Gebruiksaanwijzing /service van het product GR-33 van de fabrikant Roland
Ga naar pagina of 128
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of June 1, 2000 (Roland) ARGENTINA Instrumentos Musicales S.A. Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057 BRAZIL Roland Brasil Ltda.
For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation.
3 013 ● In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit. ......................................................................
4 Contents Getting Started ........................................................................................ 8 About the Guitar Synthesizer ........................................................................................................
5 Contents Chapter 4 Five Basic Modes ................................................................ 30 Play Mode .......................................................................................................................................
6 Contents Chapter 6 Using the Built-in Effects .................................................... 53 About the Effects Processors and Available Effects ................................................................. 53 Making Multi-effects Settings .
7 Contents Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE]) ..... 92 What to do if an External Module Doesn’t Produce Sound as Expected.............................. 92 Using the GR-33 as an External Sequencer Input Tool .
8 Getting Started About the Guitar Synthesizer The GR-33 guitar synthesizer, though small and compact, is big on functions and high-quality sounds. Say “synthesizer,” and people generally think of the typical kind with a keyboard controller.
9 IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following: Power Supply 301 ● Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).
10 Panel Descriptions fig.0-01 1 VOLUME Knob The VOLUME knob adjusts the signal volume output from the MIX OUT jack. The center mark provides an easy reference setting when connecting the GR-33 to an instrument amp or mixer. * The output level from the GUITAR OUT jack is controlled separately.
11 Panel Descriptions 11 BANK/PARAMETER Button Press these buttons in Play mode to switch patch banks. In System mode and Patch Edit mode, these buttons select the parameter to be adjusted. 12 PATCH/VALUE Dial In Play mode, turn this dial to scroll through the different patches or tones in order.
12 Panel Descriptions fig.0-02 17 MIX OUT Jacks L(PHONES)/R(MONO) The output of the synthesizer is sent out, or “output,” from here. Ordinarily, two cables are plugged into the L and R jacks, and the signal is then sent to a stereo amplifier.
13 Chap. 1 Chapter 1 Producing Sounds What You Need The following items are necessary for getting sounds from your GR-33: ● GR-33 base module, with included accessories (AC adapter, 13-pin cable) .
14 Chapter 1 Producing Sounds Making Connections After setting up the guitar part of your system, connect your other equipment following the examples shown in the connection diagram below.
15 Chapter 1 Producing Sounds Chap. 1 For settings appropriate to your output device, refer to “Specifying the output device (OUTPUT SELECT)” (p. 19). Necessary Steps—From Powering Up to Performance * Once your connections have been completed (p.
16 Chapter 1 Producing Sounds Reset to Default Factory Settings (Factory Reset) The Factory Reset operation undoes any settings you have changed and discards any edits you have made to its patches. If you have settings or patches you wish to preserve, use the Bulk Dump operation (p.
17 Chapter 1 Producing Sounds Chap. 1 Overall Settings for the GR-33 (SYSTEM) Adjusting the Brightness of the Display (LCD Contrast) ■ Adjusting the Brightness of the Display 1. Press [SYSTEM] to enter System mode. 2. Press [PARAMETER] to select “LCD CONTRAST.
18 Chapter 1 Producing Sounds 3. Turn [VALUE] to select Gtr1–Gtr4. The setting you select will be loaded. * With the factory settings, this is set to “Gtr1.” If you wish to create a new input-sensitivity setup, press [PARAMETER] to select “PICKUP SENS,” and then adjust the sensitivity settings for the current guitar’s six strings.
19 Chapter 1 Producing Sounds Chap. 1 fig.1-12 5. Tune each of the other strings, 5 to 1, to A, D, G, B, and E, respectively. 6. When you are finished tuning, press any foot pedal, [S1] or [S2] on the GK-2A, or [PLAY], to return to Play mode.
20 Chapter 1 Producing Sounds Playing the Internal Synth Sounds with the Guitar After checking the connections to the amplifier you are using, completing the sensitivity setup and tuning your guitar, try playing some sounds. ■ How to Play the GR-33’s Sounds with the Guitar 1.
