O w n e r’s Ma n u a l
Thank you, and congratulations on your choice of the Roland
GR-33 Guitar Synthesizer.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 9)
These sections provide important information concerning
the proper operation of the unit.
Additionally, in order to feel assured that you have gained a
good grasp of every feature provided by your new unit,
Owner’s manual should be read in its entirety. The manual
should be saved and kept on hand as a convenient reference.
Copyright © 2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.
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USIN G THE UN IT SAFELY
The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
001
009
•
Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
•
Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
002c
•
Do not open (or modify in any way) the unit or its
AC adaptor.
..........................................................................................................
010
•
This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
003
•
Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the "Information" page.
..........................................................................................................
004
..........................................................................................................
011
•
Never use or store the unit in places that are:
•
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
..........................................................................................................
012b
•
Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
"Information" page when:
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
007
•
Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
• Objects have fallen into, or liquid has been
spilled onto the unit; or
..........................................................................................................
• The unit has been exposed to rain (or otherwise
has become wet); or
008c
•
Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptor’s body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
..........................................................................................................
2
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013
101b
● In households with small children, an adult
● The unit and the AC adaptor should be located so
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102c
..........................................................................................................
● Always grasp only the plug on the AC adaptor
014
● Protect the unit from strong impact.
cord when plugging into, or unplugging from, an
outlet or this unit.
(Do not drop it!)
..........................................................................................................
..........................................................................................................
103b
015
● Whenever the unit is to remain unused for an
● Do not force the unit’s power-supply cord to share
extended period of time, disconnect the AC
adaptor.
..........................................................................................................
104
an outlet with an unreasonable number of other
devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/ amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
● Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
● Never climb on top of, nor place heavy objects on
..........................................................................................................
016
the unit.
● Before using the unit in a foreign country, consult
..........................................................................................................
107c
● Never handle the AC adaptor or its plugs with
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the "Information" page.
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
..........................................................................................................
108b
● Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
..........................................................................................................
109b
● Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 12).
..........................................................................................................
110b
● Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
3
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Co n te n ts
Getting Started........................................................................................8
About the Guitar Synthesizer ......................................................................................................... 8
What You Can Do with the GR-33................................................................................................. 8
Panel Descriptions................................................................................10
What You Need ................................................................................................................................ 13
Necessary Steps—From Powering Up to Performance ............................................................ 15
Reset to Default Factory Settings (Factory Reset)..................................................................... 16
Overall Settings for the GR-33 (SYSTEM)................................................................................. 17
Adjusting the Brightness of the Display (LCD Contrast)........................................................ 17
Adjusting the Guitar Tuning (Tuner Function)........................................................................ 18
Selecting the output device (OUTPUT SELECT)...................................................................... 19
Turning off the guitar amp simulator (G.AMP SIM)............................................................... 19
Playing the Internal Synth Sounds with the Guitar ................................................................ 20
What To Do if There is No Sound When the Guitar is Played .............................................. 20
What Is a Patch?............................................................................................................................... 21
Rewritable Patches (User Patches).............................................................................................. 21
Read-only Patches (Preset Patches)............................................................................................ 21
Using the Guitar (GK-2A) to Select Patches.............................................................................. 21
Using the Base Module to Select Patches .................................................................................. 22
Using the Base Module plus an External Foot Switch to Select Patches............................... 23
Getting the Same Effect While in Play Mode............................................................................ 26
Turning Arpeggiator and Harmonist On/Off............................................................................ 27
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
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Co n te n ts
Getting Into and Out of Each Mode ............................................................................................ 34
Details of Putting a Patch Together............................................................................................. 35
Recording and Settings of Each Patch........................................................................................ 35
Making separate settings for each string (STRING SELECT)................................................. 35
The Relationship Between Arpeggiator/ Harmonist and Patches ......................................... 36
Receiving previously saved system or patch data (Bulk Load) ............................................. 37
Setting the Volume Level of Each Patch (PATCH LEVEL)..................................................... 38
Following the Guitar Sound Shape (Envelope Follow)........................................................... 40
Increasing the Speed of Expression (Acceleration) .................................................................. 40
When You Want to Make a Chord Resonate Beautifully........................................................ 42
When You Want to Reproduce Piano-like Pitch Changes ...................................................... 42
Selecting Wah Types (WAH TYPE)............................................................................................. 43
Selecting Pitch Glide Type (GLIDE TYPE)................................................................................ 44
Selecting Hold Type (HOLD TYPE)............................................................................................ 45
Using the Expression Pedal ........................................................................................................... 47
To Switch Effects (EXP PEDAL) ................................................................................................. 47
Creating Synth Sounds .................................................................................................................. 49
Increasing/ Decreasing Attack Time (ATTACK)...................................................................... 49
Changing Tone Brightness (BRIGHTNESS).............................................................................. 50
Combining/Layering Two Sounds (Tones)................................................................................ 51
Determining Which Tones Will Be Sounded (LAYER) ........................................................... 51
Applying Detune (Subtle Pitch Shift)......................................................................................... 51
Transposing by Semitones (TRANSPOSE)................................................................................ 51
Determining the Volume Balance of Two Tones (1:2 BALANCE) ........................................ 52
What to do When a Tone is Supposed to Sound, but Doesn’t ............................................... 52
5
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Co n te n ts
About the Effects Processors and Available Effects................................................................. 53
Making Multi-effects Settings...................................................................................................... 53
Turning multi-effects on/ off (MULTI-FX SW)......................................................................... 53
Making Reverb Settings ................................................................................................................ 74
Temporarily Turning Off Effects (EFFECT BYPASS).............................................................. 75
When the Onboard Effects Don’t Work...................................................................................... 75
About the Arpeggiator Function .................................................................................................. 76
Effective Use of the Hold Function During Arpeggios ........................................................... 76
Turning Arpeggiator On and Off (HAR/ ARP CONTROL)................................................... 77
Selecting Tones to Be Arpeggiated (HAR/ ARP SELECT)...................................................... 78
Selecting Arpeggio Patterns (ARP PATTERN)......................................................................... 79
Setting Tempo (ARP TEMPO)..................................................................................................... 79
Using the pedal to set the tempo (Tap Tempo Teach function)............................................. 79
About the Harmonist ...................................................................................................................... 80
What You Can Do with the Harmonist ....................................................................................... 80
Adding Synth Sounds to Guitar Sounds ................................................................................... 80
Creating Harmonies with Two Synth Sounds .......................................................................... 80
Turning the Harmonist On and Off (HAR/ ARP CONTROL)............................................... 81
Selecting Harmony Tones (HAR/ ARP SELECT)..................................................................... 82
Setting Harmonic Intervals (HARMONY STYLE)................................................................... 82
Setting Transpose and “HARMONY STYLE” .......................................................................... 83
Setting the Key (HARMONY KEY)............................................................................................ 84
Changing the Key from an External Pedal or Other Device with MIDI Note Messages (HARMONY REMOTE) ........ 84
Switching Between Major and Minor During a Performance ................................................ 85
Controlling an External MIDI Sound Device............................................................................ 86
Connecting to an External MIDI Sound Device ....................................................................... 86
Selecting Separate Sounds Programmed for Different Strings............................................... 89
6
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Co n te n ts
Connecting to a Sequencer........................................................................................................... 93
Input Procedures and Settings for Each Device ....................................................................... 93
Recording Arpeggiator and Harmonist Performances............................................................ 94
Reducing the Size of a MIDI Pitch Bend Message.................................................................... 95
What to do When You Have Difficulty Sequencing ................................................................ 96
Re-assigning Program Change Numbers in the Order of Patches ........................................ 97
Terminating Transmission of the Bend Range Request Message......................................... 98
Error Messages............................................................................................................................... 102
Roland Exclusive Messages......................................................................................................... 103
MIDI Implementation Chart....................................................................................................... 119
Tone List..............................................................................................122
Patch List.............................................................................................124
7
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Ge ttin g Sta rte d
Ab o u t th e Gu ita r Sy n th e size r
The GR-33 guitar synthesizer, though small and compact, is
big on functions and high-quality sounds.
With these points in mind, the guitar synthesizer was
developed as an instrument that, while played like a guitar,
could be used for sound generation much like other
synthesizers.
Say “synthesizer,” and people generally think of the typical
kind with a keyboard controller. However, since the keys on
a keyboard synthesizer are in essence simply advanced
versions of basic on/ off switches, synthesizers cannot really
offer a faithful expression of strings or wind instruments.
The guitar synthesizer is set up with separate pickups for
each of the guitar’s metal strings. These pickups register and
send the frequency and amplitude information in each
strings’s vibration to the synthesizer, which then in turn
expresses the data as pitch, volume, and tone.
On the other hand, with the guitar, the part of the instrument
that actually vibrates (i.e. the string) is touched directly. As a
result it excels in the expressive power that arises from slight
changes in pitch—changes even smaller than a semitone—or
vibrato or muting. And because guitars are easy to play,
there are more people playing guitars than keyboards.
By connecting an external MIDI device (e.g. another sound
generator) via the MIDI OUT connector, you can also export
guitar performance data while simultaneously playing the
instrument’s internal sound generator.
W h a t Yo u Ca n Do w ith th e GR-3 3
●
While enjoying the experience of playing an ordinary
guitar, you can choose from a huge palette of
synthesizer sounds—384 in all.
●
You can use a variety of panning effects: use two
different synth sounds in stereo, or spread out the six
guitar string sounds from left to right, placing each
sound in its ideal stereo location, and so on (p. 41).
→
You can take solos using synth sounds only, or layered
guitar and synth sounds. You can even switch between
the two modes as you play.
●
●
With the four tone-switching pedals, you can get
various effects, such as wah-wah and whammy (p. 28–
29).
→
→
When playing chords, you can enjoy the rich, full
ensemble sounds that a synthesizer provides.
You can use the supplied expression pedal to control
various aspects of the sound, such as volume and tone,
required.
You can switch from electric guitar to other instrument
sounds—acoustic guitar, bass, organ, winds, ethnic
instruments, and so on—in an instant, without
physically changing instruments.
●
●
You can also convert a guitar performance into MIDI
messages that allow you to play external MIDI sound
generators (p. 86).
●
●
When properly installed, the GK-2A divided pickup
(sold separately) can also be used with an acoustic
guitar strung with metal strings.
By recording your playing into a MIDI sequencer, you
can create realistic plucked stringed instrument
sounds—something that keyboards just can not do as
easily—adding greater expression to melody parts (p.
93).
Not only can you layer two synthesizer tones—and
freely assign sounds to each string—you can also store
fine adjustments to such settings as brightness and
attack. You can also store differences between the pitch
of the guitar and the synthesizer sounds (p. 49–52).
●
Tuning is a snap when you use the guitar tuner
function (p. 18).
●
With the Synth Harmonist function, you can add
beautiful synthesizer harmonies—in keys you select—
to guitar sounds or to synth sounds (p. 80).
●
●
You can get various arpeggio effects with the built-in
arpeggiator (p. 76).
By applying effects (reverb, chorus and multi-effects)
to a synthesizer sound, you can make it even richer and
fuller (p. 53).
8
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IMPO RTAN T N O TES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following:
Po w e r Su p p ly
301
Me m o ry Ba ck u p
501b
● Do not use this unit on the same power circuit with any
● This unit contains a battery which powers the unit’s
device that will generate line noise (such as an electric
motor or variable lighting system).
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have the
battery replaced with a fresh one as soon as possible to
avoid the loss of all data in memory. To have the battery
replaced, consult with your retailer, the nearest Roland
Service Center, or an authorized Roland distributor, as
listed on the “Information” page.
302
● The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
307
● Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/ or damage to speakers or other devices.
“Battery Low!”
Ad d itio n a l Pre ca u tio n s
Pla ce m e n t
551
351
● Please be aware that the contents of memory can be
● Using the unit near power amplifiers (or other equipment
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer).
