-8000 Hz)
Built-In: Built-in type amp
Specify the center frequency of the region in which the boost
or cut will take place. 2-Stack: Large two-level stack
3-Stack: Large three-level stack
P 1 Q (Peaking 1 Q) 0.5/ 1.0/2.0/4.0/8.0
Specify the width of the region centered on the Pl FREQ LOW GAIN -15-+15 dB
setting. Adjust the low frequency gain (amount of boost or cut).
Higher settings will cause the region affected by Pl GAIN to Positive(+) settings will emphasize (boost) the low
be narrower. frequency range.
P2 Q (Peaking 2 Q) 0.5/1.0/2.0/4.0/8.0
Specify the width of the region centered on the P2 FREQ
setting.
Higher settings will cause the region affected by P2 GATN to
be narrower.
55
IChapter 6 Using the Built-in Effects
3: DISTORTION 4: PHASER
Distortion produces a more intense distortion than the Phaser is an effect that adds a phase-shifted sound to the
Overdrive effect. original sound to create time-varying change, modulating
the sound.
Lin
Amp 2-Band Lin
Simulator EQ
R in
R in
DRIVE 0-127 #
Adjust the amount of distortion. The volume will change MANUAL 100 Hz-8000 Hz
together with the amount of distortion. Specify the center frequency at which the sound is modulated.
Lin
Spectrum
Rin
56
Chapter 6 Using the Built-in Effects I
BAND4 (Band 4 gain) -15-+ 15 dB 7: AUTO-WAH
Specify the gain (amount of boost or cut) at 1250 Hz. Auto Wah cyclically moves the frequency of a filter to
produce a wah effect (cyclic modulation of the tone).
BANDS (Band 5 gain) -15-+ 15 dB
Specify the gain (amount of boost or cut) at 2000 Hz. Lin Lout
Auto Wah
BAND6 (Band 6 gain) -15-+ 15 dB
Specify the gain (amount of boost or cut) at 3150 Hz. Rin Rout
I
MANUAL 0-127 #
Enhancer controls the overtone structure of the high Specify the center frequency at which the wah effect will be
frequency range, adding sparkle to the sound and improving produced.
the definition.
PEAK 0-127
Lin ~ Enhancer ~
~0 I 2-BaEQnd !
1
L Lout
.
Specify how the wah effect will affect the region around the
center frequency.
Lower settings will produce a wah effect in a broad area
R i n - r Enhancer ~ 2-~~nd ~ Rout around the center frequency. Higher settings will produce a
wah effect in a narrow area around the center frequency.
SENS (Sensitivity) 0-127
LEVEL (Output level) 0-127
Specify the depth of the Enhancer effect.
Specify the output volume.
MIX (Mix level) 0-127 #
Specify the proportion by which the overtones generated by 8:ROTARY
the enhancer will be mixed with the original sound.
Rotary is an effect which simulates the sound of the rotary
LOW GAIN -15-+15 dB speakers of the past. Since the movement of the high frequency
and low frequency rotors can be specified separately, the
Specify the low frequency gain (amount of boost or cut).
unique modulation can be simulated realistically. This effect is
Positive (+) settings will emphasize (boost) the low
most effective on organ-type Patches.
frequency range.
Lin Lout
HIGH GAIN -15-+ 1S dB
Rotary
Specify the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high Rin Rout
frequency range.
HIGH SLOW
(High frequency slow rate) 0.05-10.0 Hz:
LEVEL (Output level) 0-127
Specify the low-speed (SLOW) rotational speed of the high-
Specify the output volume.
range rotor.
57
I Chapter 6 Using the Built-in Effects
LOW ACCL (Low frequency acceleration) 0-15 Positive (+)settings will emphasize (boost) the high
frequency range.
Specify the time required for the rotational speed of the low-
range rotor to change from the low speed to the high speed
LEVEL {Output level) 0-127 #
(or from the high speed to the low speed). More time will be
Specify the output volume.
required as the value of this parameter is decreased.
58
Chapter 6 Using the Built-in Effects I
PAN (Output pan) L64-0-R63 PAN DEV (Pan deviation) 0-20
Specify the stereo location of the output sound. Specify the difference in stereo position between each of the
A setting of L64 is far left, 0 is center, and R63 is far right. chorus ~ounds.
With a setting of 0, all of the chorus sounds will be panned to
POST GAIN 0/+6/+12/+ 18 dB the center. Setting this to 20 provides the greatest breadth.
Specify the level of the output sound.
BALANCE (Effect balance) D 100:0E-DO: 100E
LOW GAIN -1 5-+ 1 5 dB Specify the volume balance between the original sound and
Specify the gain (amount of boost or cut) for the low the chorus sound.
frequency range. With a setting of DlOO:OE only the original sotmd will be
Positive(+) settings will emphasize (boost) the low output, and with a setting of DO:lOOE only the chorus sotmd
frequency range. will be output.
11 : HEXA-CHORUS
Hexa-chorus is a six-stage chorus which adds depth and
spaciousness to the sound. (Six chorus sounds with different
I
Balance D
delay times are overlaid.)
PRE DELAY (Pre delay time) 0.0-100 ms
Specify the delay time from the original sound until when
the chorus sound is heard.
59
IChapter 6 Using the Built-in Effects
PRE DELAY (Pre delay time) 0.0-100 ms CUTOFF FREQ (Cutoff frequency)
Specify the delay time from the original sound until the 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200-8000 Hz)
chorus sound is heard.
Specify the frequency at which the filter will begin cutting.
RATE 0.05-10.0 Hz#
Specify the modulation frequency of the chorus sound. PRE DELAY (Pre delay time) 0.0-100 ms
Specify the time delay from the original sound until the
DEPTH 0-127 d10rus sound is heard.
Specify the modulation depth of the chorus sound.
RATE 0.05-10.0 Hz#
PHASE 0-180
Specify the modulation frequency of the chorus sound.
Specify the spaciousness of the chorus sound.
Rout
60
Chapter 6 Using the Built-in Effects I
15: STEREO-FL (Stereo Flanger) HIGH GAIN -1 5-+ 1S dB
Specify the gain (amount of boost or cut) for the high
Tius is a stereo flanger (the LFO has the same phase for left
and right). This produces a metallic resonance reminiscent of frequency range.
Positive (+) settings will emphasize (boost) the high
a jet airplane taking off and landing. A filter is provided so
that you can adjust the tone of the flanger sound. frequency range.
I
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200-8000 Hz)
2-Band
Specify the frequency at which the filter will begin cutting. Rout
EQ
PRE DELAY (Pre delay time) 0.0-100 ms PRE DELAY (Pre delay time) 0.0-100 ms
Specify the time delay from the original sound tmtil the Specify the time delay from the 01iginal sound until the
flanger sound is heard. flanger sound is heard.
FEEDBACK -98-+98 %
PHASE 0-180
Specify the proportion(%) of the flanger sound that is to be
Specify the spaciousness of the flanger sound.
returned to the input.
FEEDBACK -98-+98 % Positive (+) settings will return the signal to the input with
Specify the proportion(%) of the flanger sound that is to be the original phase, while negative(-) settings produce an
returned to the input. inverted phase.
Positive (+) settings will return the signal to the input with Higher settings will produce a more distinctive sound.
the original phase, while negative (-) settings produce an STEP RATE 0.05-10.0 Hz#
inverted phase. Specify the frequency of pitch change.
Higher settings will produce a more distinctive sound.
PHASE 0-180
LOW GAIN -1 5-+ 15 dB
Specify the spaciousness of the flanger sound.
Specify the gain (amount of boost or cut) for the low
frequency range.
Positive(+) settings will emphasize (boost) the low
frequency range.
61
I Chapter 6 Using the Built-in Effects
62
Chapter 6 Using the Built-in Effects I
18: MOD-DELAY {Modulation Delay) RATE 0.05-10.0 H:z #
Modulation-delay is an effect which adds modulation to the Specify the modulation frequency of the modulation effect.
delay sound. It produces a flanger-like effect.
DEPTH 0-127
When Feedback Mode parameter is Normal: Specify the modulation depth of the modulation effect.
I
Specify the input destination to which the delay sound will delay sound will be output.
be returned.
Normal: LEVEL (Output level) 0-127
Specify the output volume.
The left delay sound will be returned to the left input,
and the right delay sow1d to the right input.
Cross: 19: 3-TAP-DELAY {Triple Tap Delay)
The left delay sound will be returned to the right input, Triple-tap-delay is an effect that produces delays in three
and the right delay sound to the left input. directions: center, left and right. The delay time can also be
specified as a note length relative to a specific tempo.
DELAY LEFT (Delay time left) 0.0-500 ms
Specify the delay time from the original sound until the left
delay sound is heard. Lout
63
Chapter 6 Using the Built-in Effects
DELAY CENTER (Delay time center) 20: 4-TAP-DELAY (Quadruple Tap Delay)
Specify the delay time from the original sound until the
Quadruple-tap-delay provides four delays. The delay time
center delay sound is heard.
for each delay can be specified as a note length relative to a
* The setting values are the same as for DELAY LEFT. specific tempo.
HF DAMP Balance D
200/250/315/400/500/630/800/1 000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200-8000 Hz), Bypass DELAYl (Delay time 1) 200-1000 ms
Specify the frequency at which the high frequency range of Specify the delay time from the original sound until the delay
the delayed sow1d returned to the input will be cut. 1 sound is heard.
If you do not want the sound to be cut, select Bypass. * Tile setting values for Delay Time 2 to Delay time 4 are the
sa1nc.
LEFT LEVEL 0-127
Specify the volume of the left delay sound. DELAY2 (Delay time 2)
Specify the delay time from the original sound until the delay
RIGHT LEVEL 0-127
2 sound is heard.
Specify the volume of the right delay sound.
DELAY3 (Delay time 3)
CENTER LEVEL 0-127
Specify the delay time from the original sound until the delay
Specify the volume of the center delay sound.
3 sound is heard.
LOW GAIN 15-+ 1 S dB
DELAY4 (Delay time 4)
Specify the gain (amount of boost or cut) for the low
Specify the delay time from the original sound until the delay
frequency range.
4 sound is heard.
Positive(+) settings will emphasize (boost) the low
frequency range. LEVEL 1 0-127
Specify the volume level of delay 1.
HIGH GAIN 15-+ 15 dB
Specify the gain (amount of boost or cut) for the high LEVEL2 0-127
frequency range. Specify the volume level of delay 2.
Positive(+) settings will emphasize {boost) the high
frequency range. LEVEL3 0-127
Specify the volume level of delay 3.
BALANCE (Effect balance) D 100:0E-DO: 100E
Specify the volume balance between the original sound and LEVEL4 0-127
the delay sound. Specify the volume level of delay 4.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:lO0E only the delay sound FEEDBACK (Feedback level) -98%-+98% #
will be output. Specify the proportion (%) of the delay sound that is to be
returned to the input.
LEVEL (Output level) 0-127 Positive(+) settings will return the sound to the input with
Specify the output volume. the original phase, while negative(-) settings produce an
inverted phase.
64
Chapter 6 Using the Built-in Effects I
HF DAMP PAN (Output pan) L64-0-R63
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ Specify the stereo position of the delay sound.
4000/5000/6300/8000 (200-8000 Hz), Bypass
A setting of L64 is far left, 0 is center, and R63 is far right.
Specify the frequency at which the high frequency range of
the delayed sound returned to the input will be cut. LOW GAIN 15-+15 dB
If you do not want the sound to be cut, select Bypass. Specify the gain (amount of boost or cut) for the low
frequency range.
BALANCE (Effect balance) D 100:0E-DO: 100E
Positive (+) settings will emphasize (boost) the low
Specify the volume balance between the original sound and frequency range.
the delay sow1d.
With a setting of D100:0E only the original sound will be HIGH GAIN -1 5-+ 15 dB
output, and with a setting of DO:lOOE only the delay sound Specify the gain (amount of boost or cut) for the high
will be output. frequency range.
Positive (+) settings will emphasize (boost) the high
LEVEL (Output level) 0-127
frequency range.
Specify the output volume.
BALANCE (Effect balance) D100:0E-D0:100E
21 : TIMECTRL-DLY (Time Control Delay) Specify the volwne balance between the original sound and
the delay sound.
Tius lets you control a delay time in real time.
With a setting of D100:0E only the original sound will be
When the delay time has been made to change, the delay output, and with a setting of DO:lOOE only the delay sound
time and pitch of the delayed sound change at the speed set will be output.
for Acceleration. Depending on the settings you use, you can
achieve some really tricky effects with this. LEVEL (Output level) 0-127
Specify the output volume.
Lout
Balance D
I
Specify the time delay from the original sound until the delay
sound is heard.
65
I Chapter 6 Using the Built-in Effects
FINE B (Fine pitch B) ~ 100-+ 100 23: FB-P.SFT (Feedback pitch shifter}
Adjust the pitch shift amount in 2-cent units (1 cent = 1 i
This is a pitch shifter that is able to return the pitch shifted
100th of a semitone) for pitch shift B.
sotmd back to the input.
PRE DELAY A (Pre delay time A) 0.0-500 ms
Lout
Specify the time delay from the original sound until the pitch
shift A sow1d is heard.
66
Chapter 6 Using the Built-in Effects I
24:REVERB 25: GATEREVERB
Reverb adds reverberation to the original sound, simulating Gate reverb is a type of reverb effect which cuts the reverb
an acoustic space. sound during its decay.
Lout Lout
Rout Rout
I
Specify the length of reverberation.
LOW GAIN -15-+15 dB
HF DAMP Specify the gain (amount of boost or cut) of the low
200/2501315/400/500/630/800/1000/1250/1600/2000/2500/3150/ frequency range.
4000/5000/6300/8000 (200-8000 Hz), Bypass
Positive(+) settings will emphasize (boost) the low
Specify the frequency at which the high frequency portion of frequency range.
the reverb sound will be cut.
Lower frequency settings will cause a greater portion of the HIGH GAIN 15-+ 15 dB
high range to be cut, producing a softer reverb sound. Specify the gain (amount of boost or cut) of the high
If you do not want the sound to be cut, select Bypass. frequency range.