21 Chap. 2 Chapter 2 Selecting and Playing Sounds (Patches) What Is a Patch? “Patch” is the term for the GR-33’s tones that can be called up at any time with a foot switch or other device.
22 Chapter 2 Selecting and Playing Sounds (Patches) 3. Use [VALUE] to select “Patch Select.” • Patch Select: You can continuously switch patches with [S1] and [S2] on the GK-2A. • Normal: Normal status. You cannot switch patches on the GK-2A. 4.
23 Chapter 2 Selecting and Playing Sounds (Patches) Chap. 2 fig.2-06 3. While pressing [S1] on the GK-2A, step on [BANK ▲ ] (pedal 4) or [BANK ▼ ] (pedal 3). As long as the [S1] button is held down, pedal 4 works as a [BANK ▲ ] (BANK UP), and pedal 3 as a [BANK ▼ ] (BANK DOWN).
24 Chapter 2 Selecting and Playing Sounds (Patches) * Sometimes when pressing and releasing the foot switch to switch banks, you may find that while the bank does change, the patch number may not (light will flash); however, this does not indicate any malfunction.
25 Chapter 2 Selecting and Playing Sounds (Patches) Chap. 2 Changing the Patch Order When sequencing patches while performing a piece, or while you are on stage, if the patches are from the same group/ bank (for example A11 to A14), you can switch patches very smoothly by using the pedals on the base module.
26 Chapter 3 Controlling Functions and Effects with the Base Module Pedals “Pedal Effect Mode”: What It Is, and How to Call It Up ■ How to Switch to Pedal Effect Mode 1. Press [SYSTEM] to enter System mode, and set the “S1/ S2 FUNCTION” to “Normal.
27 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Chap. 3 Turning Arpeggiator and Harmonist On/Off The GR-33 comes with Multi-Effects, Arpeggiator, and Harmonist functions that can be turned on and off using the pedals. * The MULTI-FX Bypass, Arpeggiator and Harmonist can be turned on or off individually for each Patch.
28 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Changing Effects with the Pedals In Pedal Effect mode (p. 26), you can get different effects by pressing Pedals 1 to 4 in the follow way. Getting a Pedal Wah Effect (Wah) You can get several of the most commonly used wah effects by pressing Pedal 1 (WAH).
29 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Chap. 3 Calling Up the Tuner Function with a Pedal 1. While pressing [S1] on the GK-2A, step on Pedal 1 (TUNER). * Perform this operation with “S1/S2 FUNCTION” set to “Normal.
30 Chapter 4 Five Basic Modes The three main modes of the GR-33 allow you to: • Select tones and perform “Play mode” • Get effects such as wah or hold using the pedal on the base module “Ped.
31 Chapter 4 Five Basic Modes Chap. 4 Pedal Effect Mode In Pedal Effect mode, buttons and dials work as follows. Additionally, you can change the nature of the available effects by pressing Pedals 1 to 4 in each patch. You can also change and re-record effects settings in User Patches A11 to d84.
32 Chapter 4 Five Basic Modes Patch Edit Mode: What It Means, How It Works In this mode, you can program patches. Patch Edit mode is divided into three sections: COMMON, TONE, and EFFECTS. fig.4-01 • COMMON This is where you name a Patch or set up pedal effects.
33 Chapter 4 Five Basic Modes Chap. 4 System Mode In this mode you can make settings for the entire GR-33 — i.e., settings that do not change when you switch patches — such as input sensitivity and display brightness.
34 Chapter 4 Five Basic Modes Getting Into and Out of Each Mode Here we will explain how to get into and out of each of the five modes: Play mode, Pedal Effect mode, Patch Edit mode, System mode and Tuner mode. For modes other than Pedal Effect mode, you can press a single button on the GR-33 to enter the desired mode from any other mode.
35 Chap. 5 Chapter 5 Setting/Changing Sounds (Patches) Details of Putting a Patch Together Every patch is constructed as shown in the following figure. fig.5-01 What is a “Tone”? As shown in the above figure, you can select any two of the 384 built-in tones—the raw material for synth sounds—and use them in a patch.