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
352
● This device may interfere with radio and television
552
reception. Do not use this device in the vicinity of such
receivers.
● Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a
sequencer) once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.
354a
● Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
553
● Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
355
and connectors. Rough handling can lead to malfunctions.
554
● To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
● Never strike or apply strong pressure to the display.
556
● When connecting / disconnecting all cables, grasp the
Ma in te n a n ce
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
401a
● For everyday cleaning wipe the unit with a soft, dry cloth
558a
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
● To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
402
559a
● Never use benzine, thinners, alcohol or solvents of any
● When you need to transport the unit, package it in the box
kind, to avoid the possibility of discoloration and/ or
deformation.
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
562
● Use a cable from Roland to make the connection. If using
Re p a irs a n d Da ta
some other make of connection cable, please note the
following precautions.
452
● Please be aware that all data contained in the unit’s
❍ Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufac-
turer of the cable.
memory may be lost when the unit is sent for repairs.
Important data should always be backed up in another
MIDI device (e.g., a sequencer), or written down on paper
(when possible). During repairs, due care is taken to avoid
the loss of data. However, in certain cases (such as when
circuitry related to memory itself is out of order), we
regret that it may not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.
9
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Pa n e l De scrip tio n s
fig.0-01
11
13
14
2 3 4 5
6 7 8 9
1
12
10
15
16
1
VO LUME Kn o b
6
CO MMO N Bu tto n
The VOLUME knob adjusts the signal volume output
from the MIX OUT jack. The center mark provides an
Press this button to access Patch Edit mode’s
COMMON settings—COMMON settings apply to an
entire patch, as opposed to the settings that apply to its
individual tones or effects.
easy reference setting when connecting the GR-33 to an
instrument amp or mixer.
Press this button to enter Patch Edit mode and adjust
settings such as the patch name and patch pedal
functions.
* The output level from the GUITAR OUT jack is controlled
separately.
2
PLAY Bu tto n
7
8
9
TO N E Bu tto n
This button selects Play mode.
Press this button to access Patch Edit mode’s TONE
settings—TONE settings shape the sound of the
individual tones that make up a patch.
To play sounds, press this button to enter Play mode.
(The GR-33 is in Play mode at start-up.)
3
SYSTEM Bu tto n
EFFECTS Bu tto n
This button selects System mode.
Press this button to access Patch Edit mode’s EFFECTS
settings—these settings allow you to adjust the patch’s
reverb, chorus, and multi-effect.
Press this button to enter System mode. When you are
in System mode, you can make settings to the GR-33
itself, as opposed to making settings for specific
sounds.
STRIN G SELECT Bu tto n
When selecting and activating the tones to be played in
a patch (LAYER), and when setting transposition
(TRANSPOSE) and other individual-string settings, use
this knob to select the string you wish to set up.
4
5
TUN ER Bu tto n
This button selects Tuner mode.
When you press this button, the Tuner function will be
turned on, and you can tune your instrument.
1 0 O UTPUT SELECT Bu tto n
W RITE Bu tto n
This button selects the output device connected to MIX
OUT jacks.
Use this button to write a patch (Patch Write).
This button also confirms the Factory Reset and Bulk
Dump operations.
1 0
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Pa n e l De scrip tio n s
1 1 BAN K/ PARAMETER Bu tto n
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.
1 2 PATCH/ VALUE Dia l
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.
1 3 Th re e -d ig it Disp la y
In Play mode, the three-digit display shows the
currently selected patch’s number.
In System mode, Patch Edit mode, and Pedal Effect
mode, this 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.
1 4 Disp la y
In Play mode, the main display shows the currently
selected patch’s name and the current Harmonist/
Arpeggiator status.
In other modes, the display shows the value and status
of the currently selected item, or “parameter.” Various
messages also appear on this display.
1 5 Fo o t Pe d a l
These are four foot-operated switches. In Play mode,
together with the GK-2A’s “S1,” 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.
1 6 Ex p re ssio n Pe d a l
Use this pedal to control a variety of things, including
the volume, tone and pitch of the current synth sound,
and the arpeggiator tempo.
●
When you operate the expression pedal, please be
careful not to get your fingers pinched between
the movable part and the panel.
In hou sehold s w ith sm all child ren, an ad u lt
shou ld p rovid e su p ervision u ntil the child is
capable of following all the rules essential for the
safe operation of the unit.
1 1
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Pa n e l De scrip tio n s
fig.0-02
17
18 19 20
21
22
23 24
1 7 MIX O UT Ja ck s L(PHO N ES)/ R(MO N O )
2 1 GK IN Co n n e cto r
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.
Use this special 13-pin branch cable, included with the
GR-33, to connect the GK-2A divided pickup (sold
separately).
* For connection to a guitar designed for use with a synthesizer,
consult the guitar’s manufacturer or your dealer.
You can use the L (PHONES) jack as a headphone jack
for stereo headphones that have a standard 1/ 4” stereo
plug—leave the R (MONO) jack unplugged.
2 2 MIDI Co n n e cto rs (MIDI IN / O UT)
You cannot simultaneously use the R (MONO) jack as a
mono output while using the L (PHONES) jack as a
headphone jack.
Plug MIDI cables into these jacks to connect the GR-33
to an external MIDI device. Do this when you want the
GR-33 to control sounds in an external MIDI sound
generator module, or to load tone data stored on an
external MIDI storage device.
When there is nothing connected to the GUITAR OUT
jack, the sound of the guitar itself is also mixed into
these outputs.
* In order to fully experience the quality of the factory-installed
patches, we recommend using a stereo amplifier or stereo
headphones. When connecting the GR-33 to a mono amp, use
only the R (MONO) jack.
2 3 Po w e r Sw itch
This is the switch that turns power to the GR-33 on and
off.
2 4 AC Ad a p te r Ja ck / Co rd Ho o k
1 8 GUITAR RETURN Ja ck L/ R(MO N O )
Connect the AC adapter included with the GR-33 to
this jack. Hang the adapter cord on the cord hook to
help prevent the accidental pulling out of the cord from
the jack while you are playing.
When using the GUITAR OUT jack (see below) as an
external effect send, use this jack to return the signal.
The synthesizer sound and the guitar sound with
effects are output together from the MIX OUT jacks.
* Use ONLY the AC adapter included with this guitar
synthesizer.
1 9 GUITAR O UT Ja ck
Use this jack when you want the guitar sound to be
output from the GR-33 separately from the synth
sound. Connect the jack to your guitar amp or guitar
effects devices.
2 0 BAN K SHIFT Ja ck
The explanations in this manual include illustrations that
depict what should typically be shown by the display.
Note, however, that your unit may incorporate a newer,
enhanced version of the system (e.g., includes newer
sounds), so what you actually see in the display may not
always match what appears in the manual.
Use this jack for connecting a patch bank expansion
foot switch to the GR-33.
You can connect two Boss FS-5U foot switches using a
PCS-31 cable (each sold separately). Expansion foot
switches control different functions in all modes except
Play mode.
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Ch a p te r 1 Pro d u cin g So u n d s
W h a t Yo u N e e d
The following items are necessary for getting sounds from your GR-33:
●
●
●
●
GR-33 base module, with included accessories (AC adapter, 13-pin cable)
Amplifier, speakers, and cables—a completely stereophonic system is preferable—or stereo headphones
GK-2A divided pickup
Metal-stringed guitar with GK-2A properly installed
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-5U, 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)
In sta llin g th e GK-2 A
Before you can use your guitar with the GR-33, the GK-2A
must first be properly installed on the guitar.
Gu ita rs Th a t Ca n n o t Be Use d w ith th e
GK-2 A
Following the procedure outlined in the GK-2A owner’s
While the compact design of the GK-2A allows its
installation on many different guitars, please note the
following types of guitars on which it cannot be used:
manual, attach the GK-2A’s pickup as shown in the picture.
fig.1-20
a. 12-string, pedal steel, and other specially strung guitars;
nylon-strung, gut-strung, and similar guitars; bass
guitars. (The GK-2A will not operate successfully if
installed on such instruments.)
b. Guitars which, due to their physical design, lack the
space for proper mounting of the GK-2A.
Regarding situation “b.” above: You may be able to install
the GK-2A after a minor modification of the guitar. Please
consult the dealer where you purchased your GK-2A.
* Be sure the Divided Pickup is correctly oriented: the cord from
the Pickup should emerge from under the sixth string.
Some guitar manufacturers are currently shipping guitars
that can be connected directly to the GR series with a 13-pin
cable, without the use of a GK-2A. For more information,
please ask your dealer or these guitar manufacturers.
* Assembly instructions for use of the GK-2A with the other
device may appear in the GK-2A owner’s manual. Installation
for use with the GR-33 follows the same logic.
To confirm the quality of the GK-2A installation, please take
special note of the following points:
* Take care when dealing with guitars that have more than 25
frets, or unusually high tunings, as the response around the
upper frets may not be sufficient for taking full advantage of
the GR-33.
●
Make sure that the space between each string and its
pickup is exactly 1 mm when you press the top fret. (Do
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.
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Ch a p te r 1 Pro d u cin g So u n d s
Ma k in g Co n n e ctio n s
After setting up the guitar part of your system, connect your other equipment following the examples shown in the connection
diagram below.
fig.1-01
Synthesizer amp
(keyboard amplifier, PA system, etc.)
Stereo set,
radio-cassette player, etc.
Guitar with GK-2A/
other GR-compatible guitar
To AUX, LINE IN
Guitar amp/
guitar effects processors
R
L
L
R
See p. 15 See p. 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
devices, always turn down the volume and turn off the power
on all devices before making any connections.
* If you are outputting a mono signal from the GR-33, connect
the cable to the R (MONO) jack of the MIX OUT jacks.
* Raise the volume of the amplifier only after you turn on the
power to all connected devices.
<Stereo Out>
To get the optimal performance from the GR-33, and to fully
experience the quality of its patches, connect your setup to a
stereo (two-channel) amplifier/ speaker system, or to stereo
headphones. Stereo equipment is the best way to hear the
fullness of the GR-33’s sound.
* To prevent the inadvertent disruption of power to your unit—
as a result of the plug being pulled out accidentally—and to
avoid applying undue stress to the AC adapter jack, anchor the
power cord using the cord hook as shown in the illustration.
fig.1-02
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Ch a p te r 1 Pro d u cin g So u n d s
N e ce ssa ry Ste p s—Fro m
Po w e rin g Up to Pe rfo rm a n ce
<Output>
Outputting the guitar sound and synth sound separately
* Once your connections have been completed (p. 14), turn on
power to your various devices in the order specified. By
turning on the devices in the wrong order, you risk causing
malfunction and/or damage to speakers and other devices.
You can connect a general-purpose shielded cable to the
GUITAR OUT jack to add external guitar effects or to
send your guitar sound to your guitar amplifier. With
this arrangement, you can control the sound of the guitar
exactly the same way you would if the guitar were not
connected to the GR-33. The synthesizer sound —
without the guitar sound mixed in—will be output from
the MIX OUT jacks.
After you have finished checking your connections, turn the
GR-33’s VOLUME knob all the way counterclockwise—thus
turning its volume all the way down—and press the power
switch on the rear panel to turn on the GR-33.
(Pressing the switch again turns the power off.)
Outputting the guitar sound and synth sound together
Connect cables only to the MIX OUT jacks—do not
connect a cable to the GUITAR OUT jack. The sound of
the guitar itself will be output along with the synth
sound from the MIX OUT jacks. This way, both guitar
and synthesizer sounds can be played through a single
stereo (or mono, if necessary) amp.
If you wish, use the procedure described in “Reset to Default
Factory Settings (Factory Reset)” (p. 16) to return the GR-33’s
settings to their original values before beginning.
* This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
Applying an external effect only to the guitar sound
and outputting it along with the synth sound
Ab o u t Pla y Mo d e
Make the following connections.