LOW GAIN -15-+ 15 dB Positive (+) settings will emphasize (boost) the high
Specify the gain (amount of boost or cut) of the low frequency range.
frequency range.
BALANCE (Effect balance) D100:0E-D0:100E #
Positive(+) settings will emphasize (boost) the low
Specify the volume balance between the original sound and
frequency range.
the reverb sound.
HIGH GAIN 15-+ 15 dB With a setting of D100:0E only the original sound will be
Specify the gain (amount of boost or cut) of the high output, and with a setting of D0:lO0E only the rcvcrb sound
frequency range. will be output.
Positive (+) settings will emphasize (boost) the high
frequency range. LEVEL (Output level) 0-127
Specify the output volume.
BALANCE (Effect balance) D 100:0E-DO: 100E
Specify the volume balance between the original sound and
the reverb sound.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the reverb sound
will be output.
67
IChapter 6 Using the Built-in Effects
26: OD, CHO (Overdrive, Chorus} 27: OD, FL (Overdrive, Flanger)
This effect connects an overdrive and chorus in series. This effect connects an overdrive and a flanger in series.
Balance D
Lin Lin
+ Overdrive + Overdrive
Rin
Balance D Rin
Balance D
CHO PRE DLY (Chorus pre delay time) 0.0-100 ms FL PRE DLY (Flanger pre delay time) 0.0-l00ms
This sets the interval from the time when the original sound Specify the time delay from the original sound until the
is played until the time when the chorus sound is played. flanger sound is heard.
68
Chapter 6 Using the Built-in Effects f
I
the original phase, while negative(-) settings produce an OD PAN , OS PAN
inverted phase. (Specify the stereo location of the distortion sound.)
You can set a value from -98/4, to +98%, in steps of 2%. There
Balance D
is no feedback when the value is zero. Lin
+ Distortion
R in '-----r~.......i R out
Balance D
69
I Chapter 6 Using the Built-in Effects
Lin
Lin
Rin
R in
70
Chapter 6 Using the Built-in Effects
Lin
Rin
Balance D Balance D
EH SENS (Enhancer sensitivity) 0-127 CHO PRE DELAY (Chorus pre delay time) 0.0-100 ms
Specify the sensitivity of the enhancer. Specify the time delay from the original sound until the
chorus sound is heard.
EH MIX (Enhancer mix level) 0-127
Specify the volume of the overtones generated by the CHO RATE (Chorus rate) 0.05-10.0 Hz#
enhancer, relative to the original sound. Specify the modulation frequency of the chorus sound.
DLY TIME (Delay time) 0.0-500 ms CHO DEPTH (Chorus depth) 0-127
Specify the time delay from the original sound until the delay Specify the modulation depth of the chorus sound.
sound is heard.
CHO BALANCE (Chorus balance) D100:0E-D0:100E
DLY FEEDBACK (Delay feedback level) 98-+98 % # Specify the volume balance between the original sound and
Specify the proportion(%) of the delay sound that is to be the chorus sound.
returned to the input. With a setting of D100:0E only the original sound will be
Positive (+) settings will return the sound to the input with output, and with a setting of D0:lO0E only the d10rus sound
the original phase, while negative(-) settings produce an will be output.
I
inverted phase.
You can set a value from -98% to +98%, in steps of 2/4,. There DLY TIME (Delay time) 0.0-500 ms
is no feedback when the value is zero. Specify the time delay from the original sound until the delay
sound is heard.
DLY HF DAMP (Delay HF damp)
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ DLY FEEDBACK (Delay feedback level) -98-+98 %
4000/5000/6300/8000 (200--a000 Hz), Bypass Specify the proportion (%) of the delay sound that is to be
Specify the frequency at which the high frequency range of returned to the input.
the delayed sound returned to the input will be cut. Positive (+) settings will return the sound to the input with
If you do not want the sound to be cut, select Bypass. the original phase, while negative(-) settings produce an
inverted phase.
DLY BALANCE (Delay balance) D100:0E-D0:100E You can set a value from -98% to +98%, in steps of 2%. There
Specify the volume balance between the enhancer sound that is no feedback when the value is zero.
docs not pass through the delay and the enhancer sound that
does pass through the delay. DLY HF DAMP (Delay HF damp)
A setting of D100:0E will output only the enhancer sound, 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200--a000 Hz), Bypass
and a setting of D0:lOOE will output only the enhancer sound
that is passed through the delay. Specify the frequency at which the high frequency range of
the delayed sound returned to the input will be cut.
LEVEL (Output level) 0-127 If you do not want the sound to be cut, select Bypass.
Specify the output volume.
DLY BALANCE (Delay balance) D100:0E-D0:100E
Specify the volume balance between the chorus sound that
passes through the delay and the chorus sound which does
not pass through the delay.
With a setting of D100:0E only the chorus sound will be
output, and with a setting of D0:lO0E only the chorus sound
that passes through the delay will be output.
71
I Chapter 6 Using the Built-in Effects
72
Chapter 6 Using the Built-in Effects I
FL FEEDBACK (Flanger feedback level) -98-+98 % 40: CHO/FL (Chorus/Flanger)
Specify the proportion (%) of the flanger sound that is to be
This effect connects a chorus and a flanger in parallel. The
returned to the input.
parameters are essentially the same as "37:CHO ~ FL."
Positive (+) settings will return the sound to the input with However, Flanger Balance specifies the volume balance
the original phase, while negative(-) settings produce an between the original sound and the flanger sound.
inverted phase.
You can set a value from -98% to +98%, in steps of 2%. There Balance D
Balance D
Chorus
Feedback
I
Balance D
Balance D
Feedback
Feedback
Balance D
73
I Chapter 6 Using the Built-in Effects
74
Chapter 6 Using the Built-in Effects I
Hall1: Reverb with clear reverberation. REVERB HF DAMP (Reverb/Delay HF Damp)
Ha112: Reverb with rich reverberation. Specifies the frequency above which the high-frequency
Delay: Standard delay content of the reverb sound will be reduced, or "damped."
Lower values cause a greater range of high frequencies to be
Pan Delay: A delay effect with echoes that pan left and
cut, producing a softer reverb sound.
right.
If you do not want to damp the high frequencies, set this
REV SEND LEVEL (Reverb/Delay Send Level) parameter to BYPASS.
Specifies the volume of the reverb (or delay).
DELAY FEEDBACK
Increasing this setting will raise the volume.
This parameter goes into effect only when REVERB TYPE is
REVERB TIME (Reverb/Delay Time) set to "Delay" or "Pan Delay." Specifies the amount of the
When the REVERB TYPE is "Delay" or "Pan Delay" (delay), delay effect's output to be returned - fed back - to its input.
this sets the delay time. For other settings (reverb), this sets Higher values result in more repeats.
the time that the reverb will continue.
Higher settings will produce longer times.
I
The Bypass function will be defeated, and you will
1. In Patch Edit mode EFFECTS (effect-related settings), return to the state before you selected Bypass.
press [EFFECTS]. The three-digit display "Edt" will change from blinking
Of the onboard reverb, chorus, and multi-effects, the back to steadily lit.
effect currently being edited will be switched off, and be Since Fjfcct Bypass remains a temporary condition
bypassed. The three-digit display "Edt" will blink, throughout, the bypass conditions are not preserved eve11 when
showing that the unit is bypassed. The three-digit saving to patches or if the power is turned off To turn off m1
display "Edt" will blink, showing that the unit is effect in an individual pntc/1, set REV SEND LEVEL (p. 75)
bypassed. and CHO SEND LEVEL (p. 74) to "O," set MULTI-FX SW
Only the effect being edited will be bypassed by tl1e Bypass (p. 53) to "Off," and store ii in the patch.
f1111ctio11.
75
Chapter 7 The Arpeggiator Function
The GR-33 is equipped with an Arpeggiator function that is arpeggiator can be create a basic backing using synthesizer
uniquely suited to guitar performances. When turned on, sounds as you play the melody, and can also provide a wide
Arpeggiator takes over when a chord is strummed, and plays variety of musical effects that have never before been
the chord's notes for you in simple or complex ways. The possible with a guitar synthesizer.
~p,1
TEMPO, and so on .
JJ
01
5th
6th
3
J .11 ff you play a string that is not part of the selected pattern-
such as Stri11g 6 i11 the exa111ple above--or if you play a
different number of strings, the GR-33 intelligently adapts the
' pattern to what you play. For example, it may use the played
chord's lowest tone (root) as the basis for its arpeggio.
76
Chapter 7 The Arpeggiator Function I
Latch TypeA (Latch hold type A): Latch TypeB (Latch hold type B):
With an ordinary hold function, pressing the pedal starts the The basic operation is the same as for "Latch TypeA"-the
hold, and releasing the pedal ends it. With a latch hold, hold is maintained even if you take your foot off the pedal,
however, pressing the pedal once begins the hold, and and the hold is released when you press the pedal again.
pressing the pedal again ends it. On the GR-33, a latch hold is "Latch TypeB" is also like "Latch TypeA" in that nothing you
available only when using Arpeggiator. play while the hold is on affects the held arpeggio.
When Arpeggiator is playing and Pedal 3 (HOLD) is pressed, The difference from "Latch TypeA" lies in what happens
the GR-33 holds the arpeggio being played at the moment the when the guitar is played while Pedal 4 (CTRL) is
pedal is pressed. This is a latch hold, so the held arpeggio depressed-with "Latch TypeB," you can play new notes on
continues even if you release the pedal. The hold ends when the guitar to affect the held arpeggio, as with "Damper."
you press the pedal again. As with "Sostenuto," no new However, when Pedal 4 is not held down, newly played
notes you play affect the held arpeggio. strings do not affect the arpeggio, as with "Latch TypeA."
During the latch hold, you can use Pedal 4 (CTRL)-which
normally toggles arpeggios on and off-to perform chord
changes for the arpeggio to play without disrupting its
rhythm. To do this, press and hold down Pedal 4 (CTRL),
play the new chord, and release the pedal-Arpeggiator
plays the new chord.
I
If you wish to tum the arpeggiator on/ off while you 6. Press pedal 4 (CTRL) to tum the arpeggiator on/off.
perform, make the following settings.
Turning the arpeggiator on/off in Patch Edit
1. Press [COMMON] to enter Patch Edit mode. mode
2. Use [PARAMETER] to select "CTRL PEDAL." Here's how to store the arpeggiator on/off setting in the
patch.
3. Use [VALUE] to select "HAR/ARP Control."
1. Press [EFFECTS] to enter Patch Edit mode.
77
IChapter 7 The Arpeggiator Function
* Alternatively, when one of the arpeggiator setting items 3. Turn [VALUE] to select the desired Arpeggiator
"HAR/ARP CONTROL," "HAR/ARP SELECT," or "ARP setting.
PATTERN" are selected, you cm, use pedal 4 (CTRL) to tum For the Arpeggiator settings in "HAR/ ARP SELECT,"
the arpeggiator on/off. see the subsequent section," Arpeggiator Settings that
* The arpeggiator on/off setting is i11depc11dc11t for each patch. can be selected in HAR/ ARP SELECT." .
When you execute tlte Patch Write operation, the status at that
4, Press [WRITE] to perform the Patch Write operation (p.
time (on or off) will /Je reproduced the next time you recall that
36).
patch.
To move to a different Arpeggiator parameter, use
For each patch, either Arpeggiator or Harmonist can be
[PARAMETER] to select the desired parameter, and turn
selected, but not both.
[VALUE) to change its setting.
Even with a patch in which these are turned off, either
* After pe1for111ing the Patch Write operation, you will
Arpeggiator or Harmonist is still selected. When the
Arpeggiator (Harmonist) is turned on, the display of the Play automatically return to Play mode.
mode shows "ARP" or "HAR" to indicate which one * If you don't want to save the patch, press {PLAY] to return to
currently selected. Play mode.
Arpeggio 1&2:
Selecting Tones to Be The 1st and 2nd tones are both arpeggiated. (The external
sound generator is not arpeggiated.)
Arpeggiated (HAR/ARP SELECT)
Arpeggio Ext:
The EFFECTS "HAR/ ARP SELECT" (Harmony/ Arpeggio
Only the external MIDI sound generator is arpeggiated.
select) parameter in Patch Edit mode determines for the
currently selected patch whether the 1st tone, the 2nd tone, Arpeggio Ext&1:
or an external sound generator is arpeggiated by The 1st tone and the external MIDI sound generator are
Arpeggiator. Try making changes to this setting for the arpeggiated.
preset patches, and listen to the results.
Arpeggio Ext&2:
Selecting Tones to Be Arpeggiated The 2nd tone and the external MIDI sound generator are
arpeggiated.
1. Select the patch for which Arpeggiator settings are to
* You can also set the parameters that precede these-Har111011y
be modified, and press [EFFECTS] to go into Patch Edit
All, Harmony 1st, ... , Harmony Ext&2-but choosing one of
mode.
these causes Arpeggiator to stop and selects Hamwnist (p. 80).
2. Press [PARAMETER] to select "HAR/ARP SELECT." Please note that if Hamwnist is chosen, it is not possible to set
the "ARP PATTERN," or "ARP TEMPO" parameters.
78
Chapter 7 The Arpeggiator Function I
Selecting Arpeggio Patterns (ARP 4. Press [WRITE] to perform the Patch Write operation (p.
36).
PATTERN)
To move to a different Arpeggiator parameter, use
The GR-33 contains 50 preset arpeggio patterns. For each [PARAMETER] to select the desired parameter, and turn
patch, you can select any one of the preset arpeggio patterns. [VALUE] to change its setting.
* Aper performing the Patch Write operation, you will
For more detailed information about arpeggio patterns, automatically ret11rn to Piny mode.
please refer to "About "Arpeggio Patterns" (p. 76)." * ~fyo11 do11t want to save the Patch, press [PLAY] to return to
Play mode.
Selecting Arpeggio Patterns
1. Select the patch for which the Arpeggio pattern is to be Using the pedal to set the tempo
modified, and press [EFFECTS] to go into Patch Edit
mode.
{Tap Tempo Teach function)
You can set the arpeggiator tempo by pressing a pedal
2. Press [PARAMETER] to select "ARP PATTERN."
rhythmically at the desired tempo. This is called the Tap
Tempo Teach function.