36 Chapter 5 Setting/Changing Sounds (Patches) The Relationship Between Arpeggiator/ Harmonist and Patches When you are playing, you can use the arpeggiator or the harmonist. For each patch, you can select one of these functions (p. 78, 82) and also determine whether or not it will be active (p.
37 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Saving Patches From the GR-33 to Sequencers or Other MIDI Devices (Bulk Dump) Settings for all user patches—as well as all system settings— can be transferred in and out of the GR-33 using MIDI.
38 Chapter 5 Setting/Changing Sounds (Patches) 7. Press [PLAY] to return to Play mode. * If you send data for a single patch to the GR-33, you will need to perform the Patch Write operation (p. 36) on the GR-33 to store the patch in a patch memory location.
39 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 • When both the first and second tones are present. • When the Reverb send level or Chorus send level is set to a high level. • When a high volume level is a characteristic of the tone itself.
40 Chapter 5 Setting/Changing Sounds (Patches) The eight types “Accl Normal,” “Accl Finger,” “Accl Hard,” “Accl Soft,” “Accl Tapping,” “Accl No Dynamics,” “Accl Envelope1,” and “Accl Envelope2” add the Accel function to the previously listed eight types.
41 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Changing Sound Placement (PAN) You can pan each of a patch’s two tones to its own stereo location. For example, you can pan one tone to the far left in the stereo field, and the other to the far right.
42 Chapter 5 Setting/Changing Sounds (Patches) Dividing Continuous Pitch Changes into Semitones (CHROMATIC) The GR-33 faithfully reproduces the slight pitch changes and in-between notes you get from fingering your guitar’s strings. However, should the need arise, you can also limit this subtle pitch response to semitone changes only.
43 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Selecting Wah Types (WAH TYPE) There are 35 types, in seven groups, of wah effects you can get by stepping on and releasing pedal 1 in Pedal Effe.
44 Chapter 5 Setting/Changing Sounds (Patches) * If you use wah once, the sound from a patch with a muffled sound may continue, or some other kind of peculiarity may change, even after releasing the wah pedal. If this happens, switch to another patch, and then call up the desired patch again to return to the original sound.
45 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Selecting Hold Type (HOLD TYPE) With the Hold function on pedal 3 in Pedal Effect mode, for the qualities such as the sustaining of a tone’s sounding, there are fifteen ready-made variations that can be selected according to the particular purpose, and saved to patches.
46 Chapter 5 Setting/Changing Sounds (Patches) Sostenuto All: This sostenuto hold works on all internal and external MIDI sound generators. Sostenuto 1st: This sostenuto hold works only on the first internal sound generator. Sostenuto 2nd: This sostenuto hold works only on the second internal sound generator.
47 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Using the Expression Pedal By using the expression pedal (EXP pedal) attached to the GR-33, you can add various effects to synth sounds. You can choose from among eighteen effects that can be controlled with the EXP pedal, including pitch, volume, arpeggiator tempo and the like.
48 Chapter 5 Setting/Changing Sounds (Patches) Pan (Normal) (Normal Pan): “PAN” (p. 41) settings in the patch are ignored, and stereo placement is controlled by the EXP pedal. Both of the patch’s tones are panned together. Both tones are panned right when the pedal is pressed forward, and left when the pedal is brought back.
49 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Creating Synth Sounds You can select from among the 384 built-in sounds that provide the foundation for the GR-33’s patches, choosing a “1st tone” (first tone) and a “2nd tone” (second tone).
50 Chapter 5 Setting/Changing Sounds (Patches) Changing Tone Release (RELEASE) With the “RELEASE” setting, you can change the decay of the 1st (or 2nd) tone you selected with 1ST SELECT (or 2ND SELECT). By increasing the release time, the sound fades away more gradually at the end of a note, even after the strings stop vibrating.