After turning on the GR-33, confirm that “A11” appears in
the three-digit display window. This is the number of the
currently selected patch. Each patch contains a pair of tones
that can you can switch with a pedal, etc. during
GR-33 GUITAR OUT Jack
↓
External Effect Input
External Effect Output
↓
performance. (→ For details, see p. 21.)
fig.1-03
GR-33 GUITAR RETURN Jack
Patch Name
The synthesizer sound and the guitar sound with effects
are output together from the MIX OUT jacks.
Listening through headphones
Make sure nothing is plugged into the L (MONO) MIX
OUT jack, and connect a set of stereo headphones to the
R (PHONES) jack.
Harmonist (HAR)
or
Arpeggiator (ARP)
Currently Selected Patch
(A11)
* You cannot simultaneously use the R (MONO) jack as a
LINE OUT while using the L (PHONES) jack as a
headphone jack—that is, you can’t use a monaural plug
and a stereo plug at the same time.
<About Play Mode>
When a patch number—such as the “A11” that appears
right after the power is turned on—is shown in the
display, you are in Play mode. You will typically be in
Play mode as you perform. Play mode is the basic state
of the GR-33.
For settings appropriate to your output device, refer to
“Specifying the output device (OUTPUT SELECT)” (p. 19).
Until you are familiar with how everything in the GR-33
works, remember this: You can always return to Play
mode by turning the power off and then on again.
(For more about how the dials and buttons work in Play
mode, please see p. 30.)
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Ch a p te r 1 Pro d u cin g So u n d s
Re se t to De fa u lt Fa cto ry Se ttin g s (Fa cto ry Re se t)
■ Pe rfo rm in g a Fa cto ry Re se t
1 . Press [SYSTEM] to enter System mode.
<About Factory Reset>
2 . Press [PARAMETER] to select “FACTORY RESET.”
fig.1-04
The procedure for restoring the GR-33’s internal settings
to the state they were in when the unit left the factory is
called a “Factory Reset.”
At the time of purchase, the GR-33’s user patches (A11 to
D84) are the same as preset patches E11 to H84. These
3 . Turn [VALUE] to select the parameter—or group of
patches, as well as the GR-33’s system settings—
parameters—you wish to reset.
including pickup sensitivity and the MIDI channels used
• All:
Restores all settings to their original state.
for sending and receiving MIDI data—can be returned to
their original factory-fresh state.
• System:
The System settings will be restored to their factory
settings.
• User Patch:
Patch settings will be restored to their original state.
The Factory Reset operation undoes any settings you have
changed and discards any edits you have made to its
patches. If you have settings or patches you wish to preserve,
use the Bulk Dump operation (p. 37) to save them to an
external MIDI device, such as a sequencer, before performing
the Factory Reset operation.
• PC Number:
Program Change numbers are re-assigned according to
the current order of the patches.
For more detailed information about the “PC Number,” refer
to “Re-assigning Program Change Numbers in the Order of
Patches” (p. 97).
4 . When you have selected the desired parameters, press
[WRITE].
The message “Sure ?” appears, asking you to confirm
that you want to go ahead and perform the Factory Reset
operation.
fig.1-05
5 . To execute the operation, press [WRITE] again.
“Now Writing...” appears in the display. In a moment,
the GR-33 automatically returns to Play mode,
completing the factory Reset.
To cancel the operation, press [PLAY].
* This means that the processing of data is in progress. Once
you press [WRITE], be sure not to turn off the power until to
return to Play mode.
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Ch a p te r 1 Pro d u cin g So u n d s
O ve ra ll Se ttin g s fo r th e GR-3 3 (SYSTEM)
fig.1-21
Ad ju stin g th e Brig h tn e ss o f th e
Disp la y (LCD Co n tra st)
Sensitivity: low
Sensitivity: hi
■ Ad ju stin g th e Brig h tn e ss o f th e Disp la y
1 . Press [SYSTEM] to enter System mode.
2 . Press [PARAMETER] to select “LCD CONTRAST.”
fig.1-06
If the indicator furthest to the left is lit, the level is set too
high, so turn [VALUE] to lower the sensitivity.
* If the sensitivity is set too high, there may be dropouts in the
sound, or the response to dynamic changes in your playing
may be reduced. Setting sensitivity too low may also result in
problems, so make this adjustment carefully.
3 . Turn [VALUE] to adjust the contrast.
4 . When you have finished adjusting the display, press
[PLAY] to return to Play mode.
5 . Adjust Strings 5 to 1 using the same technique.
Se ttin g In p u t Se n sitivity (PICKUP
SEN S)
6 . When you have finished, press [PLAY] to return to Play
mode.
With the power turned on, adjust the input sensitivity of
each string according to how the GK-2A is mounted and to
match your own picking strength. Since these settings are
stored automatically—and will not be lost even if the power
is turned off—it is not necessary to reset the sensitivity each
time you play.
In a n y o f th e fo llo w in g situ a tio n s, p le a se b e
su re to re a d ju st th e se n sitivity se ttin g s!
•
When using a guitar for which you have not yet made
sensitivity adjustments
•
•
After performing a Factory Reset (p. 16)
When you change the mounting of the GK-2A to
accommodate a change in the guitar, such as when string
height has been readjusted
■ Pro ce d u re fo r Se ttin g In p u t Se n sitivity
1 . Press [SYSTEM] to enter System mode.
•
When you replace a string with one of a different gauge
2 . Press [PARAMETER] to select “PICKUP SENS.”
In some rare cases, the sensitivity meter may show too high a
reading even with sensitivity at its lowest setting. If this does
occur, widen the space slightly between the GK-2A’s
separate pickups and the strings.
Sensitivity-setting is activated, and the following
appears in the display window:
fig.1-07
Usin g Mu ltip le Gu ita rs (GUITAR SELECT)
You can store four separate string-sensitivity setups that can
be called up to match any of four guitars you are currently
using.
String Number
Input Sensitivity
Level Meter
■ Ca llin g Up th e Diffe re n t Se n sitivity Se ttin g s
3 . When String 6 of the guitar is played, the string
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. The
current input-sensitivity setting for the string will also be
displayed next to the string number.
2 . Press [PARAMETER] to select “GUITAR SELECT.”
fig.1-08
4 . Use [VALUE] to adjust the sensitivity so that the square
indicator lights when you play most strongly in actual
performance.
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Ch a p te r 1 Pro d u cin g So u n d s
3 . Turn [VALUE] to select Gtr1–Gtr4.
Ad ju stin g th e Gu ita r Tu n in g
(Tu n e r Fu n ctio n )
The setting you select will be loaded.
* With the factory settings, this is set to “Gtr1.”
To accurately set a guitar’s pitch, use the GR-33’s built-in
tuner to tune the guitar. This tuner works exactly the same
way other tuners on the market do.
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.
■ Tu n in g th e Gu ita r
4 . After setting each string’s sensitivity, press [PLAY] to
1 . While pressing [S1] on the GK-2A, step on the first foot
return to Play mode.
pedal—[1] (TUNER) —or press [TUNER].
Create four different input-sensitivity setups for Gtr1–
Gtr4 to store the sensitivity settings for four different
guitars.
The Tuner function is called up, and the following
appears in the display.
fig.1-09
* The last-selected sensitivity setup is the one currently in effect.
Ma tch in g Pitch e s o f O th e r
In stru m e n ts
String Numbers 1 to 6
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.
The string number automatically switches to “6.”
If you need to match the GR-33’s tuning to the tuning of
another instrument—or if you want to change the master
tuning for any other reason—perform the following steps.
The note to which String 6 is currently tuned—notes are
tuned by semitones—is shown in the second position on
the display. (“D#” in the figure shown below.)
■ Ch a n g in g th e Ma ste r Tu n e Se ttin g
fig.1-10
1 . Press [SYSTEM] to enter System mode.
2 . Press [PARAMETER] to select “MASTER TUNE.”
fig.1-13
Pitch name
(“D#” – The marking in the third place denotes sharp)
3 . Turn the string’s tuning peg while playing String 6
until the screen shows the name of the note to which
3 . Turn [VALUE] to select the desired pitch. The pitch can
you want to tune the string.
be changed to any frequency from 427.4 to 452.6 Hz.
fig.1-11
4 . Press [PLAY] to return to Play mode.
* The pitch of the synthesizer sound does not change when you
change the GR-33’s Master Tune setting—the synth sound
continues to follow the tuning of the guitar. Therefore, after
adjusting the master tuning, you should use the Tuner
function to re-tune your guitar to the new basic pitch, and the
pitch of the synth sounds will play in the new tuning.
4 . Make fine adjustments to the string’s tuning peg until
the mark illuminated in the display moves to the center
position and both side.
When the center indicator lights, String 6 is tuned
precisely to “E.”
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Ch a p te r 1 Pro d u cin g So u n d s
fig.1-12
5 . Tune each of the other strings, 5 to 1, to A, D, G, B, and
E, respectively.
too high
Just Tuned
too low
6 . When you are finished tuning, press any foot pedal,
[S1] or [S2] on the GK-2A, or [PLAY], to return to Play
mode.
Se le ctin g th e o u tp u t d e vice (O UTPUT SELECT)
In order for the GR-33 to produce the correct output levels,
Tu rn in g o ff th e g u ita r a m p
sim u la to r (G.AMP SIM)
you must select the type of device to which its outputs are
connected (MIX OUT).
The GR-33 has a built-in guitar amp simulator (G.AMP SIM).
If OUTPUT SELECT is set to “LINE,” the guitar amp
simulator will be applied only to the guitar sound itself. This
allows you to create the illusion of the original guitar sound
being played through a guitar amp, even when it is being fed
directly into another device.
fig.1-14
If you are not using the GR-33’s internal guitar amp
simulator—if you are using an external amp simulator effect
device, for example—set the GR-33 as follows.
■ Tu rn in g th e Am p Sim u la to r O ff
1 . Press [OUTPUT SELECT] and select the appropriate
1 . Press [SYSTEM] to enter System mode.
setting.
2 . Press [PARAMETER] to select “G.AMP SIM”
fig.1-15
The currently selected setting will light.
• GUITAR AMP:
Select this when using a dedicated guitar amp.
• LINE:
Select this when using a keyboard amp, general-purpose
instrument amp, mixer, MTR, or headphones.
3 . Turn [VALUE] to select “Off.”
• Off:
The amp simulator will not be used.
The GR-33’s sound generator is a PCM synthesizer that can
reproduce a wide range of timbres. To optimally capture its
rich synthesizer sounds, use a keyboard amp, other general
instrument amplifier, PA system, or other such equipment
instead of a guitar amplifier if possible.
• On:
The amp simulator will be used when OUTPUT SELECT
is set to “LINE.”
4 . Press [PLAY] to return to Play mode.
* When you once again wish to use the amp simulator, select
“On” in Step 3.
* Changing the OUTPUT SELECT setting will not affect the
settings that are stored in each patch.
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Ch a p te r 1 Pro d u cin g So u n d s
Pla y in g th e In te rn a l Sy n th So u n d s w ith th e Gu ita r
After checking the connections to the amplifier you are using, completing the sensitivity setup and tuning your guitar, try playing
some sounds.
❍
To Hear the Normal Guitar Sound...
■ Ho w to Pla y th e GR-3 3 ’s So u n d s w ith th e
Gu ita r
Set the GK-2A’s selector switch to “MIX.” If you then
switch to “GUITAR,” the synthesizer sound generator
remain.
1 . Make sure that the display indicates Play mode (p. 15).
2 . Set the GK-2A’s selector switch to “SYNTH.”
❍
To Change the Volume of the Synth Sound Generator...
3 . Turn SYNTH VOL on the GK-2A counterclockwise to
Adjust the volume using either the SYNTH VOL knob
on the GK-2A or the GR-33’s VOLUME knob.
raise the volume to a suitable level.
4 . Set the VOLUME knob on the GR-33 to its center
position.