I
120
lf yo11 don't want to save t/1e Patch, press/PLAY] to return to
Original tempo
Play mode.
RF.:P TEMPO
Tf=IP 12ft
Setting Tempo (ARP TEMPO)
You can freely vary the tempo of an arpeggio, and save the
tempo in the patch. This is done using the" ARP TEMPO"
IRF.'.P TEMPO
I
(arpeggio tempo) parameter. Changed
Setting Arpeggio Tempo * The Tap Tempo function can also be activated using the
BANK SHIFT pedal (Up side) in Pedal Effect mode when
1. Select the patch for which the arpeggio tempo is to be
modified, and press [EFFECTS] to go into Patch Edit
Arpeggiator is on.
mode. * Tlze modified tempo is a patch parameter. ~( desired, press the
[WRITE] button to perform tlze Patch Write operation and
2. Press [PARAMETER] to select "ARP TEMPO." save t/ze tempo in the patch.
* Some preset patches set the ml11e of" ARP TEMPO" to a
Ecl I= RF.:P TEMPO multiple of the actual tempo in order to achieve 11 fine tremolo
at the proper rate. In such cases, Tap Tempo may produce
1111c.1pected results.
79
Chapter 8 Adding Harmonies in a Specific Key
{The Harmonist)
The GR-33 lets you use the TONE "TRANSPOSE" setting (p. The GR-33's Harmonist function, also known as
p. 51) to shift the pitch of the 1st and 2nd tones relative to the "Harmonist," creates harmonies in just this fashion. By
guitar's pitch, creating an always-parallel harmony. setting the key of the melody a patch plays, Harmonist can
However, to create harmonics that are more musically create beautiful, appropriate harmonies by adding synth
useful, the differences in pitch between notes must follow the sounds to guitar sounds, or to other synth sounds.
key of the song and the scale being played.
80
Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)
Operation
Turning the Harmonist On and Off Turning the Harmonist on/off in Patch Edit
mode
(HAR/ARP CONTROL)
If you wish to store the Harmonist on/ off setting in the
Using pedal 4 (CTRL) to turn Harmonist on/off patch, use the following procedure.
If you wish to tum Harmonist on/off while you perform,
1. Press [EFFECTS] to enter Patch Edit mode.
make the following settings.
2. Use [PARAMETER] to select "HAR/ARP CONTROL."
1. Press [COMMON] to enter Patch Edit mode.
3. Use [VALUE] to turn the Harmonist "On" or "Off."
2. Use [PARAMETER] to select "CTRL PEDAL."
3. Use [VALUE] to select "HAR/ARP Control."
c tL CTF.:L PEDAL
Edi= HRF.:.-i:ipp COt-ffF.:OL
Or,
L 0 C. HAF.:,-AF.:P Cont.ro 1 4. Press [WRITE] to execute the Patch Write operation (p.
36) and save the data.
4. Press [WRITE] to execute the Patch Write operation (p. * After Patch Write is completed, you will automatically re/um
36) and save the data. to Play mode.
* After Patch Write is completed, you will automatically return * If you decide not to save the data, press [PLA YI to return to
to Play mode. Play mode.
* If you decide not to save the data, press [PLA YI fo return to * Altematively. when one of the Harnwnist setting items
Play mode. "HAR/ARP CONTROL," "HAR/ARP
SELECT,""HARMONY STYLE," "HARMONY KEY," or
S. Enter Pedal Effect mode.
"HARMONY REMOTE" is selected, you can 11sc pedal 4
~ (CTRL) to turn the Hnrmonist on/off
For details on operation, refer to ""Pedal Effect Mode": What * The Hnrmonist 011/<~tf setting is independent for each patch.
It ls, and How to Call It Up" (p. 26). When you exernte tlu: Patch Write operation, the status at that
* Alternatively, use tlu System mode setting "S1/S2 time (011 or off! will be reproduced the next time you recall that
FUNCTION" to choose "Patch Select" a11d return to Play patch.
mode. For each patch, either Arpeggiator or Harmonist can be
selected, but not both.
I
6. Press pedal 4 (CTRL) to turn the Harmonist on/off.
Even for a patch in which these are turned off, either
Arpeggiator or Hannonist is still selected. When the
Arpcggiator (Hannonist) is turned on, the display of the Play
mode shows "ARP" or "HAR" to indicate which one
currently selected.
IR I
I /] USEF.'. Pl=tTCH 1
HAF.: ( F#r1)
81
Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)
82
Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)
The various settings produce the following intervals between 3. Press [TONE), and use [PARAMETER) to select "1ST
the melody and the harmony. TRANSPOSE."
-v"
HARMONY
STYLE
-~ ------- ------,,-.::..
I
~
I
t
I
.c
t
I
-.,-4"' ...-t1fl<O
I
I
to~ic b2nd 2nd b3rd 3rd 4th b5th 5th #5th 6th b7th 7th
I
I
I
I
I I
- -
I
I
I
I
DI I
I ILL
1ST TF.:Ar45F'OSE
- 1 .-,
L..
dim 3 3 3 3 3 3 3 3 3 3 3 3
The 1st tone will play one octave lower than the guitar
+ 7th 11 10 10 9 10 11 10 10 9 10 9 10
sound.
+ 6th 9 9 9 8 8 9 8 9 8 8 8 8
+ 5th 7 6 7 6 7 7 6 7 6 7 6 6 * A TRANSPOSE value can be set i11dcpe11dentlyfor each
+ 4th 5 5 5 5 5 6 5 5 5 5 5 5 string. In this example, if you wish to shift all strings down l1y
+ 3rd 4 3 3 3 3 3 3 3 3 3 4 4 an octave, use [STRING SELECT] to make the three-digital
+ 2nd 2 2 2 2 1 2 2 2 2 2 2 1 display read "ALL," a11d then sci the TRANSPOSE value to
- 2nd -1 -2 -2 -3 -2 -1 -2 -2 -3 -2 -3 -2 "-12."
- 3rd -3 -3 -3 -4 -4 -3 -4 -3 -4 -4 -4 -4
- 4th -5 -6 -5 -6 -5 -5 -6 -5 -6 -5 -6 -6 5. Press [EFFECTS), and then use [PARAMETERJ to
- 5th -7 -7 -7 -7 -7 -7 -7 -7 -7 -7 -7 -7 choose "HAR/ARP SELECT."
6th -8 -9 -9 -9 -9 -8 -9 -8 -9 -9 -9 -9
7th -10 -10 -10 -10 -11 -10 -10 -10 -10 -10 -10 -11 6. Tum [VALUE] to select "Harmony 2nd."
I* ~'g:>JI 31 31 31 41 31 31 31 41 41 31 41 31
Edi=
(Unit: semitone) HAF.:.AF.:F' SELECT
HarrK,t-i-::1 2nd
* Wizen HARMONY STYLE is "+3," and HARMONY KEY is
set to "minor," the harmony is made in a minor scale.
7. Press [P ARAMETERJ to select "HARMONY STYLE."
I
synth harmony one third higher.
to use as a harmony should normally be set to "O." "
On the other hand, you may find it helpful to use Transpose The values for Transpose (TONE "1ST TRANSPOSE" and
to shift a melody or Harmonist harmony sound by octaves. "2ND TRANSPOSE" and "MIDI [TRANSPOSE]"-36 to
0 to 24)-are displayed in semitones (one octave= 12). ln
An Example: contrast to this, however, the "HARMONY STYLE" values (-
Transposing the Harmony Down an Octave 7th to +7th, and Diminish) are displayed in intervals (third,
As an example, let's use the 1st tone and 2nd tone to create a fifth, and so 011). Remembering this will keep you from getting
counter-melody relative to the main melody played by the co,ifuscd.
guitar sound. The 1st tone will be shifted one octave down,
and the 2nd tone will play a harmony a third above.
2. Select the patch you wish to use, and set up the 1st and
2nd tones.
* For the to11e settings, refer to "Creating Synt/1 So1111ds" (p.
49).
83
Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)
Setting the Key (HARMONY KEY) Changing the Key from an External Pedal
The "HARMONY KEY" setting selects the key in which the or Other Device with MIDI Note Messages
patch's melody is to be played, such as C or Gm (G minor). (HARMONY REMOTE}
Setting the Harmony Key The Harmonist key (HARMONY KEY) can be changed at
any time during a performance by sending a MIDI note
1. Select the patch for which the Harmony key setting is message to the GR-33 from an external MIDI device such as
to be modified, and press [EFFECTS] to go into Patch optional FC-200 MIDI foot controller or PK-5 MIDI pedal
Edit mode. keyboard.
2. Press [PARAMETER] to select "HARMONY KEY." The parameter that determines whether this function is
enabled or disabled for each patch is "HARMONY
REMOTE" (harmony key remote).
+
Play mode.
0 I I USEF.: PRTCH 1
I1 I I HAP ( C#r,1)
84
Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)
7. Refer to the owner's manual for the external device, Switching Between Maior and
and send MIDI note messages to the GR-33.
Minor During a Performance
If you are using the FC-200, press the "MODE" button
on the pedal to switch to the Note mode. In Pedal Effect mode (p. 26), you can press the "Up" side of an
No matter what mode the GR-33 is in, it will receive external BANK SHIFT pedal to change the patch's "HARMONY
MIDI Note On messages and switch HARMONY KEY to KEY" setting (p. 84) from major to minor, or vice versa.
the corresponding note. (for example, C# ~ C#m ~ C# ~ C#m... )
* The Harmonist key remotef1111ctio11 has no effect 011 a patch for
which Harmonisl has not been selected in "HAR/ARP
________ --=-+~~~~
__ ....;:,.._
usrn PATCH 1
HAFs: (di f'I::,
PATCH 1
HAR(C)
PATCH 1
HHFs: (di f'I)
85
Chapter 9 Connecting to External Sound
Generators and Sequencers
C01mecting an external sound generator to the GR-33 makes The GR-33 can also serve as a convenient input tool for a
it possible to play sounds not included the 384 built-in tones, MIDI sec1uencer (a device for recording performances). This
and to create fatter sounds by combining notes from the GR- chapter explains how to make such steps using external
33 and the external device, devices (and how to use MIDI functions).
About MIDI
What follows is a list of some of the different types of MIDI
r
messages that the GR-33 can handle.
? <About MIDI> 0 "Note On messages" provide information on what string
MIDI stands for "Musical Instrument Digital Interface," was played, and its pitch and force.
a worldwide standard that enables electronic 0 "Note Off messages" provide information on when a
instruments and peripherals to share information about string stops vibrating.
performances, smmd switching, and other functions.
0 "Bend messages" provide information for changing the
MIDI is a standard that is shared by a wide range of
instruments from different manufacturers. For instance, pitch smoothly, such as when bending, sliding, or
you could use a MIDI controller from company A to play hammering.
a sound module from company B or send data to a 0 "Program Change messages" transmit commands for
sequencer from company C. switching patches.
MIDI connectors (IN and OUT) are a standard feahire of 0 "Control Change messages" provide information on
the GR-33. With MIDI, you can use the guitar to control changes in volume and effects.
external sound generators (such as synthesizers and
0 "System Exclusive (SysEx) messages" provide
samplers), or play the mllSic you want to input into a
information for exchanging patch data with external
MIDI sequencer.
instruments.
Also, as we've already seen on p. 37, you can send data
such as patch data to other equipment for performance
or storage.
...
I- ~ l~~~~~~J ~~~~ ~ [j
that will be used, Follow the steps described later to make
c, the BASIC CHANNEL setting.
External MIDI Sound Device
86
Chapter 9 Connecting to External Sound Generators and Sequencers
* For a detailed expla11atio11 of Mono mode and Poly mode, see the 3. Use [VALUE] to select the setting value.
subseq11ent section, "Transmitting in Mono Mode or Poly Mode." BASIC CHANNEL can be set to values of "Mono 1-11"
* When 11si11g the Glkl3 in co111/Ji11alio11 with a m11ltiti111hral (mono mode transmission) and "Poly 1-16" (poly mode
sound module (a so1111d ge11eralor offcri11g a 1111111bcr of transmission).
performance parts) or a scq11e11cer system (1111 automatic * W/Jm trans111itti11g in Mono 111ode, six consecutive ch111111e/s
performance dc1Jice), make sure the ot/1er instrument parts and arc used. For /!,is reason, it is not possible to select 12--16 as
c/1111111c/s do not overlap. one of the first channels (BASIC CHANNEL).
8BEND RANGE 4. When you finish making the setting for BASIC
The GR-33 can even send continuous pitch changes obtained CHANNEL, press [PARAMETERJ to choose "BEND
with techniques such as bending, finger vibrators, tremolo RANGE."
bar usage, and sliding to an external device. This is done
using MIDI Pitch Bend Change messages, just as with the
pitch bender on a keyboard. This means that the setting
called Bend Range must be matched up on the sending and
receiving instruments.
5 !:/ 5 E:EtiD F.'.Htll3E
24
The GR-33 normally informs the external MIDI device of the 5. Use [VALUE] to select the setting value.
Bend Range setting on the GR-33, and sends a message BEND RANGE can be set to values of "O, 1, 2, 4, 5, 7, 12, 24."
prompting change every time the patch is switched.
6. Maximum the setting to the maximum value for Bend
This means that the Bend Range value on the sound
Range that can be set on the external sound generator,
generator can be set automatically every time the patch is then press [PLAY] to return to the Play mode.
changed simply by matching the maximum Bend Range
value that can be set on the external MIDI sound generator to * These are the setti11g items for the GR-33, and not patch
the GR-33. (Setting Bend Range to as large a value as possible settings, so there is no need to pe1form a Patch Write
will help enable smooth pitch changes in a wider range. The operatio11. The latest setting is 1111to111atica//y stored in
settable range varies according to the receiving sound memory, cvm after the pmper is switched off
generator. For equipment having a different settable width in If the sending Bend Range on the GR-33 is set to "O," an effect
the bend up and down directions, match the setting to the similar to setting COMMON "CHROMATIC" (p. 42) to
narrowest maximum value.) "Type3" is obtained for the sounds from the external MIDI
sound generator.