51 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Combining/Layering Two Sounds (Tones) Determining Which Tones Will Be Sounded (LAYER) You can determine how the 1st and 2nd tones will be combined using the TONE “LAYER” parameter in Patch Edit mode.
52 Chapter 5 Setting/Changing Sounds (Patches) 3. Use [STRING SELECT] to select the string you wish to set up. For more detailed information about the “STRING SELECT” button, refer to “Making separate settings for each string (STRING SELECT)” (p.
53 Chap. 6 Chapter 6 Using the Built-in Effects About the Effects Processors and Available Effects The GR-33 has the following three onboard effect processors. a. MULTI-FX (Multi-effects) b. CHORUS c. REVERB The overall structure of the EFFECTS as follows.
54 Chapter 6 Using the Built-in Effects Selecting a Type (MULTI-FX TYPE) Multi Effects provides 40 different effects types (MULTI-FX TYPE). For each of these effect types, you can specify parameter values. By changing these parameters, various effects can be applied.
55 Chapter 6 Using the Built-in Effects Chap. 6 About Multi-Effects Parameters 1: STEREO-EQ (Stereo equalizer) This is a stereo equalizer which allows you to adjust the tone quality using a low range, two mid-range, and a high range control.
56 Chapter 6 Using the Built-in Effects 3: DISTORTION Distortion produces a more intense distortion than the Overdrive effect. fig.6-07 DRIVE 0–127 # Adjust the amount of distortion. The volume will change together with the amount of distortion. PAN (Output pan) L64–0–R63 Specify the stereo location of the output sound.
57 Chapter 6 Using the Built-in Effects Chap. 6 BAND4 (Band 4 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 1250 Hz. BAND5 (Band 5 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 2000 Hz. BAND6 (Band 6 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 3150 Hz.
58 Chapter 6 Using the Built-in Effects LOW SLOW (Low frequency slow rate) 0.05–10.0 Hz Specify the low-speed (SLOW) rotational speed of the low- range rotor. HIGH FAST (High frequency fast rate) 0.05–10.0 Hz Specify the high-speed (FAST) rotational speed of the high- range rotor.
59 Chapter 6 Using the Built-in Effects Chap. 6 PAN (Output pan) L64–0–R63 Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right. POST GAIN 0/+6/+12/+18 dB Specify the level of the output sound.
60 Chapter 6 Using the Built-in Effects 13: SPACE-D Space-D is a multiple chorus that applies two-stage modulation in stereo. It does not produce a sense of modulation, but creates a transparent chorus effect. fig.6-17 PRE DELAY (Pre delay time) 0.0–100 ms Specify the delay time from the original sound until the chorus sound is heard.
61 Chapter 6 Using the Built-in Effects Chap. 6 15: STEREO-FL (Stereo Flanger) This is a stereo flanger (the LFO has the same phase for left and right). This produces a metallic resonance reminiscent of a jet airplane taking off and landing. A filter is provided so that you can adjust the tone of the flanger sound.
62 Chapter 6 Using the Built-in Effects LOW GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range. HIGH GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the high frequency range.
63 Chapter 6 Using the Built-in Effects Chap. 6 18: MOD-DELAY (Modulation Delay) Modulation-delay is an effect which adds modulation to the delay sound. It produces a flanger-like effect. fig.6-22 FB MODE (Feedback mode) Normal/Cross Specify the input destination to which the delay sound will be returned.
64 Chapter 6 Using the Built-in Effects DELAY CENTER (Delay time center) Specify the delay time from the original sound until the center delay sound is heard. * The setting values are the same as for DELAY LEFT. FEEDBACK (Feedback level) -98%–+98% # Specify the proportion (%) of the delay sound that is to be returned to the input.
65 Chapter 6 Using the Built-in Effects Chap. 6 HF DAMP 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.
66 Chapter 6 Using the Built-in Effects FINE B (Fine pitch B) -100–+100 Adjust the pitch shift amount in 2-cent units (1 cent = 1/ 100th of a semitone) for pitch shift B. PRE DELAY A (Pre delay time A) 0.0–500 ms Specify the time delay from the original sound until the pitch shift A sound is heard.