Turning the GR-33’s VOLUME knob changes the overall
volume output from the MIX OUT jacks. Thus, when the
guitar sound is included in the MIX OUT signal, both guitar
and synthesizer sound levels are changed. (The guitar sound
output from the GUITAR OUT jack is not affected. The guitar
volume is also unchanged when you use the GK-2A’s
SYNTH VOL knob.)
5 . When you press Pedal 3, the number in the display
changes to “A13,” and the corresponding patch (sound)
is selected.
You are now ready to play. Play your guitar while gradually
turning up the volume on your amplifier, and you will hear
the selected patch—patch A13—from the GR-33’s internal
sound generator.
W h a t To Do if Th e re is N o So u n d W h e n th e Gu ita r is Pla y e d
First, check the following:
•
Check to see that amplifier and other equipment volume
levels are correct, and confirm that all the equipment is
properly connected (p. 14).
•
Make sure the volume on both the GR-33 and the GK-2A
are up. Also, make sure that the guitar/ synth switch is
not set to GUITAR.
❍
When the Sound of a Specified Patch Fails to Play on
All the Strings (or on a Particular String)
•
Try pressing the expression pedal (p. 11) as far down as
it will go.
•
•
When using a monaural connection to your amp, be sure
to connect your cable to the R (MONO) jack of the GR-33
MIX OUT jacks.
Confirm that the synth sounds have not been muted for
any strings in the TONE “LAYER” parameter in Patch
Edit mode (p. 51).
If the volume levels of the strings vary widely, please recheck
your input sensitivity (PICKUP SENS) settings (p. 17).
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Ch a p te r 2 Se le ctin g a n d Pla y in g So u n d s (Pa tch e s)
W h a t Is a Pa tch ?
“Patch” is the term for the GR-33’s tones that can be called up
Re w rita b le Pa tch e s (Use r Pa tch e s)
at any time with a foot switch or other device. There are 256
Patches in Groups A through d
patches stored in the GR-33. As an example, the “A11” that
(A11 to A84, b11 to b84, C11 to C84, and d11 to d84)
appears in the display when the power is switched on
indicates that patch number A11 has been called up, and that
the unit is ready to be played.
Here you can create patches to fit a song, or for other
purposes, and then store those patches in memory.
This unit’s basic unit of sound is the “tone.” Tones consist of
sound waveforms, such as “GR Piano,” “Pipe Organ,” and
“Nylon Gtr mp” A total of 384 such tones are provided
onboard. (How to choose tones → p. 49; list of tones → p.
122)
(When you purchased your GR-33, the patches stored in
these groups were the same as the following preset patches.
If you want to reset the GR-33 patches to the original
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
the like are made. The user has full freedom to make these
settings and adjustments so that the patch may best suit the
song to be played.
Re a d -o n ly Pa tch e s (Pre se t Pa tch e s)
Patches in Groups E through H
(E11 to E84, F11 to F84, G11 to G84, and H11 to H84)
This is a collection of 128 preset patches, which have already
been completely prepared by Roland. These patches are
read-only, so although they can be changed, they cannot be
written over with another patch. However, this also means
no worries that they might be erased accidentally.
Another result of changing these settings is that you can
write and store 128 patches (in the first half of the patch
bank). (For more detailed information about patches, please
refer to p. 35.)
Patch numbers are indicated by a three-digit code: “a letter of
the alphabet A–H (Group),” followed by “a numeral 1 to 8
(Bank),” and then “a numeral 1 to 4 (number on the pedal).”
Preset patches are called up and used in the manner as user
patches. Furthermore, they are convenient as references and
basic material for the user wishing to create original patches.
(Example: A83, d24, F61, etc.)
fig.2-01
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).
Se le ctin g a Pa tch
■ Ho w to Se le ct a Pa tch Usin g th e Gu ita r
Usin g th e Gu ita r (GK-2 A) to
Se le ct Pa tch e s
1 . Press [SYSTEM] to enter System mode.
Sometimes (such as when you want to listen to all of the
patches one after the order) you will want to select patches
using only the guitar (GK-2A). In such cases, follow the steps
below. (It is unnecessary to touch any pedal or anything else
on the base module.)
2 . Press [PARAMETER] to select “S1/S2 FUNCTION.”
fig.2-02
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Ch a p te r 2 Se le ctin g a n d Pla y in g So u n d s (Pa tch e s)
3 . Use [VALUE] to select “Patch Select.”
Usin g th e Ba se Mo d u le to Se le ct
Pa tch e s
• Patch Select:
You can continuously switch patches with [S1] and [S2]
on the GK-2A.
Se le ctin g Pa tch e s Usin g th e Pe d a l
• Normal:
You can select patches using the pedal only when “S1/ S2
FUNCTION” is set to “Normal.”
Normal status. You cannot switch patches on the GK-2A.
4 . Press [PLAY] to return to Play mode.
5 . Pressing the GK-2A [UP/S2] once brings you to the next
higher patch; by holding the switch down, you can
switch continuously. Furthermore, when the other
button (here the [DOWN/S1] button) is then also
pressed, the switching occurs even faster. Pressing the
[S1] and [S2] buttons in the reverse fashion will
For the “S1/ S2 FUNCTION” settings, refer to p. 21.
❍
To Use the Pedal for Calling Up Patches from the
Same Group or Bank
When playing live or in the studio, by using the pedal on the
base module, you can instantly select one of four patches
from the same group or bank.
similarly return you to previous patches.
fig.2-03
1 . Make sure that you are in the Play mode.
If you are not in the Play mode, press [PLAY].
2 . When you press pedals 1 to 4, you can instantly select a
patch from the same bank of four patches in a group,
with the number at the right in the display changing to
show the number of the pedal currently pressed.
fig.2-05
S1
(Patch Number Down)
S2
(Patch Number Up)
Now, using the GK-2A buttons to switch patches, try playing
the guitar to listen to the patches in sequence.
<Using the Pedal>
❍
To Use the Pedal for Calling Up Patches from a
Different Group or Bank
With the GR-33 in the state just described, you can get
various pedal effects (explained later). For example hold,
pitch glide, and the like can be obtained, by stepping on
the base unit’s four pedals. (For details, see p. 28.) To
indicate this status, when “S1/ S2 FUNCTION” is
selected in “Patch Select,” the “PdL” display appears
(approximately once every four seconds) in the three-
digit display, showing the patches and their
Used together with the GK-2A’s [S1] button, you can use the
pedal function to switch patches.
1 . Make sure that you are in the Play mode.
If you are not in the Play mode, press [PLAY].
2 . While pressing [S1] on the GK-2A, step on [GROUP ▲]
corresponding numbers.
fig.2-04
(pedal 2).
Pedal 2 continues switching to the next group only while
[S1] is being held; pressing the pedal allows you to
progress to the next group.
* If you wish to change only the bank without changing the
group, omit step 2, and proceed to step 3.
Additionally, with the unit in this status, an external
bank shift pedal can be used to change patch numbers,
both up and down, just like the [S1] and [S2] buttons on
the GK-2A.
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Ch a p te r 2 Se le ctin g a n d Pla y in g So u n d s (Pa tch e s)
Se le ctin g w ith th e Dia l
fig.2-06
If you wish to use the dial to select patches, you must make
the following setting for the dial.
1 . Press [SYSTEM] to enter System mode.
2 . Press [PARAMETER] to select “DIAL FUNCTION.”
fig.2-09
While holding down S1
3 . Use [VALUE] to select “PATCH&VALUE.”
3 . While pressing [S1] on the GK-2A, step on [BANK ▲]
(pedal 4) or [BANK ▼] (pedal 3).
• PATCH&VALUE:
The dial can be used both for selecting the patch number
and for modifying values while editing.
As long as the [S1] button is held down, pedal 4 works as
a [BANK ▲] (BANK UP), and pedal 3 as a [BANK ▼]
(BANK DOWN). The display starts to flash, and when
you step on pedal 3 or 4, numbers for the bank digit (the
• VALUE Only:
The dial can be used only for modifying values while
editing.
middle number in the display) go down or up.
fig.2-07
4 . After making the setting, press [PLAY] to return to Play
mode.
In Play mode, you can rotate the [VALUE] dial to select
all 256 patches A11–H84.
You can also use [BANK/ PARAMETER] to move
forward/ backward through the banks.
Usin g th e Ba se Mo d u le p lu s a n
Ex te rn a l Fo o t Sw itch to Se le ct Pa tch e s
By plugging a foot switch into the BANK SHIFT jack on the
rear panel, you can switch banks without pressing [S1] on the
GK-2A.
While holding down S1
With one DP-5 (sold separately) to rise through patch bank
numbers, or with two Boss FS-5U foot switches and a branch
cable (sold separately) to move both up and down through
the patch banks, it’s possible to perform this procedure using
4 . After selecting the desired group/bank, release [S1],
then step on the pedals.
When you press a pedal, the patch will be finalized, and
only your feet.
fig.2-10
the sound will change.
fig.2-08
PCS-31
Red
White
BANK
DOWN
BANK
UP
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Ch a p te r 2 Se le ctin g a n d Pla y in g So u n d s (Pa tch e s)
* Sometimes when pressing and releasing the foot switch to
switch banks, you may find that while the bank does change,
the patch number may not (light will flash); however, this does
not indicate any malfunction. You can also make the setting
with the FS-5U polarity switch, as shown in the figure below.
4 . Use [VALUE] to select “Decimal.”
• Decimal:
Patch numbers will be displayed as a decimal number in
the range of 001–256.
• Grp/Bnk/Num:
fig.2-11
Patch numbers will be displayed as a group/ bank/
number from A11–H84.
5 . Press [PARAMETER] to select “S1/S2 FUNCTION.”
6 . Use [VALUE] to select “Patch Select.”
Polarity switch
* If the “S1/S2 FUNCTION” has been set to “Patch Select,” the
action of the foot switch just described changes to switching
patches up and down (p. 21).
For details, refer to “Selecting a Patch/ Using the Guitar (GK-
2A) to Select Patches.”
7 . Press [PLAY] to return to Play mode.
The patch number displayed will be “001,” rather than
“A11.”
Se le ctin g Pa tch e s w ith a n
Ex te rn a l MIDI Fo o t Co n tro lle r
8 . Set the MIDI send channel of the MIDI foot controller
to match the channel of the GR-33 (p. 86; the factory
setting is channel Mono 11).
While the base module’s four pedals are being used as
you may also wish to switch patches using your foot.
In such cases, you should hook up an external MIDI foot
controller (e.g. FC-200, Boss FC-50, and so on).
9 . Use the MIDI foot controller to switch patches
externally, operating the controller according to the
instructions in the owner’s manual.
Make the settings, using the following procedure.
* The patch number using the numeral-only format that was set
in step 4 is stored in memory even after the power is turned
off. If necessary, return the patch number display to the
Group/bank/number format.
1 . Connect equipment as shown in the figure below.
fig.2-12
MIDI IN
Additionally, user patches (001 to 128, or A11 to D84)
can usually be selected when MIDI program change data
is sent from the MIDI foot controller immediately after
the power is turned on.
MIDI OUT
* MIDI program change numbers received by the GR-33 have a
fixed one-to-one correspondence with the patches (001 to 128,
or A11 to D84) they represent; this cannot be changed. (On
the other hand, when patches are selected using the GR-33,
you have the freedom to change and save the MIDI program
change numbers that send the data to outside equipment. → p.
88)
MIDI Foot Controller
2 . Press [SYSTEM] to enter System mode.
The patch number display corresponds to the display on
the MIDI foot controller, but with numbers 001 to 256
instead of the alphanumeric symbols in patch numbers
used by the GR-33.
3 . Press [PARAMETER] to select “DISPLAY TYPE.”
fig.2-13
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Ch a p te r 2 Se le ctin g a n d Pla y in g So u n d s (Pa tch e s)
Ch a n g in g th e Pa tch O rd e r
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.
1 . Select the “A21” patch.
2 . Press [WRITE].
You enter Write mode, and the screen like the one below
appears.