About messages that notify the external MIDI When a multitimbral sound generator has been connected
instrument of the Bend Range and prompt and Mono mode selected in step 3, the tones to be used are
change allocated to six parts on the sound generator. Also, the
The messages used here are MIDI RPN (Registered receiving channels are matched to the six connected channels
Parameter Number) "Pitch Bend Sensitivity" messages selected on the GR-33. When in this state, you can play the
(Control Change messages No. 100, No. 101, No. 6, and No. external MIDI sound generator by playing the guitar own the
38). (Sending of these messages can be stopped, if necessary. GK-2A is mounted.
-t p. 98)
* If not sound is produced by the extemal MIDI sound
If you are using an external MIDI sound generator which generator, try turning the 11ol111nc on the GK-2A all the up and
cannot recognize such messages, manually change Bend setting the GK-2A's selector switch to "SYNTH" or "MIX."
Range on the external device to the same value on the GR-33.
I
If there's still no sound, check the sound-level settings on the
Refer to the Owner's Manuals for the external sound
sound generator, as well as the cable connections. If the
generator for information about its MIDI specifications.
setting "MIDI [PC]" described later (p. 88) has been changed,
Setting the Channel (and Sending Mode) make sure that it is set to any setting other than "Off."
and Bend Range
When Using the Volume Knob and Selector
1. Press [SYSTEM] to enter System mode. Switch on the GK2A
When the volume on the GK-2A is adjusted, the change is
2. Press [PARAMETER] to select "BASIC CHANNEL."
sent by MIDI Control Change message No. 7 from MIDI OUT
on the GR-33. (The receiving instrument should be set to
E:HS IC CHHtHlEL recognize Control Change message No. 7.)
M,:,no 1 This makes it possible to control the volume level on the
external device with the volume knob on the GK-2A. Also,
when the selector switch on the GK-2A has been set to
87
Chapter 9 Connecting to External Sound Generators and Sequencers
"GUITAR," a value of zero is sent to the external sound * In poly mode, individual, string-specific MIDI settings are
generator on the Control Change message No. 7, and sound disabled. Instead, the settings for n single siring are used.
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 pedal are sent, and Changing Patch and Other Parameters by
sound production is restarted. Transmitting MIDI Messages from the GR-33
Sending of Control Change message No. 7 can be stopped (MIDI [PC])
when necessary (p. 97).
When the pedal or [VALUE] is used to change patches on the
GR-33, a Program Change (tone change) message is sent to
Transmitting in Mono Mode or Poly Mode the external device from MIDI OUT. This can be used to
Transmission in Mono or Poly mode, one or the other of change tones on the external sound generator or to change
which was selected at the same time as the channel in the patches for guitar-sound effects.
MIDI CHANNEL setting, differs as follows. The number of the Program Change message that is sent can
be freely changed and saved to the patches on the GR-33. (At
0 Transmitting in Mono Mode the time of purchase, Program Change numbers 1 through
Number of channels used: 128 are assigned sequentially to patches All through D84.)
One channel per string is used. The number selected when
Changing the Program Change Number
specifying the channel in the System mode is taken as the
Sent to the External Device During Patch
start for automatically selecting six consecutive channels.
Selection
(For example, when "Mono 3" is selected, the six channels
from channel 3 to channel 8 are sequentially used for strings 1. Select the patch whose setting you want to change, and
1 through 6. This means that no channel from 12 to 16 can be press [COMMON] to enter Patch Edit mode.
selected as the starting channel when transmitting in Mono
mode.) 2. Press [PARAMETER) to select "MIDI [PC]."
fil
Features:
Information on continuous pitch changes (MIDI Bend [PCJ
messages) can be sent independently for each string. This
makes it possible to reproduce unique guitar techniques such
as tremolo bar usage and harmonized bending. 3. Use the [STRING SELECT] to select" ALL" for the
Suitable usage conditions: strings you wish to make settings.
Mainly when using a multitimbral sound generator offering If you wish to change settings for individual strings,
six or more parts refer to the following section "Selecting Separate Sounds
for Different String."
0 Transmitting in Poly Mode
Number of channels used:
A single common channel for all strings is used. The sending
channel set in the System mode is used as-is.
IRLLI EPCJ
88
Chapter 9 Connecting to External Sound Generators and Sequencers
Conversely, if there is a patch which should be played using Selecting More Than 128 Tones
only the external sound generator, just set the GR-33 patch
"LA YER" setting (p. 51) to "Mute."
(MIDI [CCO], MIDI [CC32])
* It's not possiblr to alter the correspondences between Program When. you use the GR-33 to select sounds on an external
Change numbers received by the GR-33 and the GR-33 sound module that has a larger number of sounds than
patches called up by these 1111111l1ers. Tl1e At the time of covered by the range of program change numbers (1--128),
purchase, Program Clia11ge 1111111/Jers 1 tlzrouglz 128 are use MIDI Bank Select messages (control change numbers 0
assig11ed sequentially lo patches Al 1 tlzrough D84, and this and 32) in conjunction with the program change messages.
ca11not be cha11ged. * The "l,ank" referred to here is an extended Program Change
If you wish to start by matching the transmit numbers and message set forth in the MIDI specification, and has absolutely
receive munbers, access the System mode function nothing to do with the GR-33's bank number (the second place of
FACTORY RESET, select "PC Number," and execute. the display that is, the "Bank" in "Bank Sh/ft," "Bank Up, and
"Bank Dow11"). Care slzould lie takm not to confuse the two.
For more detailed information and instructions for this The GR-33 also supports this function for sending Bank
procedure, refer to "Re-assigning Program Change Numbers Select messages.
in the Order of Patches" {p. 97).
Sending MIDI Bank Select Messages
* Make changes in settings only when a MIDI loop connection
is not liei11g used. 1. Select the patch whose setting you want to change, and
press [COMMON] to enter Patch Edit mode.
~--5_-~I
I
MIDI sound generator using the [STRING SELECT] button
not only for Program Change messages, but for sending MIDI IMIDI [CC32]
Bank Select messages as well (sec t/ze next section).
6. Press [STRING SELECT] to select" ALL."
IR L LI IMIDI [CC32]
89
Chapter 9 Connecting to External Sound Generators and Sequencers
90
Chapter 9 Connecting to External Sound Generators and Sequencers
El MIDI [TRANSPOSE]
l, ,
RLL
I
MIDI [TRANSPOSE]
~)
92
Chapter 9 Connecting to External Sound Generators and Sequencers
~
For details, refer to "Setting MIDI Channel/Bend Range
(CHANNEL, BEND RANGE)" (p. 86).
Multi timbral MIDI Sound Device 2. Tum on the Data Thru function (also called "Soft
Thru") for MIDI IN ~ OUT on the sequencer. (Make
the setting so that MIDI message output from the GR-
33 during recording is also output through MIDI OUT
on the sequencer.)
~
For more detailed information about Local Control Off, see
the subsequent section, "About "Local Control Off."
I
channel setting on the external sound generator.)
171e setup just described can also be used to record tone
changes and effects from the built-in and external pedals in
addition to the sounds from the guitar performance. (vVhile
using Harmonist, pressing the "Up" side of an external
BANK SHIFT pedal in the Pedal Effect mode toggles it
between a major and minor key, and this information is also
sent and recorded in the form of Control Change messages.)
* If you wish to record in a bass mnge that cannot be produced
by the guitar, change the "MIDI [TRANSPOSE]" setting to
"-12" (down 011c octar,c/ or "-24" (down two octaves).
* If f/ze sequencer you 're 11si11g doesn't support simulta11co11s
recording 011 more than channel, use tile Poly mode for
sending and recording (p. 88).
93
Chapter 9 Connecting to External Sound Generators and Sequencers
94
Chapter 9 Connecting to External Sound Generators and Sequencers
* As in Example 1 above, it is perfectly all right to record the Reducing the Size of a MIDI Pitch
arpeggios tlzemselves with "Arpeggio Ext," then return this
data unchanged from MIDI OUT on the sequencer (to a patc/1
Bend Message
for which first and scco11d to11c arpeggios arc off) to re-create
tile arpeggios. However, this method cannot /Jc used to re- r
create performm1ce where l>otli to11es were played l111t only the <The Bend Data Thin Function>
first tone was arpeggiated. With the guitar, the finger vibrato technique can be used
to produce organic vibratos with amplitude and speed
* When using tra11s111issio11 in the I'oly 111ode (p. 88), only the
that cnn be freely varied-something that's very hard to
method described for Example 1 cn11 be used to rl'Cordi11g and
do with a keyboard.
playback.
When creating sequencer data, the GR-33 records such
Recording Harmonist Effects on a Sequencer finger vibratos, glissandos, and tremolo bar usage as
Example 1:
MIDI Pitch Bend messages. As a result of this, the MIDI
Make the first tone the melody and the second tone the performance message that is output contains a large
harmony (or vice versa), and record the results number of Pitch Bend messages. In some cases, however,
these Pitch Bend messages can greatly inflate the amount
Set the EFFECTS "HAR/ ARP SELECT" setting in the Patch
of data and exceed the sequencer's memory capacity.
Edit mode to "Harmony 2nd" (or "Harmony 1st"), and while
in the same state as step 4 of "Input Procedures and Settings The Bend Data Thin function is available to keep this to a
for Each Device" on p. 93, play the guitar and make sure the minimum.
desired harmony is obtained. After that, continue from step 5
to record. The same harmony created when recording can be The amount of Pitch Bend messages that are sent can be
reproduced by using the same patch during playback. reduced by using the Bend Data Thin function. Although the
* The Har111ony feature is not ar>ailali/cfor playback i11 Poly smootlmess of pitch changes deteriorates, this can reduce the
mode. Use Mo110 mode. amount of MIDI data.
95
Chapter 9 Connecting to External Sound Generators and Sequencers
Practical Use of MIDI Channels A single MIDI system has 16 channels, and ordinarily 16
instrument parts can exist.With a guitar synthesizer,
Transmitting in Mono Mode however, each of the six strings takes up one channel.
This means that, for instance, two-part input with the guitar
~:r1 Guitar2 synth to an ensemble from a 16-part external multitimbral
sound generator would use up 12 channels.
I Mono Mode ch1 I Mono Mode ch7
In cases like this, set the System mode setting "BASIC
l i i i i l l Ti i i l
MIDlch CHANNEL" (p. 86) to "Poly 1" to "Poly 16" and send input
CUtz~!!lJ~13114115 I161
..,/ In use
to the sequencer with Poly mode sending. This lets you
proceed with recording while using up only one channel per
part, as with a keyboard instrument.
Only 4 channels
remaining available for use One drawback of transmitting in Poly mode is that it is not
Transmitting in Poly Mode possible to send Pitch Bend messages for bending, sliding,
vibratos, and the like when playing chords, but this mode
Poly Mode ch1~~ar 1 can help in economical use of channels and parts when used
r
!r
. Poly Mode ch2 I
judiciously separately from Mono mode input while giving
consideration to the tones to be used and to single-note
playing .
14
. / In use ~ - - - - - - - - - - - - - - - - '
channels remaining available for use
96
Chapter 10 Other Convenient Functions
5=15 FRCTOF.:',' F.:ESET To cancel the operation, press any button other than
PC t-~1.w,ber [WRITE].
To guitar amp
Effects processor for guitar sound
unable to stop receiving Volume
messages.
I
To synth-sound amp
97
Chapter 10 Other Convenient Functions
Terminating Transmission of the MIDI * This is a system-wide setting, and not a patch setting, so there
Controller No. 7 is no need to perform a patch write operation. The setting is
a11to111atically stored i11 memory even after the power is
1. Press [SYSTEM] to enter System mode. switched off
2. Press [PARAMETER] to select "VOL SEND SW.'' TI1is stops the transmission of Control Change No. 7 from
MIDI OUT, eliminating the problem described above.
,- LI C
::, _, .::J
UOL SEtm 51.1.I * This also terminates transmission of Control Change No. 7
messages for other volume-related control, so this setting
On
slzauld not w;ed exce11t wizen necessary. Please note that once
transmission has /Jeen disa/Jled, it re111ai11s so wrtil you switch
3. Turn [VALUEJ to select "Off." the setti11g /Jack to "On" or restore system-related settings to
4. Press [PLAY] to return to Play mode.
their default values by performing a Factory Reset (p. 16).
98
Chapter 11 Appendices
Troubleshooting
During Normal Play with Just the The volume fluctuates from one string
GR-33 to another
Are the "PICKUP SENS" settings correct for each
No synth sounds are heard when the string?
guitar is played --, Adjust the settings as required (p. 17).
I
--, Try operating the expression pedal. --, Change the setting so that the first and second tones are
both played (p. 51).
99
IChapter 11 Appendices
e Is the TONE "1:2 BALANCE" setting (p. 52) set to "50" Pitch doesn't change smoothly
or "50"?
e Is COMMON "CHROMATIC" set to a value from
--. Change the setting to a value closer to "O" and check
"Type!" to "Type3"?
operation.
-. Set CHROMA TIC to "Off" for patches that require
continuous changes in pitch (p. 42).
The built-in effects don't work
Is the Bend Data Thin function (p. 95) in use? Using
e Is the EFFECTS setting item "REV SEND LEVEL" (p.
this function may result in a slight loss of smoothness
75), "CHO SEND LEVEL" (p. 74) set to "0," or "MULTI-
when pitch changes, even during normal play.
FX SW" (p. 53) set to "Off"?
-, Do not use the Bend Data Thin function when it is not
--. Select a type other than "Off."
needed.
e Are the "REV SEND LEVEL," "CHO SEND LEVEL,"
and volume-related Multi-effect parameters set to "Battery Low!" appears in the display
appropriate values? when the power is switched on
--. Set them to appropriate values.
This is a warning that means that the internal battery
Is the three-digit display blinking "Edi" to indicate which maintains user patch and system setting data is
that the unit is in EFFECT BYPASS mode? almost dead. If this message appears, data may be lost
--. Press [EFFECTS] to release the Bypass function (p. 75). is the battery is not replaced quickly.