67 Chapter 6 Using the Built-in Effects Chap. 6 24: REVERB Reverb adds reverberation to the original sound, simulating an acoustic space. fig.6-27 TYPE (Reverb type) Room1/Room2/Stage1/Stage2/Hall1/Hall2 Specify the type of reverb.
68 Chapter 6 Using the Built-in Effects 26: OD ➔ CHO (Overdrive ➔ Chorus) This effect connects an overdrive and chorus in series. fig.6-29 OD DRIVE 0–127 # Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion.
69 Chapter 6 Using the Built-in Effects Chap. 6 28: OD ➔ DLY (Overdrive ➔ Delay) This effect connects an overdrive and a delay in series. fig.6-31 OD DRIVE 0–127 # Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion.
70 Chapter 6 Using the Built-in Effects 32: EH ➔ CHO (Enhancer ➔ Chorus) This effect connects an enhancer and a chorus in series. fig.6-35 EH SENS (Enhancer sensitivity) 0–127 Specify the sensitivity of the enhancer.
71 Chapter 6 Using the Built-in Effects Chap. 6 34: EH ➔ DLY (Enhancer ➔ Delay) This effect connects an enhancer and delay in series. fig.6-37 EH SENS (Enhancer sensitivity) 0–127 Specify the sensitivity of the enhancer.
72 Chapter 6 Using the Built-in Effects LEVEL (Output level) 0–127 Specify the output volume. 36: FL ➔ DLY (Flanger ➔ Delay) This effect connects a flanger and a delay in series. fig.6-39 FL PRE DLY (Flanger pre delay time) 0.0–100 ms Specify the time delay from the original sound until the flanger sound is heard.
73 Chapter 6 Using the Built-in Effects Chap. 6 FL FEEDBACK (Flanger feedback level) -98–+98 % Specify the proportion (%) of the flanger sound that is to be returned to the input. Positive (+) settings will return the sound to the input with the original phase, while negative (-) settings produce an inverted phase.
74 Chapter 6 Using the Built-in Effects Making Chorus Settings Here’s how to adjust parameters such as modulation depth and speed for the chorus sound. ■ Procedure for Setting Chorus 1. Select the patch for which Chorus is to be set, and press [EFFECTS] to go into Patch Edit mode.
75 Chapter 6 Using the Built-in Effects Chap. 6 Hall1: Reverb with clear reverberation. Hall2: Reverb with rich reverberation. Delay: Standard delay Pan Delay: A delay effect with echoes that pan left and right. REV SEND LEVEL (Reverb/Delay Send Level) Specifies the volume of the reverb (or delay).
76 Chapter 7 The Arpeggiator Function The GR-33 is equipped with an Arpeggiator function that is uniquely suited to guitar performances. When turned on, Arpeggiator takes over when a chord is strummed, and plays the chord’s notes for you in simple or complex ways.
77 Chapter 7 The Arpeggiator Function Chap. 7 Latch TypeA (Latch hold type A): With an ordinary hold function, pressing the pedal starts the hold, and releasing the pedal ends it. With a latch hold, however, pressing the pedal once begins the hold, and pressing the pedal again ends it.
78 Chapter 7 The Arpeggiator Function * Alternatively, when one of the arpeggiator setting items “HAR/ARP CONTROL,” “HAR/ARP SELECT,” or “ARP PATTERN” are selected, you can use pedal 4 (CTRL) to turn the arpeggiator on/off. * The arpeggiator on/off setting is independent for each patch.
79 Chapter 7 The Arpeggiator Function Chap. 7 Selecting Arpeggio Patterns (ARP PATTERN) The GR-33 contains 50 preset arpeggio patterns. For each patch, you can select any one of the preset arpeggio patterns. For more detailed information about arpeggio patterns, please refer to “About “Arpeggio Patterns” (p.
80 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) The GR-33 lets you use the TONE “TRANSPOSE” setting (p. p. 51) to shift the pitch of the 1st and 2nd tones relative to the guitar’s pitch, creating an always-parallel harmony.