To change the order of the patches, perform the patch write
where the patch data from the present selection (or change)
will be written.
fig.2-14
Example: To change the contents of A21 and B62
First, to prevent the contents of patch A21 from being lost,
clear a patch number that is not being used. (Since groups A
through d of user patches are the same as groups E through
H of preset patches, you may erase them without worry.)
3 . Use [VALUE] to select the patch you want to write to.
fig.2-15
After that, by writing B62 → A21, then temporary place-
holder → B62, the order of A21 and B62 can be swapped.
In this example, we will use “C11” as the writing
destination patch.
4 . After you have specified the writing destination patch,
press [WRITE].
The following display will appear, asking you to confirm
the operation.
fig.2-16
5 . After making sure that you want to execute this
operation, press [WRITE] once again.
fig.2-17
“Now Writing...” appears in the display, the unit
automatically returns to the Play mode, completing the
writing procedure.
6 . Using steps 1 to 5 above, write B62 → A21 just as you
did A21 → temporary place-holder (C11).
7 . Complete the rearrangement by using the same process
to write the temporary place-holder (C11) → B62.
* Since patch groups E through H are read-only, you cannot
rearrange their order or create temporary place-holders with
them. (However, you can copy them for reference or to use
them as starting material when writing new patches.)
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Ch a p te r 3 Co n tro llin g Fu n ctio n s a n d Effe cts
w ith th e Ba se Mo d u le Pe d a ls
“ Pe d a l Effe ct Mo d e ” : W h a t It Is, a n d Ho w to Ca ll It Up
Ge ttin g th e Sa m e Effe ct W h ile in
Pla y Mo d e
About Pedal Effect Mode
If you have set “S1/ 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 turn 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.)
■ Ho w to Sw itch to Pe d a l Effe ct Mo d e
For more detailed information and instructions about this
1 . Press [SYSTEM] to enter System mode, and set the “S1/
type of setup, refer to “Selecting a Patch/ Using the Guitar
S2 FUNCTION” to “Normal.”
(GK-2A) to Select Patches” (p. 21).
* With the exception of the arpeggio latch hold (p. 76), pressing
more than one pedal at the same time can result in unexpected
behavior, so please exercise due caution.
For more detailed information and instructions for this
procedure, refer to “Selecting a Patch/ Using the Guitar (GK-
2A) to Select Patches” (p. 21).
2 . Press [PLAY] to return to Play mode.
3 . Press [S2] on the GK-2A once.
As you enter Pedal Effect mode, “PdL” (Pedal) will start
to blink in the GR-33’s three-digit display.
fig.3-01
Press either [S1] or [S2] on the GK-2A to return to Play
mode.
The same pedal can produce different effect amounts
from patch to patch. These can be changed to suit a
song—or for any other purpose—and can be saved as
part of the patch.
For more information about each pedal effect function,
and to learn how to change the effect amount, please see
Chapter 5 (p. 35–52).
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Ch a p te r 3 Co n tro llin g Fu n ctio n s a n d Effe cts w ith th e Ba se Mo d u le Pe d a ls
Tu rn in g Arp e g g ia to r a n d Ha rm o n ist O n / O ff
■ Usin g th e p e d a ls fo r o n / o ff sw itch in g
1 . Enter Pedal Effect mode (p. 26). (As an alternative, set
About MULTI-FX
System mode “S1/S2 ACTION” to “Patch Select” and
return to Play mode.)
These are effects for the synthesizer sound.
2 . Press Pedal 4 (CTRL).
For details, refer to p. 53.
The specified function—MULTI-FX BYPASS,
Arpeggiator, or Harmonist—will be switched on or off.
This selection can be made by the Patch Edit mode
“COMMON” setting “CTRL PEDAL” (p. 46).
About Arpeggiator
This is a function that automatically creates arpeggios —
chords whose notes are played in sequence, rather than
simultaneously — when a chord is played.
<Some Notes About the Display>
MULTI FX BYPASS On/Off
“bYP” or “oFF” appears for approximateryone second in
the three-digit display.
For details, refer to p. 76.
Arpeggiator On/Off
About Harmonist
“Arp” or “oFF” appears for approximateryone second in
the three-digit display.
This creates harmonies in designated keys using either
guitar and synthesizer sounds, or two synthesizer
sounds together.
The display responds as shown below when the
Arpeggiator is being turned on.
fig.3-10
For details, refer to p. 80.
The GR-33 comes with Multi-Effects, Arpeggiator, and
Harmonist functions that can be turned on and off using the
pedals.
Harmonist On/Off
“HAr” or “oFF” appears for approximatery one second
in the three-digit display.
* The MULTI-FX Bypass, Arpeggiator and Harmonist can be
turned on or off individually for each Patch. To learn about
these settings, refer to p. 46.
The display responds as shown below when the
Harmonist is being turned on.
fig.3-02
* You may hear a noise when MULTI-FX BYPASS is switched
on/off, but this does not indicate a malfunction.
Key
Either the Arpeggiator or Harmonist—but not both—can
be selected for a patch. Even when they are turned off,
either the Arpeggiator or Harmonist is still selected.
When the Arpeggiator (Harmonist) is turned on, the
display of the Play mode shows “ARP” or “HAR” to
indicate which one currently selected.. If the harmonist is
selected, the currently selected key will also be
displayed.
* When you want to switch from Arpeggiator in a certain patch
to Harmonist (or vice versa), press [EFFECTS] to change the
“HAR/ARP SELECT” setting.
For more detailed information and instructions for this
procedure, refer to p. 78 and 82.
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Ch a p te r 3 Co n tro llin g Fu n ctio n s a n d Effe cts w ith th e Ba se Mo d u le Pe d a ls
Ch a n g in g Effe cts w ith th e Pe d a ls
Ge ttin g a Pe d a l W a h Effe ct (W a h )
Ho ld in g a Sy n th To n e Afte r th e
Strin g is Sto p p e d (Ho ld )
You can get several of the most commonly used wah effects
by pressing Pedal 1 (WAH). Repeatedly pressing and
releasing the pedal produces changes in the sound
resembling those produced by a guitar wah-wah pedal,
allowing you to apply this effect to synthesizer sounds.
Press Pedal 3 (HOLD) to activate the Hold function. When
you use this effect, the synthesizer sound continues to play
even after the guitar string has stopped vibrating.
You can select from a number of variations — hold the
synthesizer chord while the guitar plays a melody, hold only
one of two layered tones, hold only Strings 5 and 6, and more
— and then save them in patches.
You can choose from a number of pre-programmed
variations that use different combinations of rate of sound
change, degree of change, panning, how different the sound
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)
when the pedal is pressed instead of wah-type effects. This
creates the mechanical-sounding vibrato characteristic of
synths — if you prefer, you can create a more natural-
sounding vibrato using your guitar fingering.
For more detailed information and instructions for this
procedure, refer to “Selecting Hold Type (HOLD TYPE)” (p.
45).
* When the arpeggiator is on, the behavior and available
variations for the Hold function are different than when the
arpeggiator is off.
For more detailed information and instructions for this
procedure, refer to “Selecting Wah Types (WAH TYPE)” (p.
43).
For more detailed information and instructions for this
procedure, refer to “Effective Use of the Hold Function
During Arpeggios” (p. 76).
* You may find that when you first press Pedal 1 (WAH), the
sound is different than when the patch was first selected. The
sound may be muffled, or have a strange quality to it. Return
to the original patch, switch to a different patch, and then
return to the original patch again. If a bank shift pedal is
connected, you can return to the original patch by pressing the
bank down pedal while still in Pedal Effect mode.
<Some Notes About the Display>
When Pedal 1 (WAH) is pressed
“UAH” or “Mod” appears in the three-digit display.
When Pedal 2 (P-GLIDE) is pressed
“P.GL” appears in the three-digit display.
Ch a n g in g Pitch Dy n a m ica lly
(Pitch Glid e )
When Pedal 3 (HOLD) is pressed
“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 harmonic 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.
For more detailed information and instructions for this
procedure, refer to “Selecting Pitch Glide Type (GLIDE
TYPE)” (p. 44).
* Depending on the selected tone, the tone settings, and
performance conditions, the width of the effect may be limited.
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Ch a p te r 3 Co n tro llin g Fu n ctio n s a n d Effe cts w ith th e Ba se Mo d u le Pe d a ls
Ca llin g Up th e Tu n e r Fu n ctio n w ith a Pe d a l
1 . While pressing [S1] on the GK-2A, step on Pedal 1
(TUNER).
* Perform this operation with “S1/S2 FUNCTION” set to
“Normal.”
The Tuner function is called up, and the following
appears in the display.
fig.3-03
String Number
Note Name
2 . Adjust the tuning.
For more detailed information and instructions for tuning,
refer to “Adjusting the Guitar Tuning (Tuner Function)” (p.
18).
3 . After you have finished tuning, press any foot pedal or
press [S1] or [S2] on the GK-2A.
You will return to Play mode.
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Ch a p te r 4 Five Ba sic Mo d e s
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
mode you are in.
base module “Pedal Effect mode”
•
Create and modify patches, and write them into memory
“Patch Edit mode”
Pla y Mo d e
In Play mode, the buttons and dials work as follows:
GK-2A [S1]
While this is held down, pedal workings can be changed (p.
[BANK/PARAMETER] Button
Moves you forward and back through patch banks.
GK-2A [S2]
[PLAY] 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 ▼ and BANK ▲).
[TUNER] Button
Switches to Tuner mode (p. 18).
W h e n “ S1 / S2 FUN CTIO N ” is Se t to “ Pa tch
Se le ct”
[WRITE] Button
When “S1/ S2 FUNCTION” is set to “Patch Select,” use
the GK-2A’s [S1] and [S2] buttons to move up and down
through the patches. Operation of the following buttons
will differ from normal Play mode as follows.
Writes the contents of a patch (p. 36).
[COMMON] Button
Switches to Patch Edit mode, COMMON (overall patch
settings).
* Buttons and dials not listed here will function the same
way as in normal Play mode.
[TONE] Button
Switches to Patch Edit mode, TONE (sound-related patch
settings).
Pedal 1–4
Function as in Pedal Effect mode (p. 31).
[EFFECTS] Button
GK-2A [S1]
Switches to Patch Edit mode, EFFECTS (effect-related patch
settings).
Advances through patches.
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).
patches played in order— or want to toggle between a
pedal effect such as hold, and a patch—this is a
convenient way to do so without having to switch
modes. With PATCH INC/ DEC BY S1/ S2 selected,
patch numbers are shown in the display, with “PdL”
appearing about once every four seconds.
* If the “DIAL FUNCTION” is set to “VALUE Only,” this
will be ignored.
Pedal 1–4
Switches patches (p. 22).
Expression Pedal
Changes the value of the selected parameter (p. 47).
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Ch a p te r 4 Five Ba sic Mo d e s
Pe d a l Effe ct Mo d e
In Pedal Effect mode, buttons and dials work as follows.
Pedal 1
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.
WAH → Adds effects such as a wah pedal-like sound or
mechanical-sounding vibrato.
Pedal 2
P-GLIDE → Adds pitch glide, an effect that creates wide,
smooth changes in pitch.
[BANK/PARAMETER] Button
Goes forward and back through banks.
Pedal 3
[PLAY] Button
HOLD → Causes synthesizer sounds to continue to play
Returns you to Play mode.
even after the guitar string has stopped vibrating.
[SYSTEM] Button
Pedal 4
Switches to System mode (settings for the GR-33 itself).
CTRL → Turns the MULTI-FX BYPASS, the arpeggiator (p.
auxiliary pedal for holding arpeggios (p. 76).
[TUNER] Button
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
harmonist (p. 85).
[TONE] Button
Switches to Patch Edit mode, TONE (sound-related patch
settings).
External Bank Shift Pedal (Bank Down)
[EFFECTS] Button
Returns sounds that have been changed with the wah
function back to the way they sounded when the patch was
first selected. (Returns to the original sound even after
normal patch-switching procedures.)