-, Contact servicing by your dealer or qualified Roland
The GR-33's built-in effects are exclusively for use
service personnel.
with the internal synth sounds. They are not applied to
the sounds of the guitar itself.
When Changing Patch Settings
-. You can apply external effects for the guitar to only the
guitar sounds by using the GUITAR OUT jack. (If you
wish to use a single amp for both the guitar and synth
The display suddenly starts flashing
sounds, you should also use the GUITAR RETURN jack In a parameter where the [STRING SELECT) button is
as well.) (p. 15) valid and you select" ALL" (all strings) or "5-6" (strings
5 and 6), the blinking display indicates that the current
If the "Cho Send Level (Chorus Send Level)" or "Rev
settings differ between strings.
Send Level (Reverb Send Level)" function is selected,
make sure that the expression pedal (p. 47) is not During EFFECTS editing, a blinking "Edt" indicates
rocked back all the way. that the bypass function is ON.
-. Depress the expression pedal.
The sound doesn't vary when the
The pitch of the synth sounds doesn't settings are changed
change in the same way as the pitch
the GR-33's Attack, Release, and Brightness settings
of the guitar sounds are intended to adjust the original data belonging to
Some tones (such as percussion instruments and effect each tone. This means that the range of change differs
sounds) show different changes in pitch than with the according to the tone, and some tones may not show
guitar. This is not a defect. much of a change.
If Harmonist is on, scale changes for synth sounds are Is the setting being changed one of the seven settings
different from the guitar when "HAR/ ARP SELECT" that can be made independently for each string (see the
(p. 82) is set to "Harmony All" or "Harmony 1&2." following item), and is the setting affecting only a
particular string?
Noise with subtle undulations is hear -. Use the [STRING SELECT] button to set it to "ALL." (p.
in extremely high registers 35)
100
Chapter 11 Appendices I
Settings cannot be made When Sending Performance Data from
independently for individual strings the GR-33 to an External MIDI Device
Is the setting one that cannot be made for individual (sound generator or Sequencer)
strings?
-+ The seven settings that can be made independently for No sound from the external sound
each of the strings using the [STRING SELECT] button generator
are TONE "Layer," "lSTTRANSPOSE," and "2ND
TRANSPOSE," COMMON "MIDI [PC]," "MIDI [CC0]," Do the MIDI channels for sending and receiving
"MIDI [CC32]" and "MIDI [TRANSPOSE]." match?
-+ Make sure the MIDI channels match (p. 86).
When Playing the GR-33 sound The volume level of the external sound generator may
generator with a MIDI Keyboard have been lowered by a MIDI Volume message
or Other Instrument (Control Change No. 7) sent from the GR-33.
-+ Raise the volume on the GK-2A.
No sound Make sure the volume on the GK-2A or the expression
Do the MIDI channels for sending and receiving pedal has not been turned down too low.
match? -+ Use the controls to increase the volume.
-+ Make sure the MIDI channels match (p. 86). The sending of Note messages and the like also stops
for patches for which COMMON "MIDl[PC]" is set to
The P-GLIDE and HOLD pedal effects "Off."
don't work -+ Change the setting to a value from "1" to "128." (p. 88)
The Hold and Pitch Glide functions cannot be used
when play is controlled by MIDI messages from an The external sound generator plays only
external instrument (such as a keyboard). one string (some strings can't be heard)
-+ Use the controls on the external instrument to apply Is the GR-33 using the Mono mode to send data to a
pitch bending and holds. sound generator which cannot simultaneously receive
data on six MIDI channels?
Single notes are sounded when MIDI -+ For such sound generators, send data in the Poly mode
messages are sent from the external (p. 88).
instrument, but messages such as
Program Change are not received Notes in a bass register not on the
Are MIDI messages being sent to the five channels guitar cannot be played
other than the first channel specified by the SYSTEM -+ Output from MIDI OUT can be transposed as desired by
"BASIC CHANNEL" setting? MIDI messages other changing the COMMON "MIDI[TRANSPOSE]" setting
than Note messages and Bend messages must be sent (p. 92).
to the first channel.
-+ Be sure to send data from the external instrument to the The pitch is wrong
first matching channel. (out of tune with the guitar)
Is MIDI Bend Range the same for both sending and
receiving?
-+ If the pitch is off, adjust the Bend Range setting (p. 86).
101
I
I Chapter 11 Appendices
Is the Bend Data Thin function (p. 95) in use? Solution: Contact your dealer or a nearby Roland service
center to have the battery replaced.
--. Do not use the Bend Data Thin function when it is not
needed.
--. Change the setting to a preferable value (p. 86). Solution: Press [WRITE) to execute Factory Reset. If this
does not resolve the problem, contact a nearby
Roland service center.
The Note messages input to the
sequencer don't look like the scale
that is actually played MIDI
To start playing sounds rapidly and achieve smooth Off Line!
changes in pitch, the GR-33 transmits pitch as a Cause: There is a problem with the MIDI cable connection.
combination of Note messages and Pitch Bend Solution: Check that the MIDI cable has not been
messages. This means that if only the Note messages
disconnected or broken.
are examined on the sequencer's microscope (event
list) screen, the on-screen information may differ from
what is actua_lly performed. MIDI
--. If continuous pitch change is not required, you can Buffer Full!
create data that is displayed more faithfully by setting
Cause: More MIDI data was received at once than could
the sending Be11d Range to "O." (p. 88)
be handled by the GR-33.
Others Solution: Reduce the amount of MIDI data that is being
received by the GR-33.
The volume level of the instrument
connected to RETURN iack is too low. Wrong Address!
Could you be using a connection cable that contains a Cause: The System Exclusive address value that was
resistor? received is incorrect.
--. Use a connection cable that does not contain a resistor. Solution: Correct the address value.
Checksum Error!
Cause: The System Exclusive checksum value that was
received is incorrect.
Solution: Correct the checksum value.
102
Chapter 11 Appendices
1. Data Format for Exclusive Messages One-way transfer procedure (See Section 3
for details.)
Rol,md's MIDI implementation uses the follmving data format for aJl
Exdusivt> mPssagt>s (type> IV): This prncedure is suited to the transfer of a smi.lll amount of data. It sends out
an Exclusive message completely independent of the receiving de\"iccs status.
By1e Oescnpbon
FOH Exclusive Status Connection Diagram
41H Manufacturer ID ( Roland) Device A Device B
MIDI OUT MIDI IN
DEV Device 10
MIDIIN MIDI OUT
MOL Model ID
CMD Command ID Connection at point 2 i:- essential for "Request data" procedures. (See St...-..:tion 3.)
(BODY] Main data
F7H End ol exdusive Handshake-transfer procedure (This device
does not use this procedure)
MIDI status: FOH, F7H This procedure initiates a predetennined transfer se,1uence (handshaking)
acrnsfo> the interface before data transfer takes place. Handshaking ensures that
An E\dusi\'t' rnPssagE' must he flanked hy a pair of status codes, starting
reliability and transfer speed are high enough to handle a large amount of data.
wilh a Manufacturer ID immediately after FOH (MJDI version 1.0).
Connection Diagram
Manufacturer ID: 41 H
Device A Device B
The Manufacturer ID idtntifies the manufacturer of a MIDI instrumt>nt that MIDI OUT MIOIIN
semb an Exdu~ive mcss.1~e. V,1Juc 41H represents Roland's Manufocturer ID. MIDIIN MIDI OUT
The Uevice IlJ cnntains a unique \alue that identifies individual devices in Notes on the above procedures
the implementation of se\'eral MIDI instruments. It b usually set lo
OOH-OFH, a value smaller bv one than that of a basic channel, but value ~ TltLrc arc ~l'pamtc Comm1111d ffJs_ft,r d{(ftmll lranef,r 11ron,i11res.
OOH-I FH may be used for a d~vice with sevt1r.1l basic channels
Dt..1 iccs A a11d B n111m1f c.tt.'lumgc data unkss tluy 1/St.' lire same transfer prorc,iurc,
1
f;/iarl' iifentical Dtl'icc ID mid Mc>dd ID, mid 11rc nwlyfor wmm1111irnli1111.
Model ID: MDL
The Model ID contains a value that identifit>s one model from another. 3. One-way Transfer Procedure
Different mL1dcls, ho\W\'Cf, m.1y sh.ue an idenlkal MCR.iel ID ii they handle
similar data. This procedure sends out data until it hm all been sent and is used when the
messages are so short that answerbacks neet.i not be checked.
The Model ID format may contain OOH in nnc or more places to provide an for longer messages, however, the recching device must acquire each
cxtendt.,"l.i data field. The fo!Jowin,g are examples of valid Modt.>l IDs, e,1ch message in time with the transfer sequence, tvhich inserts 20 milliseconds
representing a unique model intervals.
I
dnta format given in Section 1. It ,1ssigns a series of memory-resident ssH
rl'cords-waveforrn and tone data, switch st.ih1s, and par..imef'ers, for I I
example, lo specific locations in n machine-depl'ndent address space, thereby I I
,1llowing access to dat.:i residing at the addre5s a messi"lge spedties. LSB
sum Check sum
A,ddress-mapped d.itc1 transfer h; therefore inJcpendenl of models and tfat,1 F7H End of exclusive
categories. This technique allows use of two different tran.o:;fer procedures:
one-w.ty tran:,;for and handshilkc tr,msfcr.
103
Chapter 11 Appendices
Tlrt: size of thi rt'queMcd d11tn ,foes ,wt i11di(t1ft' the ,111111ba of l1111ts Ill.it wilf 111,1kt'
up II DT1 mt"ssagt', but rrprestnts tht 11ddr1s:- fidrls wl,ae tlw re1111esft"d dat,,
nsi,ftes.
Som, modds ,m subfcct to limiti1tiv11s iu data J(m,wt 11std fOr" sing I, trau~clion.
ReqmMed rfota, for txm1111Jc, may h11iie a limit il1 le11gth or must be dh1ided into
pri-tiL'fcm1i11t'd 111idn::,s fidds h:fim ii i::- cxrhmtgt'd 11cn1ss the inlt'rfan.
The sm11c 11111td1.'r of t,ytes rn11111riSt~ addnss 1111J si:.t' d11tt1, which, lwWl'i't'r, vary
;dth tltt Mtidd IV.
Tht frrnNlzeckiHs process JJ;:it'S 11 chccks11111 tlr11t pnwid,s II bit pattern what tht
J11:;t i /lits tlrl' :cro wl,c11 mfots _fin m, addrc%, si:t', 1111d tlli1t cltecksum art
5111111/lt'd
"A DTl 1m.-sSt1gL" is (11Jmbk of pn1vidiug 011!.11 lite mlici ,t11fa 11111tmg thoSt: spcc{fied by
.111 RQ I messagt.
- Som1.. model!- are subject ltl limit11tio11..; in d11t11fiirm11t ltSt'fi {Ma si11g!t transm:liou.
Rtq11ested dtJt,1, for e.mmpll'. may hiwt II limit i11 fe11gtlt or 11111st h 1lil'idtd i11tt1
pmlitL'rmintd midrt'Ss fid,ts btfon. if i:- 1...wlw11gt11 across tht itttr1:ftlce.
- Tilt 1111mbtr 1(( byfts wmprising 11ildn~~ ,ii,J,1 rnrit.-:;fnm, mw Mo.Id ID to mwfhtr.
~ Thi..' trmr-d1l'cki11g proetss uses 11 d1ecks11m tJ,,1t pror,Mes ,1 bit 11nt1tr11 whtff llw
/dst 7 bits art :ao wl,en rwlues .fi1r m, 111/drt>ss, si:e, 111111 tltnl dJcch11m art'
:Hlllllllt'11.
Device A I Device B
(Datase11J
More than 20m sec time mlerval
(Data sat 11
(Data set 1]
Device A j Device B j
{Request data}
fDala set 1j
More than 20m sec lime interval.
(Data sel 1J
(Data set 1J
104
Chapter 11 Appendices
MIDI Implementation
Model: GR-33 OPan
Date: Jul. 21, 2000 STATIJS SKQ1,[Q
BnH OAH
Version: 1.01
n.,.,MIDf Channel Numbt.~r: OH - FH (0 1.51 0=-ch.l 15=ch. l6
t'\'=Pan- OOH -40H - 7FH (0- 64-127)
1. Recognized Receive Data
Can be recei\'ed only through the Basic channe1.
The value O is left, 64 is center, and 127 is right.You can ;idjnst in 127 stPps from Oto 127.
Channel Voice Message
OGeneral Purpose #2
eNote Off
STATUS
SL:ill.!S SECOND
SliCillill Il:llfil2
BnH IJH vvH
Rnl-l kkH V\'H
1
.:JModulation Can be receivt>d only through the B.1sic channel.
SIAIUS SECOND TJ:UK[! Rt--rehPd when Harmony is un, to switch the key between M.ijor/Minor.
BnH tl!H vvH
OGeneral Purpose #3
n=MIDI Channel Numbt>r: OH-FH I0-15) O=ch.l 15=ch.l6
5TAllJ.S ~
\'\'=Modulation Derth: OOH - 7FH 10 - 1271
BnH 12H
.. Can he rccei\'ed nnly through the Basic channel. Can be received only Uuouizh the B,1sk channel.
Having received thb nws5c1ge, the GR-33 acts as if the onboard WAH(foot f;Witch) is
nperated.