81 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 Operation Turning the Harmonist On and Off (HAR/ARP CONTROL) Using pedal 4 (CTRL) to turn Harmonist on/off If you wish to turn Harmonist on/off while you perform, make the following settings.
82 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Selecting Harmony Tones (HAR/ ARP SELECT) The “HAR/ARP SELECT” (Harmony/Arpeggio select) parameter for each patch determines whether the 1st tone, the 2nd tone, or an external sound generator produces the harmony.
83 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 The various settings produce the following intervals between the melody and the harmony. fig.8-05 * When HARMONY STYLE is “+3,” and HARMONY KEY is set to “minor,” the harmony is made in a minor scale.
84 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Setting the Key (HARMONY KEY) The “HARMONY KEY” setting selects the key in which the patch’s melody is to be played, such as C or Gm (G minor).
85 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 7. Refer to the owner’s manual for the external device, and send MIDI note messages to the GR-33. If you are using the FC-200, press the “MODE” button on the pedal to switch to the Note mode.
86 Chapter 9 Connecting to External Sound Generators and Sequencers Connecting an external sound generator to the GR-33 makes it possible to play sounds not included the 384 built-in tones, and to create fatter sounds by combining notes from the GR- 33 and the external device.
87 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 * For a detailed explanation of Mono mode and Poly mode, see the subsequent section, “Transmitting in Mono Mode or Poly Mode.
88 Chapter 9 Connecting to External Sound Generators and Sequencers “GUITAR,” a value of zero is sent to the external sound generator on the Control Change message No.
89 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 Conversely, if there is a patch which should be played using only the external sound generator, just set the GR-33 patch “LAYER” setting (p.
90 Chapter 9 Connecting to External Sound Generators and Sequencers 8. Press [WRITE] to perform the Patch Write operation (p. 36). * After performing the Patch Write operation, you will automatically return to Play mode. * If you don’t want to save the Patch, press [PLAY] to return to Play mode.
91 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 The Relationship Between Envelope Follow Function and MIDI Message Patches that use the Envelope Follow function (p.
92 Chapter 9 Connecting to External Sound Generators and Sequencers Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE]) When using an external sound generator, notes in the.
93 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 Using the GR-33 as an External Sequencer Input Tool By connecting the GR-33 to a MIDI sequencer (a performance-recording and playback device), even guitarists who don’t play keyboards can perform real-time recording to the sequencer.
94 Chapter 9 Connecting to External Sound Generators and Sequencers About “Local Control Off” While the GR-33’s internal sound generator and guitar controller are connected together, it is set to “Local On.
95 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 * As in Example 1 above, it is perfectly all right to record the arpeggios themselves with “Arpeggio Ext,” then return this data unchanged from MIDI OUT on the sequencer (to a patch for which first and second tone arpeggios are off) to re-create the arpeggios.
96 Chapter 9 Connecting to External Sound Generators and Sequencers Practical Use of MIDI Channels fig.9-16 A single MIDI system has 16 channels, and ordinarily 16 instrument parts can exist.With a guitar synthesizer, however, each of the six strings takes up one channel.
97 Chap. 10 Chapter 10 Other Convenient Functions Re-assigning Program Change Numbers in the Order of Patches If you have repeatedly changed the original settings of patches and re-written them to dif.
98 Chapter 10 Other Convenient Functions ■ Terminating Transmission of the MIDI Controller No. 7 1. Press [SYSTEM] to enter System mode. 2. Press [PARAMETER] to select “VOL SEND SW.” fig.10-04 3. Turn [VALUE] to select “Off.” 4. Press [PLAY] to return to Play mode.
99 Chap. 11 Chapter 11 Appendices Troubleshooting During Normal Play with Just the GR-33 No synth sounds are heard when the guitar is played ● If the unit’s volume knob turned down too low? → Adjust the volume to an appropriate level.
100 Chapter 11 Appendices ● Is the TONE “1:2 BALANCE” setting (p. 52) set to “50” or “-50”? → Change the setting to a value closer to “0” and check operation. The built-in effects don’t work ● Is the EFFECTS setting item “REV SEND LEVEL” (p.