Switches to Patch Edit mode, EFFECTS (effect-related patch
settings).
[STRING SELECT] Button
Has no function in this mode.
[OUTPUT SELECT] Button
Changes the output device selection (p. 19).
[PATCH/VALUE] Dial
Goes forward and back through patches (p. 23).
* If “DIAL FUNCTION” is set to “VALUE Only,” this will be
ignored.
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Ch a p te r 4 Five Ba sic Mo d e s
Pa tch Ed it Mo d e : W h a t It Me a n s, Ho w It W o rk s
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
settings).
TONE, and EFFECTS.
fig.4-01
* If you are already viewing EFFECTS settings, pressing
[EFFECTS] will turn the bypass function on/off (p. 75).
Patch Edit mode
COMMON
TONE
EFFECTS
[STRING SELECT] Button
When adjusting a parameter that can be set independently
for each string, use this button to select the string with which
you want to work (p. 35).
• COMMON
This is where you name a Patch or set up pedal effects.
* For parameters that are not set independently for each string,
this button will have no effect.
• TONE
This is where you set up the tones that serve as the basis
for synth sounds.
[OUTPUT SELECT] Button
Changes the output device selection (p. 19).
• EFFECTS
This is where you can set up reverb, chorus and multi-
effects. Arpeggiator and Harmonist settings are also
made here.
[PATCH/VALUE] Dial
Changes the value for the selected parameter.
Pedal 1–4
Used as auxiliary pedals in making any number of settings,
and for confirming effects.
In Patch Edit mode, the buttons and dials work as follows:
[BANK/PARAMETER] Button
Expression Pedal
Use these buttons to select the parameter that you wish to
adjust.
Used as auxiliary pedal in making any number of settings,
and for confirming effects (p. 47).
[PLAY] Button
GK-2A [S1] and [S2]
Returns you to Play mode.
Changes the value for the selected parameter.
[SYSTEM] Button
External Bank Shift Pedal
Switches to System mode (settings for the GR-33 itself).
Changes the value for the selected parameter.
[TUNER] Button
Switches to Tuner mode (p. 18).
In Patch Edit mode, when you have modified even one
parameter of the selected patch, the three-digit display will
change. The decimal point of the lowest digit will light to
[WRITE] Button
Writes the contents of a patch (p. 36).
[COMMON] Button
indicate that the patch’s settings have been modified.
Switches to Patch Edit mode, COMMON (overall patch
settings).
fig.4-02
Patch Edit mode
* In the COMMON (concerned with patch settings) Patch
Name Setting screen you can use this to switch between
uppercase and lowercase characters (p. 38).
Period
[TONE] Button
If you wish to save the new settings, perform the Write
operation (p. 36).
Switches to Patch Edit mode, TONE, (sound-related patch
settings).
* If you change patches without performing the Write operation,
your edits will be lost.
* In TONE (concerned with the sound of patches), pressing
[TONE] will switch you between the 1ST and 2ND settings
item.
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Ch a p te r 4 Five Ba sic Mo d e s
Sy ste m Mo d e
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.
[TONE] Button
Switches to Patch Edit mode, TONE (sound-related patch
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
settings).
Use these buttons to select the parameter that you wish to
adjust.
[STRING SELECT] Button
[PLAY] Button
Has no function in this mode.
Returns you to Play mode.
[OUTPUT SELECT] Button
[SYSTEM] Button
Changes the output device selection (p. 19).
Has no function in this mode.
[PATCH/VALUE] Dial
[TUNER] Button
Changes the value for the selected parameter.
Switches to Tuner mode (p. 18).
Pedal 1–4
[WRITE] Button
Has no function in this mode.
Writes the contents of a patch. This is disabled during
and for confirmation in “BULK DUMP” and “FACTORY
RESET” (p. 37, 16).
Expression Pedal
Changes the value of the selected parameter (p. 47).
GK-2A [S1] and [S2]
Changes the value for the selected parameter.
[COMMON] Button
Switches to Patch Edit mode, COMMON (overall patch
settings).
External Bank Shift Pedal
Changes the value for the selected parameter.
Pro ce d u re s in Tu n e r Mo d e
In Tuner mode, the buttons and dials work as follows.
[EFFECTS] Button
Switches to Patch Edit mode, EFFECTS (effect-related patch
settings).
[BANK/PARAMETER] Button
Has no function in this mode.
[STRING SELECT] Button
[PLAY] Button
Has no function in this mode.
Returns you to Play mode.
[OUTPUT SELECT] Button
[SYSTEM] Button
Changes the output device selection (p. 19).
Switches to System mode (settings for the GR-33 itself).
[PATCH/VALUE] Dial
[TUNER] Button
Changes the value for the “MASTER TUNE”.
Has no function in this mode.
Pedal 1–4
[WRITE] Button
Exits Tuner mode and returns you to Play mode.
Has no function in this mode.
Expression Pedal
[COMMON] Button
Changes the value of the selected parameter (p. 47).
Switches to Patch Edit mode, COMMON (overall patch
settings).
GK-2A [S1] and [S2]
Exits Tuner mode and returns you to Play mode.
[TONE] Button
Switches to Patch Edit mode, TONE (sound-related patch
settings).
External Bank Shift Pedal
Exits Tuner mode and returns you to Play mode.
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Ch a p te r 4 Five Ba sic Mo d e s
Ge ttin g In to a n d O u t o f Ea ch Mo d e
Here we will explain how to get into and out of each of the
five modes: Play mode, Pedal Effect mode, Patch Edit mode,
System mode and Tuner mode.
For modes other than Pedal Effect mode, you can press a
single button on the GR-33 to enter the desired mode from
any other mode. The following diagram shows the buttons
corresponding to each mode, and the state of the three-digit
display for each mode.
fig.4-03
GK-2A’s
[
]
[
]
[
]
[
]
[
]
S2
Play mode
PLAY
S2
Pedal Effect mode
Play mode
PLAY
Pedal Effect mode S2
[
]
Patch Edit mode
System mode
SYSTEM
[
]
]
]
COMMON
TONE
COMMON
[
TONE
EFFECTS
Patch Edit mode
[
EFFECTS
[
]
]
]
COMMON
TONE
COMMON
[
TONE
[
]
]
System mode
Tuner mode
SYSTEM
[
EFFECTS
EFFECTS
[
]
[
TUNER
Tuner mode
TUNER
* Pedal Effect mode can be entered only from Play mode.
* If “S1/S2 FUNCTION” is not set to “Normal,” it will not be
possible to enter Pedal Effect mode.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
De ta ils o f Pu ttin g a Pa tch To g e th e r
Every patch is constructed as shown in the following figure.
fig.5-01
128 Preset Patches
E11 – H84
A11
128 User Patches
A11 – D84
TONE
TONE MIX
EFFECTS
• Arpeggio and harmony settings
2nd TONE
1st TONE
• Reverb/ Chorus settings
• Multi FX settings
• Layer
Layering of 1st and
Tone Selection
2nd Tones
#1 – #384
(Piano, Organ, etc.)
• Transpose 1st
• Transpose 2nd
COMMON
It's possible to make settings
to each string individually.
•
Patch Name and Level settings, etc.
Tone Adjustment
• Attack
• Release
• Brightness
• Pan settings
• Pedal settings
• MIDI settings
• 1:2BALANCE
1st/ 2nd Level Balance
W h a t is a “ To n e ” ?
Ma k in g se p a ra te se ttin g s fo r
e a ch strin g (STRIN G SELECT)
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.
Three of the TONE parameters—“LAYER,” “1ST
TRANSPOSE,” and “2ND TRANSPOSE—and the four
COMMON parameters—“MIDI [PC],” “MIDI [CC0],” “MIDI
[CC32],” and “MIDI [TRANSPOSE]”—can be set separately
for each string using the [STRING SELECT] button.
The two tones in a patch are called the “1st tone” and the
“2nd tone.”
You can assign the selected tones separately to individual
strings, and then layer them (p. 51). You can also adjust
parameters such as attack (p. 49), release (p. 50), brightness
independently select a transposition (TRANSPOSE) for each
string.
When you press [STRING SELECT], the three-digit display
fig.5-02
All strings selected
Strings 5 and 6 selected
String 6 selected
String 1 selected
String 2 selected
String 3 selected
String 4 selected
In addition to tone selections, tone settings can be saved in
patches.
Re co rd in g a n d Se ttin g s o f Ea ch
Pa tch
String 5 selected
Besides patch tone-selection and string assignments—as well
as tone settings—you can set and store the following items in
a patch, as well as other items.
To set each string independently, press the [STRING SELECT]
button to select the desired string, and then turn the [VALUE]
dial to change the currently selected parameter’s setting. For
example, if you use the [STRING SELECT] button to select “5,”
and then turn the [VALUE] dial, the currently selected
parameter’s setting will change only for String 5. You can
continue and adjust the settings for the other strings using the
•
•
•
•
•
•
•
Patch name (p. 38)
How effects are applied (p. 53)
Arpeggiator patterns and related settings (p. 76)
Harmonist settings (p. 80)
What happens when you step on a pedal (p. 43)
Program numbers sent to external MIDI devices (p. 88)
External sound generator transpositions (p. 51)
“6-5,” the parameter’s value may blink, signifying that the
settings for the selected strings are different from one another.
If you turn the [VALUE] dial to select a value, the value will
be applied to each selected string: to all strings if “ALL” is
displayed, or to Strings 5 and 6 if “6-5” is displayed.
For more information about these settings, please consult the
reference pages listed above for each item.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Likewise, you can select arpeggio patterns—the sequence of
Th e Re la tio n sh ip Be tw e e n Arp e g g ia to r/
Ha rm o n ist a n d Pa tch e s
strings that the arpeggiator function creates and plays—for
each patch individually from among the available 50
patterns.
When you are playing, you can use the arpeggiator or the
harmonist. For each patch, you can select one of these
For more details about making these settings, refer to
“Selecting Arpeggio Patterns (ARP PATTERN)” (p. 79).
Sa vin g Pa tch e s
Generally, you create and modify patches by using
[PARAMETER] to select parameters in Patch Edit mode, and
turning [VALUE] to select the desired values.
4 . After making sure that you want to complete this
operation—and that you are ready to write over the
patch currently in the selected destination location—
press [WRITE] once again.
It is important to remember that if you simply switch to
another patch, the changes you have made will be lost, and
the edited patch will revert to its original state. (The lowest
decimal point in the three-digital display lights (p. 32) to
warn you of this.) To save any changes you have made, use
the following steps to perform the Patch Write operation
before changing to another patch.
fig.5-07
“Now Writing...” appears in the display. In a moment,
the GR-33 automatically returns to Play mode,
completing the writing procedure.
■ Pe rfo rm in g a Pa tch W rite
* To cancel the operation, press [PLAY].
1 . Press [WRITE]—you enter Write mode, and a screen
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
selected, even if you switch to another patch or turn the
power off.
fig.5-04
* If you write without designating a location where the patch is
to be saved, you will overwrite the original version of the
patch, and that version of the patch will be discarded.
2 . Turn [VALUE] to choose the patch location to which
you want to save the patch.
* As Patch Groups E through H are read-only, you cannot
overwrite them by saving a patch to their locations.
fig.5-05
Ca u tio n s W h e n Sa vin g
With Patch Write, the patch is written the way it actually
sounds at the time you write it, and this includes whether the
Arpeggiator or Harmonist functions are turned on or off.
However, temporary tone changes made with the base
module pedals, such as wah and pitch glide, or those from
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).
3 . After you have specified the writing destination, press
[WRITE].