105
Chapter 11 Appendices
n=MJDJ Channel Number: OH - FH \U 15) O=ch. l lS=ch.16 n=\HDI Channel Numb1..r OH FH (0-15) ll=ch.1 IS=ch.16
vv=Cl1ntrnl Value OOH - 7FH 10 - 127) 0IJH-3FH=OFF. V\'=-C1mtrnl V.1lue OOH - 7FH 111-127)
40H-7FH=ON
.. Can be received nnly through the R,1sic channt!I
Can be recci\'ed only thr(tugh the Basic channel vvhen this channel is set to POLY1-
POLYH1.
eProgram Change
OGeneral Purpose #5 SIAI!.!S :iECQt,!.I;)
106
Chapter 11 Appendices
econtrol Change
eMONO
~ 5KQ!ill Il:l1lill 0Bank Select
BnH 7EH mmH
5IAilli 5KQ!ill llillill
BnH OOH mmH
n=MIDI Channel Number: 01-I - FH (0 - 15) O:ch.1 15=ch.16
BnH 20H IIH
mm=Number of Individual Channels: IX)H - JOH (0 - 16)
OModulatlon
ePOLY SIAI!.I5 SK.illlil Il!IBJ2
BnH 01H \yJJ
oIAI!.iS SKQllil Il:lllill
BnH 7FH OOH
n=MIDI Cl1dnncl Number: OH Fl-I 10 15) 0=ch.1 !5=ch.J 6
\\=Modul.itiun Dl'pth: OOH - 7FH (0 - 127)
n:oMIUI Channel Number: lJH-FH (0-15) 0=ch.l 15=ch.l6
System Realtime Message n=MJDI Channel Number: OH FH (0- 15) 0=ch.l IS=ch.16
\'\' =C<1ntrnl Value: OOH 7FH 10-127)
eActive Sensing When the Expression pedal is operated, the GR-33 sends this a~ the operation(Except
5IAIUS some noll.>d settin~ of U,e ''EXP PEDAL . paramater).
FEH
OData Entry
Having received this message, tht! GR~33 expects to receive information tlf any statu~ uf
~ SE.Cillll2 Il:lllill
data during ilbout 420msec.lf the GR33 doesn't receive ,1ny message during that time, it
BnH 061-1 mmH
,1cts as if the All Note Off messilge is received. and rch1m~ to normal operation (will not
BnH 21,1-1 1111
check interval of messages).
OPan
SIAil.15 SECQt,1I2 Il:lllill
I
BnH 0AH vvH
Transmitted the action of the expressivn pPtfal when "EXP pedar i~ set to "Pan
(Normal)".
107
Chapter 11 Appendices
n::;::MJDI Channel Numher: OH-FH(0 15) ll=ch.1 lS=ch.16 n=MlDI Channel Number llH HI {U 15) ll=ch.1 IS=ch.16
vv-=C(.)lltrnl Value OOH 7FH I0 127) OOH3FH=Major, vv=Control \';ilue: lXJH 7FH {U 127)
-ltlH-7Ff-l=~-finor
Transmitted the riction of the EXP pedal whim the EXP pedal is set to "CHO SEND
Transmitted when an e-.:tem.11 pedal i,; m,t->d to S\'ltitch the harmony kcr between Major/ LEVEL".
Minor.
0RPN MSB/LSB
OGeneral Purpose #3 STATL 1S 5J3COND TI.!!Rl2
:ITiill!S ~ BnH 65H m1nll
BnH 12H llnH 6-!H 1111
n=MIDI Channle Number: UH- FH (0 15) 0=ch.l 15=ch 16 n=MlDi Chmmel Number: 01-1 FH (0-15) 0ch.1 15=ch.16
n=Control Value: UUH 7FH (0 127) mm=Uppcr byte of tht. p,1rameler J.,ta designated by RPN
11-==Lnwer bytt' of tht' parameter dat<l dt:>sigrwle1.:I by RPN
Transmitted the enwlope data of the strings v,hen the- "PLAY FEEL" is set to
ENVELOPE! or ENVELOP.l:'.2. <<< RPN ;>>>
Oat.i is ~nt only in Mono mode. rransmission docsn'l t,1kt> place in Poly mode. Cmltrnl changl" includes RPN(rl'gbtercd parameter number), function which are defined by
the MIO! ':-ttrndard.
0General Purpose #4 11w CR-Tl can transmit only one RPN: pitch bend S\c'nsitibily(RPN#O),
:ITiill!S S.E!:illill
Dnl[ 13H Rl'N Data tntry
MSB LSI! MSRISIJ !'llO<lillil
n=MIDI Ch.mnd Number: OH FH (0 15) 0=ch.l 15=ch.16 OOH OOH mmH00H pitch hend i,tnsitivity
\'\':::Control valu~: OOH 7FH (0 1!7) OOH= Reset, nw transmitted lm,pr bytP is always OOH.
01H-3r-H=OFF, -l{}H-7FH=ON
Transmitted \Vhen you change the BENO RANGE parameter on SYSTEM menu.
Tr.:tmmlitted the l1peralirn1 of nnbo.ird WAI I flmdion (l'l'dal 1). Nut transmitted ,vhen BEND REQ SW on SYSTEM menu is St.:"l to OFF.
0General Purpose #6
STATUS !iEC.illill
eProgram change
BnH 51H qATUS SECOND
CnH ppH
n=MIOI Channel Number: OH~ FH (0 15) O=ch.l 15=ch.lb
\'\'=Contnd value: !XlH 7FH /0 127) 00H-3FH=OFF, n=MIOI Channel Numbt.r: OH~ FH (U 15) O=ch.l 15=ch.16
40H-7FH=ON pp=J'rogram Number: OOH- 7FH (0 127) 0=prg.l 127=prg.128
Transmitttd the operation of turning ON or OFF by CTRL ped-11 when this channel is scl
tu MONO1-MON016. ePitch Bend Change
STATUS SECOND I!:!!!ill
OGeneral Purpose #7 EnH llH mmH
~ ~
BnH 52H n=MIDI CJ1<1nnt..l Number: OH FH (0 15) 0=ch.1 15=ch.16
mm,ll=Valuc: II0H, OOH 7FH, 7FH (-8192 t81"1J
n=MIDI Channel Number: 0H-FH(0-15) Ll"ch.l lo=ch.16
vv=Contrul ValmA: OOH 7FH 10 127) lXtH-3FH=OFF,
40H-7FH=ON System Realtime Message
Transmitted the operation of onbo..,rd HOLU pedal when this channel is set to MONOl~
eActive Sensing
MON016.
STA Tl IS
FEH
OGeneral Purpose #8
STAI.US :m::illill ~ This m~~sage is ahvays transmitted .it about 270msec' inftnnl
BnH 53H
Trarn,mittt!d the action of the EXP pt'dal when the EXP peddl i!:; set to "REV SEND
LEVEL".
108
Chapter 11 Appendices
Regarding dctails of the pnmmetcr trnnsmitted/sended, please refer to tJw f'ilrameter Using the ,1hme formuln, Checksum will be as follmvs.
Address Map.
O:?H +OOH +OOH+ 60H i 04H -t 73H + 5AH + 11H =-2+ 0+0+ %+I+ 1l5 +4fl + 17 = 324(sum)
!l)'k5 C.QnlD.1.rnIB 32-l(sum) 7128 = 2(quotient) .. .68(rcmaindcr)
FOi-i System Exclusive Status- checksum= 128 6B(rt'mainder): hO a:: 3CH
411i Manufacturt'r ID (Roland}
J[)H Dedce ID (Dcr=IOH) If you calculate with hexadecimal,
001-1 ModtI ID MSB iGR-33)
,,nH Model ID lSB (GR-33) aa + hb +cc+ dd + ec + ff ::o sum(xxHt
12H Command ID (DTI I sum(,xl I)+ ROJi = quotient. .. remainder
aaH Address tvlSB 80l I remainder= checksum
bbJ-I Address
ccH Address Checksum will be as follows.
I
ddH Addrc:is LSB
eeH D.ita 02[-J +OOH+ OOH + 60H + 04H + 73H + SAH + l lH ~ J~H
144H +ROH= 02H(quotient) ... 44H(remainder)
ffl-1 Data check~um .:. SOH - 44H{remaindcr) = 3CH
~um Chet:k Sum
F7H EOX (End of Exdusi\'e) F7H is the mark of the end o( cxdu!'livc.
109
Chapter 11 Appendices
Start
Address ! Contents and Remarks
02 00 00 00 Temporary Patch
Offset
Address I Data I Contents I Remarks
- ... - - -
00 00 00 I 00 01 I OUTPUT SELECT I Line, Gui car Amp
------
00 00 01 I OD - 03 I GUITAR SELECT I Gtrl 4
-------
00 00 02 I 00 7E I MASTER TtnJE I 427 .4 452. 6 (Hz]
110
Chapter 11 Appendices
FO 41 10 00 JO 11 00 00 00 00 00 00 00 24 SC F7
FO 41 10 00 30 12 00 00 00 04. 06 00 76 F7
Offset
Address I Data I Contents I Remarks
no (J{J OD DO OF PLAY FEEL Normal, Finger, Ha1d, Soft, Tapping, No Dynamics , Envelope 1, Envelope2,
Accl Normal, Accl Finger, Accl Hard, Accl Soft, Accl Tapping,
I I I Accl No Dynamics, Accl Envelopel, Accl Envelope2
oc,
00 OU UE
I
OB
I PAN MOfJE
I Normal, Cross 'fonei:;, 1- 6, 6-1, Odd-Even, Even-Odd, Random Both,
Random 1st. Random 2nd, Alten1ate Both, Alternate 1st, Alternate 2nd
,----
23
I
WAH TYPE Wahl
I R. Brightnessl 5, R.NarrowWahl 5' Modulation
5, R.Wahl 5.
00 00 13 00 OE HOLD TYPE ( for Arpeggio OFF) Damper All, Damper 1st, Damper 2nd, Damper 1&2, Damper Ext, Damper Ext&l,
Damper Ext &.2, sostenuto All, sostenuto 1st. Sostenuto 2nd, Sostenulo 1&2,
I I I Sostenuto 1:-~xt, Snstenuto Ext&l, sostenuto Ext&2, String
'I I
,.I
DO 00 14 00 03 HOLD TYPE (for Ar-peggio ON) Damper, sostenuto, L3tch TypeA, Latch Types
DO DO 15
DO 00 16
.
I 00
00
Cl
so
I CTRL PEDAL
EXP PEDAL
I HAR/ARP Control, Mul t :i - FX Bypa!=!!"l
Volume, Volume 1st, Volume 2nd, Balance. Tone Param, Multi~FX Param,
Brightness, Wah, Pitch, Modulat. ion, Pan (Norma] l , Pan ( Cross Tones) ,
00 00 35 00 01 MIDI [CC32] (Off/On) (String ffl) 0' Transmit CC#D2 = Off, 1' Transmit CC#32 = On
00 00 36 (String U2 I
00 00 37 {Stdng #3 I
00 00 18 (String #4.l
I
00 00 .19 (String #5 l
00 00 3A (String #fl
111
Chapter 11 Appendices
00 00 59 OE 72 1 :2 BALANCE - 50 ,so
00 00 SA 00 05 LAYER (String #11 Mute, 1st Tone, 2nd Tone, Eot.h Tone, Weak Detune, Strong Detune
00 00 5B {String #21
00 00 SC (String #31
00 00 SD {String ff4 I
00 00 SE (String #SI
00 00 SF (String #6)
00 00 60 00 07 REVERE TYPE Rooml - 2' Stagel 2' Halll 2' Delay, Pan Delay
00 00 63 00 11 REVERB HF DAMP :mo, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 !He], Bypass
------- -----+
00 00 64 I oc 7F DELAY FEEDBACK I 0 - 127
-+----~--- - -----------
00 00 6S I 00 7F CHO SEND LEVEL I 0 127
00 00 66 00 7F CHORUS RATE I 0 127
+
00 00 67 00 7F CHORUS DEPTH I 0 127
00 00 79 00 DD HAR/ARP SELECT Harmony All, Harmcny 1st, Harmony 2nd, Harmony l&.2, Harmony Ext,
Hd..rmony Ext&l, Harmony Ext&2, Arpeggio All, Arpeggio 1st, Arpeggio :!nd,
Arpeggic 1&2, Arpeggio Ext, Arpeggio Ext&l, Arpeggio Ext:&2
00 00 7A 00 oc HARMONY STYLE -7th, -6th, -5th, -4t.h, -3rd. -2nd, +2nd, +3rd, +4th, +5th, +6th, +7th,
I Diminish
00 00 78 00 17 I HARMot-:-Y KEY C, Cf! , D, Ctl , E, F, Ftt, G, Git A, A#, 8, Cm, C#m, Om, D#m, Em, Fm, F"ttm, Gm, G#m, Am, Affm, Sm
----+
00 00 7C 00 01 HARMONY REP.GTE i Off, On
00 00 7D
00 00 7E
0032
OOFA
AP_P TEMPO (LSBl
IMSB)
l so
+
250 :b.p.m] 2)
1)This parameter is enabled only when PAN MODE is set to Nurm,ll or Cross Tones.
2) This p,tramell'r is expressed with thl. p,1ramctt>r value equal to (!VISB .. 80l-t) + LSB. lt is disregarded when only lht' MSB or LSB i'> recPitrd.
3) The correspondt:ni.:e of MULTJ-FX PARAMETER 1-12 for c,1ch MULTI-FX n'PF. is !-!hnwn twlmv (p. 11~117) P;irnmph:,rs appC'ndPd with"#' can be controlled with thl' EXP pedal v,.'ht~n the
EXP PEDAL p-1r;;u11l'tt.-r i~ Sl't t11 Multi-FX P.irnm
112
Chapter 11 Appendices
..
2. BANC2
3. BAND3
BAND4
5. BANDS
6. BAND6
00
DO
00
00
DO
lE
lE
lE
lE
lE
-15
-15
-15
-15
-15
,15 [dB]
+15 [dB]
+15 [dB]
+15 [dB)
+15 [dB]
7. BA1'ffi7 00 lE -15 +15 [dB]
3. BANLfi 00 lE -15 +15 [dBi
JO 04 0. 5, 1.0, 2. 0, 4. o, B. O
'
10.
V
PAN 00 7F L64 R63
#11. LEVEL DO 7F 0 127
12.
SENS 00 7F 127
2. MIX ']0 7F 127
' 3. LOW GAIN
4. HJ(;H GAJN
00
00
lE
lE
-15
-15
+15
.is
[dB]
[dB]
s. LEVEL 00 7F 0 127
".
7.
9.
10.
11.
12.
I
11. LEVEL DO 7F 0 127
12.
+----.
9. COMPRESSOR l. SUSTAIN 00 7F 12'7
2. ATTACI~ 00 "JF 0 127
3. PAN DD 7F L64 R63
4. POST GAIN 00 03 o, 6, +12, +18 [dB]
s. LOW GAIN 00 lE -15 ,15 [dB]
.