101 Chapter 11 Appendices Chap. 11 Settings cannot be made independently for individual strings ● Is the setting one that cannot be made for individual strings? → The seven settings that can be ma.
102 Chapter 11 Appendices Pitch doesn’t change smoothly ● Is data being sent in the Poly mode? When transmitting in the Poly mode, pitch changes during chord performances are in semitone steps (p. 88). → Play with single notes, or use the Mono mode to send data.
103 Chapter 11 Appendices Chap. 11 Roland Exclusive Messages 1. Data Format for Exclusive Messages Roland’s MIDI implementation uses the following data format for all Exclusive messages (type IV): .
104 Chapter 11 Appendices * The size of the requested data does not indicate the number of bytes that will make up a DT1 message, but represents the address fields where the requested data resides. * Some models are subject to limitations in data format used for a single transaction.
105 Chapter 11 Appendices Chap. 11 MIDI Implementation Model: GR-33 Date: Jul. 21, 2000 Version: 1.01 1. Recognized Receive Data ■ Channel Voice Message ● Note Off STATUS SECOND THIRD 8nH kkH vvH 9nH kkH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.
106 Chapter 11 Appendices ❍ Hold1 STATUS SECOND THIRD BnH 40H vvH n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 vv=Control Value: 00H - 7FH (0 - 127) 00H-3FH=OFF, 40H-7FH=ON * Can be received only through the Basic channel when this channel is set to POLY1- POLY16.
107 Chapter 11 Appendices Chap. 11 ● OMNI OFF STATUS SECOND THIRD BnH 7CH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 * Can be received only through the Basic channel. * Will act the same as All Note Off. ● OMNI ON STATUS SECOND THIRD BnH 7DH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.
108 Chapter 11 Appendices ❍ General Purpose #2 STATUS SECOND THIRD BnH 11H vvH n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 vv=Control Value: 00H - 7FH (0 - 127) 00H-3FH=Major, 40H-7FH=Minor * Transmitted when an external pedal is used to switch the harmony key between Major/ Minor.
109 Chapter 11 Appendices Chap. 11 3. Exclusive Communications The GR-33 can transmit or receive system and patches parameters using system exclusive messages. Model ID of exclusive message available on the GR-33 is 00H 30H.Device ID is fixed at 10H. When the GR-33 receives an Identify Request inquiry message, it will transmit an Identity Reply.
110 Chapter 11 Appendices ● Inquiry Message ❍ Identity Request Bytes Comments F0H Exclusive Status 7EH ID number (Universal Non-realtime Message) 10H Device ID 06H SubID#1 01H SubID#2 F7H EOX (End of Exclusive) * The 7FH (Broadcast) device ID is also supported.
111 Chapter 11 Appendices Chap. 11 |——————————+—————————+———————————————————————————————————.
112 Chapter 11 Appendices |——————————+—————————+———————————————————————————————————+——.
113 Chapter 11 Appendices Chap. 11 +——————————————————————————————————————————————————————.
114 Chapter 11 Appendices | |# 7. LEVEL | 00 - 7F | 0 - 127 | | | 8. - | - | - | | | 9. - | - | - | | | 10. - | - | - | | | 11. - | - | - | | | 12. - | - | - | |—————————————.
115 Chapter 11 Appendices Chap. 11 | | 2. DELAY LEFT | 00 - 7E | 0.0 - 500 [msec] | | | 3. DELAY RIGHT | 00 - 7E | 0.0 - 500 [msec] | | | 4. FEEDBACK | 00 - 62 | -98 - 98 [%] | | | 5. HF DAMP | 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600, | | | | | 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass| | |# 6.
116 Chapter 11 Appendices | | 8. LEVEL | 00 - 7F | 0 - 127 | | | 9. - | - | - | | | 10. - | - | - | | | 11. - | - | - | | | 12. - | - | - | |———————————————————.