The following confirmation screen appears.
fig.5-06
* You do not have to manually save the System mode
parameters that apply to the entire GR-33. Changes made to
these settings are saved automatically, and are stored even
after the power is turned off.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
fig.5-09
Sa vin g Pa tch e s Fro m th e GR-3 3 to
Se q u e n ce rs o r O th e r MIDI De vice s
(Bu lk Du m p )
Settings for all user patches—as well as all system settings—
can be transferred in and out of the GR-33 using MIDI. You
can also save patches externally to equipment that can record
MIDI data. For this kind of operation, the GR-33 uses MIDI
messages called “System Exclusive messages,” or “SysEx”
messages. Each System Exclusive message can be interpreted
only by the device for which it is intended.
9 . Sending is complete when the GR-33’s previous
display returns. If a sequencer is on the receiving end
of a transfer, stop recording at this point.
fig.5-0
SysEx data sent from the GR-33, data read from a floppy
disk, or data entered by other means can be stored in a MIDI
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
MIDI.
1 0 . Press [PLAY] to return to Play mode.
Re ce ivin g p re vio u sly sa ve d
sy ste m o r p a tch d a ta (Bu lk Lo a d )
Here’s how you can receive system or patch data from an
external device capable of recording MIDI data, or from
another GR-33.
■ Se n d in g Sy ste m Se ttin g s o r Pa tch Da ta to
a n Ex te rn a l MIDI De vice
1 . Turn off the power to the GR-33.
* Exclusive messages can be 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.
■ Re ce ivin g sy ste m se ttin g s o r p a tch d a ta
fro m a n e x te rn a l MIDI d e vice
3 . Turn on the power of the GR-33.
1 . Turn off the power to the GR-33.
4 . Press [SYSTEM] to enter System mode.
2 . Connect the external MIDI device MIDI OUT to the
5 . Press [PARAMETER] to select “BULK DUMP.”
fig.5-08
MIDI IN connector on the GR-33.
3 . Turn on the power of the GR-33.
4 . Press [SYSTEM] to enter System mode.
5 . Press [PARAMETER] to select “BULK LOAD.”
fig.5-40
6 . Turn [VALUE] to select the type of data you wish to
transmit.
All:
All user patches and system settings
System settings
System:
User Patch:
All user patches (128 patches)
Patch Group A: The 32 patches A11 to A84
Patch Group B: The 32 patches B11 to B84
Patch Group C: The 32 patches C11 to C84
Patch Group D: The 32 patches D11 to D84
6 . Transmit the data from the external device.
fig.5-41
Patch A11:
Patch A12:
:
Patch A11 only
Patch A12 only
:
When reception is finished, the previous display will
Patch D84:
Patch D84 only
reappear.
fig.5-40
7 . Put the external MIDI device in record mode. For
example, start a MIDI sequencer’s realtime recording.
8 . Press [WRITE].
The selected data is transmitted from the GR-33 to the
external device. While data is being transmitted, the GR-
33 display shows “Now Sending... .”
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
7 . Press [PLAY] to return to Play mode.
* Except for the receiving of A11 through D84 as single patches,
no special conditions apply for storing patch or system
parameter data received via SysEx.
* If you send data for a single patch to the GR-33, you will need
to perform the Patch Write operation (p. 36) on the GR-33 to
store the patch in a patch memory location. When writing the
received patch, you can specify the desired destination, so you
are not forced to overwrite the same-numbered patch if it is one
you wish to keep.
* Since data can be lost should unexpected events occur, we
strongly recommend regularly using the Bulk Dump feature to
back up your GR-33 data.
N a m in g th e Pa tch e s (PATCH N AME)
You can assign a name of up to twelve characters to each
patch. Assign a name that will help you remember the
sound, or the song for which the patch is intended.
4 . Turn [VALUE] to select the desired character, number
or symbol.
fig.5-11
Space
■ Assig n in g a N a m e to a Pa tch
—
—
1 . Select the patch whose name you want to change, and
press [COMMON] to enter Patch Edit mode.
—
2 . Press [PARAMETER] to select “PATCH NAME.”
fig.5-10
* You can press [COMMON] to switch between uppercase and
lowercase characters.
5 . Repeat Steps 3 and 4 to complete the name.
Cursor
6 . Press [WRITE] to perform the Patch Write operation (p.
36).
3 . Use [PARAMETER] to move the cursor to the character
* After performing the Patch Write operation, you will
automatically return to Play mode.
you wish to modify.
* If you don’t wish to save the Patch’s new name, press [PLAY]
to return to Play mode instead of pressing [WRITE].
Se ttin g th e Vo lu m e Le ve l o f Ea ch Pa tch (PATCH LEVEL)
For things like switching between multiple patches while
playing, having the volume of backing patches set lower than
the volume of solo patches is a convenient feature. You can
make these kinds of volume settings by recording the patch
level (PATCH LEVEL) of each patch.
3 . Use [VALUE] to change the value.
The value changes within a range of 0 to 100. A setting of
“0” silences to patch, and “100” sets it to maximum
volume.
4 . Press [WRITE] to perform the Patch Write operation (p.
■ De te rm in in g a n d Re co rd in g Pa tch Vo lu m e s
36).
* After performing the Patch Write operation, you will
automatically return to Play mode.
1 . Select the patch whose volume you want to change, and
press [COMMON] to enter Patch Edit mode.
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
2 . Press [PARAMETER] to select “PATCH LEVEL.”
fig.5-12
* Even with PATCH LEVEL values the same, volume levels
may change according to other settings. In the example below,
the level has been set high. If PATCH LEVEL is then set to a
low level, the balance of another patch is used. (The
combination of the settings shown below may cause
excessively high volume levels, so be careful not to allow this to
result in damage to amps and speakers.)
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
•
•
When both the first and second tones are present.
•
•
When the brightness setting value is high.
When wah effects are applied.
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.
Ch a n g in g th e Fe e l o f a Pe rfo rm a n ce (PLAY FEEL)
Guitars differ from keyboards and other instruments in that
the part of the instrument that actually vibrates (i.e. the
string) is touched directly, allowing subtle control of the
power with which it is played. To let the guitar synthesizer
make maximum use of this feature, it is necessary to set the
“playing response.”
Finger (finger picking):
The setting for when you want to perform with the feeling
finger picking provides. Sensitivity is a little higher than with
normal picking.
Hard (hard picking):
This setting is for those who pick rather hard, and the
sensitivity is a little lower than with normal picking.
This selection is made with “PLAY FEEL” in the COMMON
setting of Patch Edit mode. For example, by changing the
Play Feel options like “finger picking” or “normal picking,”
you can get very natural-sounding expression of how much
power is in the playing.
* When there is a problem with the guitar’s arrangement, and
the only places GK-2A’s divided pickup can be installed are too
close to the strings, you may be able to improve the behavior
with the settings in each patch.
■ Ch a n g in g a n d Re co rd in g Pla y Fe e l
Soft (soft picking):
For picking that is a little weaker. Sensitivity is a little higher
than with normal picking.
1 . Select the patch whose PLAY FEEL you want to change,
and press [COMMON] to enter Patch Edit mode.
Tapping (tapping play):
2 . Press [PARAMETER] to select “PLAY FEEL.”
fig.5-13
When making use of many kinds of picking techniques, such
as tapping play (or “right-hand play”), pulling-off, or
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, see the subsequent section, “The
PLAY FEEL settings and their effects.”
With this setting, no matter how hard or softly you play, you
get uniform volume and tone. Use this setting with tones like
Synth Lead or Organ when you want to transmit a feeling
without expression.
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
Envelope1 (envelope follow type1):
* After performing the Patch Write operation, you will
automatically return to Play mode.
This is for setting how much the synthesizer volume
influences the amplitude of the strings.
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
For details, see the subsequent section, “Following the Guitar
Sound Shape (Envelope Follow).”
◆ Th e PLAY FEEL se ttin g s a n d th e ir e ffe cts
There are eight settings ("Normal,” “Finger,” “Hard,” “Soft,”
“Tapping,” “No Dynamics,” “Envelope1,” “Envelope2"), and
eight settings that add the Accel function to each of these
("Accl Normal,” “Accl Finger,” “Accl Hard,” “Accl Soft,”
“Accl Tapping,” “Accl No Dynamics,” “Accl Envelope1,”
“Accl Envelope2").
Envelope2 (envelope follow type2):
This is for setting how much the overall tone (brightness) is
influenced by the amplitude of the strings.
For details, see the subsequent section, “Following the Guitar
Sound Shape (Envelope Follow).”
These meanings are as follows:
Normal:
General picking, thus the standard setting for play.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
The eight types “Accl Normal,” “Accl Finger,” “Accl Hard,”
Envelope2 (envelope follow type2):
“Accl Soft,” “Accl Tapping,” “Accl No Dynamics,” “Accl
Envelope1,” and “Accl Envelope2” add the Accel function to
the previously listed eight types. Notes will sound more
quickly than the first eight types.
This is for setting how much the overall tone (brightness) is
influenced by the amplitude of the strings. Along with the
decay, which depends on the picking strength and time
elapsed, this setting changes the sound’s brightness
(regulation of muffled sound) dynamically. Especially with
Synth Lead tones, you can get that tone’s characteristic effect.
The following procedure, combined with the wah auto wah
function, you can get a touch wah effect with extremely
smooth response.
For details, refer to “Increasing the Speed of Expression
(Acceleration)” (p. 40).
* Picking strength and power range vary from player to player.
The names of these settings (“normal,” “soft,” “hard,” and so
on) are for easy reference only, so you are encouraged to
actually switch through the settings, and when you find ones
that you feel are easy to play, that you feel have characteristics
of instruments you’d like to play, paying no special attention
to their names, go ahead and select those settings.
■ Ge ttin g a To u ch W a h Effe ct w ith th e PLAY
FEEL “ En ve lo p e 2 ” Se ttin g
1 . Let’s select a synth lead patch.
2 . Press [COMMON], use [PARAMETER] to move the
cursor to “PLAY FEEL,” and use [VALUE] to Select
“Envelope2.”
Fo llo w in g th e Gu ita r So u n d
Sh a p e (En ve lo p e Fo llo w )
3 . Press [PARAMETER] to select “WAH TYPE.”
4 . Use [VALUE] to select “AutoWah1–5.”
When you select the “Envelope1” and “Envelope2” settings
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
Types (WAH TYPE)” (p. 43).
In this condition, changes in the strings’ amplitude (changes
due to picking, or from how the sound decays) are
influenced by the volume or tone of the synthesizer sounds.
You can get the following types of effects.
5 . Play the guitar to confirm that the wah effect is
responding to the strength of the picking.
* To save the settings in patches, press [WRITE] to perform the
Patch Write operation (p. 36).
Envelope1 (envelope follow type1):
Here, the synthesizer volume influences the amplitude of the
strings. You can get a natural feel when using decay tones
(from guitars, electronic pianos, and so forth), so do try this
setting. (Change in the synth sound’s volume is a little more
compressed, a bit more restrained than that of the guitar.
* When “Envelope1” or “Envelope2” is selected for PLAY
FEEL, the envelope follow data will be sent from MIDI OUT
as controller no. 18 (general purpose controller 3).
In cre a sin g th e Sp e e d o f Ex p re ssio n (Acce le ra tio n )
When you are making selections in PLAY FEEL (p. 39), when
items containing “Accl” in the lower right corner of the
display are selected, the GR-33’s “Acceleration Function” is
turned on. When put in this mode, the average speed from
picking to sound is higher than usual.
However, when this function is being used, the effect of
internal processing of string noise abatement is weakened.
This means that for some tones, you may hear noise or pitch
change when you pluck the string. If you use the Accelerator
function, please confirm when you’re creating a sound that
there is no bothersome noise in the tone you are using.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Ch a n g in g So u n d Pla ce m e n t (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.
Cross Tones:
With the setting at “0,” the selected tone is placed in the
center of the stereo field. By changing the values across a
range of -50 to 50, the tone’s position shifts left or right: when
a tone is set to 50, it is panned all the way to the right; setting
it to -50 pans it all the way to the left. Therefore, by
programming a patch with one tone set to 50 and the other to
-50, you can create a rich, widespread stereo sound.