, HIGH GAIN i 00 lE -15 +15 [dB]
113
Chapter 11 Appendices
# 7. LEVEL 00 7F 127
".
9.
10.
11.
12.
+----+
10 :.1MlT~H l. THRESHOLD 00 7F 0 127
2. RELEASE 00 7F 0 127
3. RATIO !JO 03 1.5: 1, 2: 1, 4: 1, 100: 1
4. PAN 00 7F L64 R63
s. POST GAIN 00 03 0, +6, +12, +18 [dB)
6. LOW GAIN 00 lE -15 +15 [dB)
7. H!GH GAIN 00 lE -15 -1-15 [dB]
8 LEVEL 00 7F 0 127
10.
11.
12.
,.
3. DELAY RIGHT
PHASE LEFT
00
00
7E
01
0. 0 500 [msecl
NoL-mal, Invert
s PHASE RIGHT 00 01 Normul, Invert
6. FEEDBACK 00 62 -9B 98 (\J
7. HF DI\MP 00 11 200, :250, 315,400,500,630, BOO, 1000, 125C, 1600,
:!ooo, ~soo, 31so, -rnco, sooo, 6300, aooo (H:l , Bypass
8 LOW GAIN 00 lE 15 '15 (dB)
9. HIGH GAIN' 00 lE -15 , 15 (dB]
10. BALANCE 00 61 D100: OE DO: lOOE
1 1 LEVEL 00 7F l:!7
1::.
-----------,---------------+------------------
1 FB MODE 00 01 ! Normal, Cross
114
Chapter 11 Appendices
115
Chapter 11 Appendices
B. LEVEL co 7F 0 127
9.
10.
11.
12. I
7F
I 127
----------- ------------------
27. 00-':>F'L 1. OD DRIVE 00 0
2. OD PAN 00 7F LG4 RGJ
3. FL PRE DLY co 7D D. 0 100 [msec]
4. FL RATE OD 7D 0 _05 10 0 [Hz]
FL DEPTH 00 7F 0 127
6. FL FEEDBACK OD 62 -98 98 1;1
7. FL BP.LANCE 00 64 D100:0E DO: lOOE
8. LEVEL OD 7F D 127
9.
10.
11.
12.
y.
10
11
12
10.
11.
12.
10.
11.
1:::.
,----
31. OS- >DLY tt 1. OS DRIVE 00 7F 127
OS PAN 00 7F L64 R63
DLY TIME 00 7E 0. 0 500 [msec]
4. DLY FE:EDBACK 00 62 98 +98 [%]
5. DLY HF DAMP 00 11 200 I 250 I 315 I 400,500 I 630,800, 1000 < 1250, 1600 I
2000, 2500, 3150, 4 000, 5000, 6300, sooc '.Hz] , Br-pass
6. DLY BALANCE 00 64 D100: OE DO: lOOE
7. LEVEL 00 7F 0 127
8.
9.
10.
11.
12,
i 11.
12.
1 16
Chapter 11 Appendices
117
I
Chapter 11 Appendices
~ 4)Arpei-;i::;io pattern number corresponds to each Pattern name as fo\h.Hvs eA-1 Decimal VS Hexadecimal
,-----
No. I Patt~rn Name
\-\'ith a MIDI System, the data value, the addr1;>ss, or size in ,m exclusive mt..>ssage is
l Arpe:mio 1
Arpe9gio 2
expressed in 7-bit hcxudcsimal va1ucs.111e table below sht)WS lfrcim.11 villUl' and thier
i Arpeggio hcxadl'cirnul counkrp.1rt!i
Arpeggio
Arpe3gio
tl Arpeggio ,---+---+,---.---, ----+-----,
, Arpeggio 7 !Decimal! Hex I !Decimal! Hex I
8 Arpeggio R
Y Arpeggio 9 OOH 32 20H 64 40H 96 6011
10 ArpeggiolO OlH 33 21H 65 41H 97 GlH
11 Riff 1 02H 34 22H GG 42!! 98 6:!H
1:~ Riff 2 03H 35 23H 67 43H 99 6311
LI P.i ff .1 04H 3G 24H G6 44H 100 64H
14 Riff 4 OSH 37 25H G9 .J.SH 101 651!
l "i R.i ff S 06H 38 26H 70 46H 102 GGII
16 Riff h 07H 39 27H 71 4 7!l 103 G?H
17 Riff 08H .jQ 28H 72 48H 104 GOH
18 f~jff 09H 41 29H 73 4 91-1 105 69H
19 Riff 10 OAE 42 2AH 74 4AH 106 GAIi
21 Riff 10
21 Riff 11 "
12
OBH
OCH
43
44
2BH
2CH
75
76
48H
4CH
107
108
6BH
6CH
2:? Riff 12 13 ODE 45 2DH 77 4DH 109 6DH
23 Riff LI 14 OEH 46 2EH 78 4EH 110 6EH
2<1 Riff 14 15 OfH 47 2FH 79 4FH 111 6FH
~5 Waltz 16 lOE 48 30H 80 SOH 112 ?OH
26 Tango 17 llH 49 31H 81 51H 113 71H
-:, Orient l 18 12E so 32H 82 52H 114 72H
:s Grient 2 lS 131-: 51 33H 83 53H ll5 73H
.29 Orient 3 20 14H 52 34H 84 54H ll6 74H
30 Cn.ent 4 21 15E 53 35H 85 SSH 11? ?SH
31 SHAMISEN 22 16E 54 36H 86 56H ll8 76H
32 Techno 1 23 17H 55 37H 87 57H 119 ?7H
33 Techno 2 ).4 l HH ~h JHH BB 58!-l 120 78H
34 Techno 3 2S 191-i 57 39H 89 59H 121 79H
35 Techno -1 26 lAH B 3AH ~HJ SAH 122 7AH
J6 Drum 1 lBH 59 38H 91 :;BH E3 7RH
Ji Drum 2 28 lCl-i 60 3CH 9:2 SCH 124. 7CH
38 Drum 3 29 lDH 61 30H 93 5DH l:!':, mH
:? 9 Bass 1 30 lEH 62 3EH 94 SEH 126 7EH
40 Bass 2 31 1 F'H 63 3FH 95 SFH 127 7F'H
41 Bass 3 - - - - - - - +---,---+-+---+---, ------+
42 Eossa 1
43 Bossa
44 Bossa When expn,,s~ing a MJDI .:hannel number or u program change number, plea!:ie nolil"t'
45 Pop 1 that thlf values are less by one .For example, l'vUDI d1.1nnd is expressed as tJ through 15
46 Pop
47 Pop 3 instead of l through It,
48 Pop 4 Tiu. range of i bit can t!Xprtss 118 steps from Oto 127 To express broader range, US<'
49 Pop 5
SO Finale several d.ttn bytes
ro 41 lG OD 30 11 01 01 00 00 00 00 01 00 70 F7
Churus setting:
Trnnsmittc duta:
118
Chapter 11 Appendices I
GUITAR SYNTHESIZER Date : Jul. 21, 2000
Model GR-33 MIDI Implementation Chart Version : 1.01
Note ON 0 9n V=1-127 0
Velocity X
Note OFF 0 9n V=0
After Key's X X
Touch Ch's X X
Pitch Bend 0 0
0, 32 0 0 (MSB only) *2 Bank Select
1 0 0 *2 Modulation
4 0 0 2 Foot Type
6,38 0 X Data Entry
7 0 0 *2 Volume
10 0 0 *2 Panpot
17 0 0 *2 General Purpose 2 (Harmony Key)
Control 18 0 0 *2 General Purpose 3 (Envelope1/2)
19 0 0 *2 General Purpose 4 (WAH Pedal)
Change 64 X 0 *3 Hold 1
80 X 0 *2 General Purpose 5 (Tap Tenpo Teach)
81 0 0 *2 General Purpose 6 (CTRL Pedal)
82 0 0 *2 General Purpose 7 (HOLD Pedal)
83 0 0 *2 General Purpose 8 (Arpeggio Hold)
91 0 0 *2 EFFECT 1 (Reverb)
93 0 0 2 EFFECT 3 (Chorus)
100,101 0 X 2 RPN LSB, MSB (Pitch Bend Sensitivity only)
1-31,64-95 0 0 2 Assinable (EXP Pedal)
Prag 0 0 *2
Change : True# 0-127 Program Number 1-128
System Exclusive 0 0 *4
: Song Pos X X
System X
: Song Se! X
Common
:Tune X X
System :Clock 0 X
Real Time : Command 0 X
: All sound off X X
: Reset all controllers X X
: Local ON/ OFF X X
: All Notes OFF X 0 (123-127) 2
Aux : Active Sense 0 0
Message : System Reset X X
*1 Can be memorized after powering off.
*2 Can be received only through the Basic channel.
Notes
*3 Can be received only in the POLY MODE reception.
119
I
IChapter 11 Appendices
Specifications
GR-33: GUITAR SYNTHESIZER
eTones Dimensions
384 435 (W) x 280 (D) x 95 (H) mm
17-1/8 (W) x 11 (D) x 3-3/ 4 (H) inches
Patches
User: 128 eWeight
Preset: 128 2.5 kg
5 lbs 9 oz (excluding the AC Adaptor)
eDisplay
16 segments 6 characters backlit LCD Accessories
7 segments 3 characters LED Owner's Manual
AC Adaptor BRC series
Effects
GK Connecting Cable (C-13A, 5 m)
MULTI-FX (40 types)
Chorus eOptions
Reverb Divided Pickup: GK-2A
Unit Selector: US-20
Connectors/Jacks
GK Connecting Cable (C-13B, 10 m)
GKIN
Foot Switch: FS-SU (BOSS) + PCS-31
BANK SHIFT
GUITAR OUT
GUITAR RETURN L
~
In the interest of product improvement, the specifications
GUITAR RETURN R (MONO) and/or appearance of this unit are subject to change without
MIX OUT L (PHONES) prior notice.
MIX OUT R (MONO)
MIDI IN
MIDI OUT
ACIN
120
Index
.
A MIDI Bank Select ........................................................... 89
Acceleration ................... ,............................................... 40 MIDI Channel ................................................................ 86
ARP PATTERN .............................................................. 79 MIDI Foot Controller .................................................... 24
ARP TEMPO .................................................................. 79 MIDI Sound Device ....................................................... 86
Arpeggiator .................................................................... 76 Mono Mode .................................................................... 88
Arpeggio Patterns ................................................... 76, 79 MULTI-FX ...................................................................... 53
ATTACK ......................................................................... 49 MULTI-FX SW ............................................................... 53
MULTI-FX TYPE ........................................................... 54
B
BASIC CHANNEL ........................................................ 86 0
Bend Data Thin Function ............................................. 95 Output ............................................................................. 15
BEND RANGE ............................................................... 86 OUTPUT SELECT ......................................................... 19
BEND REQ SW .............................................................. 98 p
BRIGHTNESS ................................................................ 50
Bulk Dun1p ..................................................................... 37 PAN ................................................................................. 41
Bulk Load ....................................................................... 37 Patch .......................................................................... 21, 35
Patch Edit Mode ............................................................ 32
C PATCH LEVEL .............................................................. 38
Chorus ............................................................................. 74 PATCH NAME .............................................................. 38
CHROMATIC ................................................................ 42 Patch Write ..................................................................... 36
CTRL Pedal .................................................................... 46 Pedal Effect Mode ................................................... 26, 31 .
PICKUP SENS ................................................................ 17
D Pitch Glide ................................................................ 28, 44
Detune ............................................................................. 51 PLAY FEEL ..................................................................... 39
DIAL FUNCTION ......................................................... 23 Play Mode ................................................................. 15, 30
DISPLAY TYPE ............................................................. 24 Poly Mode ...................................................................... 88
Preset Patches ................................................................. 21
E Program Change Number ............................................ 88
EFFECT BYPASS ........................................................... 75
Envelope Follow ............................................................ 40 R
EXP PEDAL .................................................................... 47 RELEASE ........................................................................ 50
External Foot Switch ..................................................... 23 Reverb ............................................................................. 74
F s
Factory Reset .................................................................. 16 Sequencer ........................................................................ 93
STRING SELECT ........................................................... 35
G System Mode .................................................................. 33
G.AMP SIM .................................................................... 19
GK-2A ............................................................................. 13 T
GUITAR SELECT .......................................................... 17 Tap Tempo Teach function .......................................... 79
Tone ................................................................................. 35
H TRANSPOSE .................................................................. 51
HAR/ ARP CONTROL ........................................... 77, 81 Tuner Function .............................................................. 18
HAR/ ARP SELECT ................................................ 78, 82 Tuner Mode .................................................................... 33
Harmonist ....................................................................... 80
HARMONY KEY ........................................................... 84 u
HARMONY REMOTE .................................................. 84 User Patches ................................................................... 21
HARMONY STYLE ...................................................... 82
Hold ........................................................................... 28,45 V
VOL SEND SW .............................................................. 98
L
LAYER ............................................................................ 51 w
Local Control Off ........................................................... 94 Wah ........................................................................... 28,43
M
MIDI ................................................................................ 86
cco ............................................................................ 89
PC ............................................................................... 88
TRANSPOSE ............................................................ 92
121
P"