117 Chapter 11 Appendices Chap. 11 | | 3. CHO DEPTH | 00 - 7F | 0 - 127 | | | 4. - | - | - | | | 5. CHO BALANCE | 00 - 64 | D100:0E - D0:100E | | | 6. DLY TIME | 00 - 7E | 0.
118 Chapter 11 Appendices * 4)Arpeggio pattern number corresponds to each Pattern name as follows. +——————————————————+ |No.
119 Chapter 11 Appendices Chap. 11 MIDI Implementation Chart Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Prog Change System Exclusive System Common Syst.
120 Chapter 11 Appendices Specifications GR-33: GUITAR SYNTHESIZER ● Sound generator 1 Part (Mono mode M=6/Poly mode switchable) ● Maximum Polyphony 48 voices ● Tones 384 ● Patches User: 128 P.
121 Index A Acceleration ................................................................... 40 ARP PATTERN .............................................................. 79 ARP TEMPO .................................................................. 79 Arpeggiator .
122 No. Name No. Name No. Name No. Name Tone List <PIANO> 1 GR Piano 2 Cool Piano 3 Dark Piano 4 Old Upright 5 Piano&String 6 Piano&Choir <E.PIANO> 7 SA Rhodes 8 StageRhd Sft 9 StageRhd Hrd 10 StageRhd Vsw 11 PopE.Pno Sft 12 PopE.Pno Hrd 13 PopE.
123 Tone List No. Name No. Name No. Name No. Name 192 Horn Sect 193 Big Brass 194 BrassSect x4 195 BrassFalloff <SYN.BRASS> 196 Mellow Horn 197 OBXP Brass 198 MG Brass 199 Saws Brass 200 Brassy .
124 Patch List Group A (E) No. PatchName A11 JAZZ SCAT A12 DIDGERI FLT A13 JANGLE PAD A14 GR-300 LEAD A21 ★ 12ST GUITAR A22 ★ 303 TEKNO A23 GR STRINGS A24 E.ORGAN/PDL A31 ROMANTIC PAD A32 FRETLESS BS A33 DAFT WAVE A34 ● Cmaj-STRINGS A41 ★ NYLON STR GT A42 MIDI PIANO A43 ● DIST.
125 MEMO.
126 MEMO.
For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation.
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of June 1, 2000 (Roland) ARGENTINA Instrumentos Musicales S.A. Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057 BRAZIL Roland Brasil Ltda.
Een belangrijk punt na aankoop van elk apparaat Roland GR-33 (of zelfs voordat je het koopt) is om de handleiding te lezen. Dit moeten wij doen vanwege een paar simpele redenen:
Als u nog geen Roland GR-33 heb gekocht dan nu is een goed moment om kennis te maken met de basisgegevens van het product. Eerst kijk dan naar de eerste pagina\'s van de handleiding, die je hierboven vindt. Je moet daar de belangrijkste technische gegevens Roland GR-33 vinden. Op dit manier kan je controleren of het apparaat aan jouw behoeften voldoet. Op de volgende pagina's van de handleiding Roland GR-33 leer je over alle kenmerken van het product en krijg je informatie over de werking. De informatie die je over Roland GR-33 krijgt, zal je zeker helpen om een besluit over de aankoop te nemen.
In een situatie waarin je al een beziter van Roland GR-33 bent, maar toch heb je de instructies niet gelezen, moet je het doen voor de hierboven beschreven redenen. Je zult dan weten of je goed de alle beschikbare functies heb gebruikt, en of je fouten heb gemaakt die het leven van de Roland GR-33 kunnen verkorten.
Maar de belangrijkste taak van de handleiding is om de gebruiker bij het oplossen van problemen te helpen met Roland GR-33 . Bijna altijd, zal je daar het vinden Troubleshooting met de meest voorkomende storingen en defecten #MANUAl# samen met de instructies over hun opplosinge. Zelfs als je zelf niet kan om het probleem op te lossen, zal de instructie je de weg wijzen naar verdere andere procedure, bijv. door contact met de klantenservice of het dichtstbijzijnde servicecentrum.