Tone List
No. Name No. Name No. Name No. Name
122
I Tone List I
No. Name No. Name No. Name No. Name
192 Horn Sect <HARD LEAD> 290 VowVowVox 341 SawsSweep1
193 Big Brass 241 Digi Lead 1 291 London Choir 342 Sweep Pad
194 BrassSect x4 242 Digi Lead 2 292 GregorianChr 343 LFOSweepSaw
195 Brass Falloff 243 RezBrassLead 293 Slow Choir 344 SawsSweep2
244 DigiwaveLead 294 Hybrid Chr
<SYN.BRASS> <PALSATING>
245 WAVE Table 295 Breathy Vox
196 Mellow Horn 345 JUNO Polaris
246 Sync Sweep 296 Syn Vox
197 OBXP Brass 346 Filter Dance
297 Voice Oohs
198 MG Brass <SYNTH> 347 Flying GR
298 SweepVox Pad
199 Saws Brass 247 JUNO Clavi 348 Strobe Mode
299 Sweep SynVox
200 Brassy Saw 248 JUNOClaviRez 349 LFOVOX
300 JX-8P Vox 1
201 Synth Brass1 249 JUNOFunkClav 350 Slicer
301 JX-8P Vax 2
202 Synth Brass2 250 Simple Synth 351 lndustrialLp
302 Machine Vax
203 Solo SynBrs 251 JP Pluck 1
<SYNTH FX>
252 JP Pluck 2 <STRINGS>
<SOFT LEAD> 352 Random White
253 Lo-Fi Keys 303 St.Strings
204 OB Lead 1 353 Cold Wind
254 Nasty Keys 1 304 Mono Strings
205 OB Lead 2 354 Wind & Waves
255 Nasty Keys 2 305 GR33 Strings
206 Sqr Lead 1 355 Pink Bomb
256 Pulse Key 306 Orch Strings
207 P5 Pipe 356 Noise Fall
257 JP PulseKey1 307 Fat Ore Str
208 JP-8 Square 357 Air Noise
258 JP PulseKey2 308 Somber Str
209 Sqr Lead 2 358 Icy
259 Air Keys 309 BriteStrings
210 Synth Square 359 Vox Noise
260 Digital Gtr 310 Slow Strings
211 JP Det. Sqr 360 VoxNz Key
261 Analog Gtr 311 TremoloStrng
212 ?O's Lead 361 Atmospheric
262 WireString 312 Marcato Str.
213 Cold Lead 362 Feedbackwave
263 VectorGuitar 313 Full Orch
214 Hollow Lead 363 Volcano EFX
264 Metro Pad 314 Violin Solo
215 FM Lead 364 Vocal Phrase
265 "VH" Synth 315 GR Cello
216 700 Saw Ld 365 Oxygen-Jar
266 MG Del.Saw 316 GR Fiddle
217 KG800 Ld 366 Motion Synth
267 Fat JP-6 317 Erhu Vsw
218 2Pole SawLd 367 Tempered2000
268 Detuned Saw 318 Pizz
219 GR300 Saw1 368 ComputerRoom
269 JP Hollo 319 JP-8 Strings
220 GR300 Saw2 369 Emergency
270 Fairies 320 JUNO Strings
221 JP-4 Lead 370 Toy Gun
321 OB Strings
222 Puls Reso Ld <TECHNO> 371 Rattle Efx
322 OBXP Strings
223 Alpha Lead 271 Blaster <COMBINATION>
224 MG Saw 1 272 Daft wave <SOFT PAD>
372 Salsa Split
225 MG Saw2 273 TB Reso Sqr 323 JP-8Haunting
373 Tabla&Sitar
226 MG Saw3 274 AuhVox Rave 324 Hollow Pad
374 Didgeri Flt
227 SH-5 Saw 325 JP Synth Vex
<HIT> 375 Didgeri Pipe
228 SH-101 Saw 326 Air Prologue
275 Orch. Hit <BEAT&GROOVE>
229 D-50 Saw 1 327 Fine Wine
276 Philly Hit
230 D-50 Saw 2 328 Bowed PnoPad 376 Salsa Phrase
277 BrassVox Hit
231 OB Saw 329 DigiSaw Pad 377 DidgeridooPh
278 FX TomHit
232 Synth Pulse1 330 Soft Pad 378 TablaBayaPhs
279 Drill Hit
233 JP-8 Pulse 1 331 Warm Pad
280 Pcm Press <DRUM KIT>
234 JP-8 Pulse 2 332 SoundtrackGR
281 PC-2 Machine 379 Drum Kit 1
235 JP-8 Pulse 3 333 Vintage Pad
282 Tape Stop 380 Drum Kit2
236 Pulse Lead 334 JUNO OrgPad
283 Pere Heaven <PERCUSSION KIT>
237 JP Del.Pis 335 Syn Harmonica
284 Analog Snare
238 Detuned Pis 381 Hand Pere.Kit
<BRIGHT PAD>
239 MG Triangle <VOX/CHOIR> 382 Vax Pere.Kit
336 OB Synthy
240 2600 Sine 285 ScatVox Vsw 383 Gamelan Kit
337 Fat Pad
286 JzVoice Doos 384 Indus. Kit
338 Prologue
287 St.Vax Doos
339 Cosmos Pad
288 Voice Bahs 340 Saws Pad
289 JzVoice Bop
123
Patch List
Group A (E) Group B (F) Group C (G) Group D (H)
No. Patch Name No. PatchName No. Patch Name No. PatchName
A11 JAll. SCAT 811 BLOWPIPE C11 SITAR DRONE D11 CHOIR
A12 DIDGERI FLT 812 MIZMAR C12 * SHAMISEN D12 GREGORIAN CH
A13 JANGLE PAD 813 HARMONICA C13 OrientExpres D13 LFO VOX
*
A14 GR-300 LEAD 814 SOPRANO SAX C14
PLANET Am 014 SOUNDTRACK
A21 * 12STGUITAR 821 ALTO SAX C21 TUBALAR BELL 021 TotalEclipse
A22 * 303 TEKNO 822 BreathyT.SAX C22 ANGEL BELLS 022 SWEEPING SAW
A23 GR STRINGS 823 TRUMPET C23 ASIAN BELLS 023 DEEP SWEEP
A24 E.ORGAN/PDL 824 MUTE Tp C24 STEEL DRUM 024 HOLLOW PAD
A31 ROMANTIC PAD 831 F.HRN SECT C31 Sof!Digi Swp 031 HYBRID PAD
A32 FRETLESS BS 832 T.SAX SECT C32 WICHITA PIPE 032 JP SOFT PAD
A33 DAFT WAVE 833 Tp&Tb SECT C33 70s SAW LEAD 033 FLG PROLOGUE
A34
Cmaj-STRINGS 834 Tb&Sax SECT C34 BRITE SAWLD 034 CONQUEROR
A41 * NYLONSTRGT 841 OKTOBERFEST C41 DETUNED SAWS D41 DIGI CHOIR
A42 MIDI PIANO 842 BIG BRASS C42 SYNC LEAD 042 PULSATER
*
A43
A44
DIST. GUITAR
E.SITAR
843
844
HUGESAWBRS
SAW BRASS
C43
C44
OD SYN LEAD
BELL PAD
043
044
* ORBIT SHUFFL
STEP FLANGER
A51 T ABLA&SITAR 851 AC.BASS C51 AIR BELL PAD 051 STROBE MODE
A52 DIDGERI PIPE 852 FINGERED BS C52 WIRE STRINGS 052 FLYING GR
A53 TABLA+VoxKit 853 SLAP BASS C53 NASTY KEYS D53 OXGEN-JAR
A54 SALSA SPLIT 854 DEEP FRETLES C54 DIGIGUITAR 054 * DYNO SPACE
A61 GRAND PIANO 861 GUITARRON BS C61 DIGISAWS 061 MOLTEN LAVA
A62 * OD PIANO 862 TB-303 BASS C62 BLASTER OCT. 062 * NIGHTMARE
A63 MIDI KEYS 863 PEDAL BASS C63 150 8PM 063 FILTEA DANCE
A64 PANNING RHOS 864 TEKNO TAURUS C64 TAPE STOP 064 COSMOS
A81 * ACCORDION 881 JC STRAT C81 HYB STRINGS D81 GAMELAN KIT
A82 BAMBOO FLUTE 882 STEELSTR GT C82 JPS STRINGS
*
082 INDUS. KIT
A83 VOX FLUTE 883 PEDAL STEEL C83 PHASER STR1 083 TRIBAL DRUMS
A84 TIN WHISTLE 884 FLAMENCO C84 PHASERSTR2 D84
* DRUM KIT
*
* Group A-Dare user patches which can be overwritten. Their conte11ts nre identical to the rend-only Group E-H above (preset patches).
124
MEMO
125
MEMO
126
, , - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE
BLUE: NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter Lor coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - F o r EU Countries
CAUTION
Danger of explosion if battery is
Apparatus containing incorrectly replaced.
Replace only with the same or
Lithium batteries equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer's instructions.
ADVARSEL! VARNING
Lithiumbatteri - Eksplosionsfare ved Explosionsfara vid felaktigt batteribyte.
fejtagtig handtering. Anvand samma batterityp eller en
Udskiftning ma kun ske med batteri at ekvivalent typ som rekommenderas av
samme fabrikat og type. apparattillverkaren.
Lever det brugte batteri tilbage Iii Kassera anvant batteri enligt
leverandoren. fabrikantens instruktion.
ADVARSEL VAROITUS
Eksplosjonsfare ved fellaktig skifte av Parisio voi rajahtaa, jos se on
batteri. virheellisesti asennettu.
Benytt samme batteritype eller en Vaihda paristo ainoastaan
tilsvarende type anbefalt av laitevalmistajan suosittelemaan
apparatfabrikanten. tyyppiin. Ha vita kaytetty paristo
Brukte batterier kasseres i henhold tit vatmistajan ohjeiden mukaisesti.
fabrikantens instruks joner.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - F o r EU Countries
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - F o r the USA
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - F o r Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Get appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouilleur du Canada.
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below,
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(PTY) Ltd. LTD PARAGUAY KUWAIT
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#02<?1-IH, SINc;APORb 489980 lnstrumentos Musicales
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ROLAND TAIWAN
PORTUGAL Chahine S,A.L.
Paul Bothner (PTY) Ltd, ENTERPRISE CO., LTD.
Room 5, 90. No. 112 Chung Shan
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17 Wi!rdrnuller Centre, Achrnfich, P.O.Box: 16-585i
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Roland Shanghai Electronics Saigon Music
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TEL: (095) 169 5043
P.O.Box 2154, Alkhob.ir 31951
Roland Shanghai Electronics AUSTRIA SPAIN SAUDI ARABIA
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Xi,1ng, Wu Yang Xin Cheng, TEL: (0)8 702 00 20 Barkat muzik aletleri ithalat
Guangzhou 510600, CHINA DENMARK ve ihracat Ltd Sti
Tel: (020) 8736-0428
NEW ZEALAND Roland Scandinavia AIS SWITZERLAND Siraselviler Caddcsi Siraselviler
Roland Corporation Ltd. Nordha\'ruwej 7, Postbox 880, Roland (Switzerland) AG Pa.saji Nu:74/::20
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HONGKONG LmdstrasSt' 5, Poslfad1,
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Tom Lee Music Co,, Ltd. CH-4452 ltingen,
TEL: (09) 3098 715 TEL: 3916 6200 SWITZERLAND
Seivice Di vision TEL: (061) 927-8181 U.A.E.
22-32 Pun Shan Street, Tsucn
Wan, New T crritnrk-s, CENTRAL/LATIN FRANCE Zak Electronics & Musical
Roland France SA UKRAINE Instruments Co. L.L.C.
HONGKONG
TEL: 2415 0911
AMERICA 4, Rue Paul Henri SPAAK, TIC-TAC Zabeel Road, Al Sherooq Bid~ ..
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Thibault, Lagny Cedex FRANCE r,o, Box 180 TEL: (0-1) 3360715
Parsons Music Ltd. ARGENTINA TEL: !JI 600 73 500
8th Floor, Railwav Plaza, 39 Instrumentos Musicales S.A. 295400 Munkache\'o, l:KRAINE
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Av ,Santa Fe 2055 FINLAND
Kowkxm, HONG KONG (1123) Buenos Aires
Roland Scandinavia As, UNITED KINGDOM
{NORTH AMERICA)
TEL: 2333 1863 ARGENTINA
TEL: (01 l) 4508-2700 Filial Finland Roland (U.K.) Ltd.
Elannontie S Atlantic Close, Swansea CANADA
INDIA FIN-01510 Vantaa, FINLAND Enterprise Park, SWANSEA Roland Canada Music Ltd,
BRAZIL TEL: (!1)9 68 24 020
Rivera Digitec (India) Pvt. Ltd, SA7 9F), (Head Office)
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409, Nirman Kendra Mahalaxmi Rua San Jose, 780 Sala B 5-180 Parkwood Wav Richmond
Flats Compound Off. Dr. Edwin Parquc Industrial San Jo&
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Moses Road, Mumbai-400011, Cotia Sdo Pdulo SP, BRAZIL
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Roland Elektronische TEL: (604 J270 6626
lND!A TEL: (011) -11>15 51mb Musikinstrumente HmbH.
TEL: (022) 24t.J3 9051 Oststrasse 96, 22844 Nordersti.:...Jt, Roland Canada Music Ltd.
COSTA RICA GERMANY (MIDDLE EAST) (Toronto Office)
INDONESIA JUAN Bansbach TEL: (040) 52 60090 170 Admiral Boule\ard
Mississauga On LIT :!NO
PT Citra IntiRama lnstrumentos Musicales BAHRAIN
J1. Cideng Timur No. 15J-150 Ave.1. Cdltc 11, Apartado 10237,
GREECE Moon Stores
CANADA
Jakarta Pusat STOLLAS S.A. TEL: (905) 362 9707
San Jose, COST A RICA No. lb, Bab Al Bahrain AvC'nue,
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TEL: (021) <,324170 155, New National Ruad State of DAHRAIN
U.S.A.
Patras 26-l-t-2, GREECE Roland Corporation U.S.
CHILE TEL: 211 Uil5
KOREA Comercial Fancy II S.A.
TFL: 2610 435400 5100 S. Eastern Avenue
Los Anr;cles, CA 9CXllil2938,
Cosmos Corporation Rut.: 96.919.420-1 CYPRUS U,S,A,
1461-9, Seocho-Dong, Nataniel Cm.: #739, -lth Floor
HUNGARY Radex Sound Equipment Ltd.
Seocho Ku, Seoul, KOREA Roland East Europe Ltd. TEL: (323) 890 3700
Santiago Centro, CHILE 17, Diagorou Street, Nicosia,
TEL: (02) 3-186-8855 WarehouSt> Area 'DF:PO' Pf.8.3 CYPRUS
TEL: (02) 6889540
H-2046 Torokbalint, HUNGARY TEI : (ll22) M-942n
TEL: (23) 51 !011 As of July I, 2003 (Roland)
UPr 7167i468
11'1 Hll 11 -
~Roland