You can also create complex stereo movement using a variety
of pre-programmed stereo effects. This is done using the
COMMON “PAN MODE” and “PAN” settings in Patch Edit
mode.
■ Se ttin g a n d Sa vin g So u n d Pla ce m e n t
1-6, 6-1:
1 . Select the patch whose pan position you want to set,
With this setting, each string is panned separately. When you
select 1-6, the strings’ sounds are placed in sequence from the
left: String 1, String 2, all the way up to String 6. Conversely,
with 6-1, the opposite positioning is used, i.e. String 6, String
5, all the way down to String 1.
and press [COMMON] to enter Patch Edit mode.
2 . Press [PARAMETER] to select “PAN MODE.”
fig.5-14
Odd-Even, Even-Odd (Odd, Even):
This setting separates odd- and even-numbered strings, and
places them left and right. With Odd-Even, the odd-
numbered strings—1, 3, and 5—are panned left, and the
even-numbered strings—2, 4, and 6—panned right. “Even-
Odd” will produce the same effect as if “Odd-Even” were
exchanged left to right.
3 . Use [VALUE] to select the desired pan mode.
* For more details, see the subsequent section, “Available value
for PAN, and their effects.”
* If you are not using Normal or Cross Tones, proceed to step 6.
Random Both, Random 1st, Random 2nd:
The 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
tone is placed in the center.
4 . Press [PARAMETER] to select “PAN.”
fig.5-15
Alternate Both, Alternate 1st, Alternate 2nd:
The perceived location of the 1st and 2nd tones assigned to
each string is panned alternately to the left and right each time
a tone is sounded. For patches having only one tone playing,
the tone moves back and forth repeatedly. With a patch using
both tones—but with the 1st tone to the right and the 2nd tone
to the left—a special stereo effect is created that differs from
what you get with the Random setting.
5 . Turn [VALUE] to select the desired value.
6 . Press [WRITE] to perform the Patch Write operation (p.
36).
* After performing the Patch Write operation, you will
automatically return to Play mode.
“Alternate 1st” and “Alternate 2nd” causes only the
corresponding tone to jump back and forth—the other tone is
placed in the center.
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
◆ Ava ila b le va lu e s fo r PAN , a n d th e ir e ffe cts
* Pan settings have no effect on the internal reverb and chorus.
Normal:
* You can hear the selected panning effect only through
equipment that can produce stereo sound— and is connected
to the GR-33’s MIX OUT using two cables—or when using
stereo headphones.
With a setting of 0, all sounds will be panned to the center.
Changing the value within the range from -50 through 50
will cause the panning to change correspondingly. Both the
1st and the 2nd tone will be panned to the far right with a
setting of 50, or to the far left with a setting of -50.
* The PAN setting made here is ignored if you have a monaural
type of MULTI-FX selected.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Divid in g Co n tin u o u s Pitch Ch a n g e s in to Se m ito n e s (CHRO MATIC)
The GR-33 faithfully reproduces the slight pitch changes and
in-between notes you get from fingering your guitar’s
strings.
◆ Ch ro m a tic Se ttin g s a n d Ava ila b le Effe cts
Off (Chromatic Off):
For guitar bending and vibrato, this setting allows you to
make synth sounds faithfully reproduce subtle played pitch
changes of less than a semitone.
However, should the need arise, you can also limit this subtle
pitch response to semitone changes only. This is called the
Chromatic function, and is turned on and off using the
When you select any setting other than Off, pitch changes are
limited to semitones.
COMMON “CHROMATIC” setting in Patch Edit mode.
fig.5-16
Type1:
Chromatic on
Chromatic off
Change in Synth
sound pitch
If the pitch is changed smoothly, for example by bending the
guitar string, the pitch will change in semitone steps. When
the pitch changes, the currently-heard sound will not stop; it
will merely change in pitch. There is no separate attack
sound when the pitch changes—this is a change similar to
the one you hear with the slurred playing of a recorder.
Major 3rd
minor 3rd
Major 2nd
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
new pitch will be started over, or “retriggered.” Thus,
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
reduced volume.
minor 2nd
2nd
minor 3rd
3rd
Actual pitch change
when bending
■ Tu rn in g th e Ch ro m a tic Fu n ctio n O n a n d O ff
a n d Sa vin g It to Pa tch e s
Type3:
1 . Select the patch you want to change, and press
This is basically the same effect as “Type2,” except that the
retriggered sound level is not influenced by the current state
of the string’s vibration.
[COMMON] to go into Patch Edit mode.
2 . Press [PARAMETER] to select “CHROMATIC.”
fig.5-17
W h e n Yo u W a n t to Ma k e a
Ch o rd Re so n a te Be a u tifu lly
Due to subtle pitch changes resulting from the way each
string is pressed, with patches using long notes, chords may
end up sounding muddy. If this occurs, turn Chromatic on so
that only pure semitones are heard, thus producing a
beautifully in-tune chord. If you select “Type1,” pitch
differences will be barely audible, creating a natural-
sounding resonance.
3 . Turn [VALUE] to select the desired setting.
* For a detailed explanation, see the subsequent section,
“Chromatic Settings and Available Effects.”
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
* After performing the Patch Write operation, you will
automatically return to Play mode.
W h e n Yo u W a n t to Re p ro d u ce
Pia n o -lik e Pitch Ch a n g e s
* If you don’t want to save the Patch, press [PLAY] to return to
Play 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 “Type1” or Off” yield a
better effect, so select the setting you like best.)
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Se le ctin g W a h Ty p e s (W AH TYPE)
There are 35 types, in seven groups, of wah effects you can
get by stepping on and releasing pedal 1 in Pedal Effect
mode, with differing ranges of tone change and different
speeds, and along with one type of modulation (vibrato),
there are a total of 36 variations of wah pedal effects.
Wah1–5:
This adds an effect that resembles a guitar wah pedal to the
synthesizer sound. With this unique effect added to the
sound, stepping on the pedal gives the tone a brighter “wah”
sound, and when the pedal is released, the sound becomes
darker, with an “oww” sound. By repeatedly stepping on
and releasing the pedal, you can get an effect that sounds like
“wah wah wah.”
■ Se le ctin g W a h (o r Mo d u la tio n ) Ty p e
1 . Select the patch whose effect type you want to change,
and press [COMMON] to go into Patch Edit mode.
AutoWah1–5:
This is basically the same effect as the wah pedal (Wah 1–5),
but rather than being applied with the pedal, with this novel
method, the effect is automatically applied each time the
guitar is picked. In this situation, the pedal still works to add
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.
2 . Press [PARAMETER] to select “WAH TYPE.”
fig.5-18
3 . Use [VALUE] to change the setting.
* For a detailed explanation, see the subsequent section, “Wah
Pedal Variations that can be selected in WAH TYPE.”
For details on setting the “touch wah” effect, refer to
“Following the Guitar Sound Shape (Envelope Follow)” (p.
40).
* When making settings, play the guitar with pressing pedal 1
to try the effect.
Brightness1–5:
4 . Press [WRITE] to perform the Patch Write operation (p.
This controls only the brightness of the sound, without
adding the characteristic sound of the wah itself. In all other
actions, it is absolutely identical to Wah 1 to 5.
36).
* After performing the Patch Write operation, you will
automatically return to Play mode.
NarrowWah1–5:
This compresses the tone difference from stepping on and
releasing the pedal to half the range of the normal wah (Wah
1 to 5). In all other actions, it is absolutely identical to Wah 1
to 5.
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
◆ W a h Pe d a l Va ria tio n s th a t ca n b e se le cte d
in W AH TYPE
R.Wah1–5 (Reverse Wah 1–5):
The digit (1–5) at the end of the displayed type name
indicates the speed at which the tone will change. When you
step on and release the pedal, the numbers show, with “1”
indicating the fastest tone change, and as these numbers get
This reverses the tones from stepping on and releasing the
pedal in normal wah (Wah 1 to 5) (i.e. step → dark sound,
release → bright).
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 sound, release → bright).
larger, the speed decreases.
fig.5-19
R.NarrowWah1–5 (Reverse Narrow Wah 1–5):
This reverses the tones from stepping on and releasing the
pedal in Narrow (NarrowWah 1 to 5) (i.e. step → dark sound,
release → bright).
Press
Release
Modulation:
Tone
Brightness
When you select this setting, as you step on the pedal, then
rather than a wah-type effect, a deep vibrato (wavering
pitch) effect is added. Differing from the mood created by
playing finger vibrato on the guitar, it gives a mechanical,
synthesizer-sounding vibrato.
Time
Examples of Wah1 to Wah5, Brightness1 to Brightness5, etc.
(Changes over time)
The speed and depth of the vibrato you get with this function
is predetermined for each tone.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
* If you use wah once, the sound from a patch with a muffled
sound may continue, or some other kind of peculiarity may
change, even after releasing the wah pedal. If this happens,
switch to another patch, and then call up the desired patch
again to return to the original sound.
* When the wah is “closed,” that is, the sound of the wah effect
is too dark (or muffled), switch “WAH TYPE” to either
“NarrowWah 1 to 5” or “R.NarrowWah 1 to 5,” and adjust
this by changing the “BRIGHTNESS” (p. 50) setting.
*
The application of wah-type effects varies with the selected tone.
Se le ctin g Pitch Glid e Ty p e (GLIDE TYPE)
With the Pitch Glide you get by pressing pedal 2 in Pedal
Effect mode, there are seven different ways to have the pitch
change width and speed, with both up and down patterns
prepared.
◆
Va ria tio n s th a t ca n b e se le cte d fo r GLIDE TYPE
Below are the seven types of effect you can select from.
These have been set as both “pitch up” and “pitch down,”
giving you four teen effects to choose from. For example,
“Up Type 5’” is indicated by “Up5” and “Down Type 3’” by
“Down3.”
■ Se le ctin g Pitch Glid e Ty p e
1 . Select the patch whose effect type you want to change,
Up1 (Down1):
and press [COMMON] to go into Patch Edit mode.
When the pedal is pressed, the pitch changes continuously
up to a perfect fourth. Release the pedal to return to the
original pitch.
2 . Press [PARAMETER] to select “GLIDE TYPE.”
fig.5-20
Up2 (Down2):
Just as in Up1 (Down1), the pitch change is a perfect fourth,
but the time it takes to make the change is a little longer.
Up3 (Down3):
3 . Use [VALUE] to change the setting.
When the pedal is pressed, the pitch changes continuously
up to a perfect fifth. Release the pedal to return to the
original pitch.
* For a detailed explanation, see the subsequent section,
“Variations that can be selected for GLIDE TYPE.”
* When making settings, play the guitar with pressing pedal 2
to try the effect.
Up4 (Down4):
When the pedal is pressed, the pitch changes continuously
by one octave. Release the pedal to return to the original
pitch.
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
* After performing the Patch Write operation, you will
automatically return to Play mode.
Up5 (Down5):
The pitch change here is an octave, but the time it takes to
make the change is a little longer. (The return time is the
same as in Up4 (Down4)).
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
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 pitch change width 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 on the tone and
range, the width of the pitch’s rise may be limited.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Se le ctin g Ho ld Ty p e (HO LD 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.
❍ Sostenuto Hold/Sostenuto:
Only the synth sounds that are sounding at the moment the
pedal is pressed will be held as long as the pedal remains
pressed.
From the moment you go into Hold, to when the pedal is
released, the sustained synth sound remains unaffected, even
when you continue to play the guitar. Thus, it is convenient
for things like holding a synth sound chord and layering it
with a guitar melody, or for when you want to make the
same effect using the first and second tones. (Strictly
speaking, it isn’t but) the Hold effect is very much like the
sostenuto pedal of an electronic piano.
■ Se le ctin g Ho ld Ty p e
1 . Select the patch whose effect type you want to change,
and press [COMMON] to go into Patch Edit mode.
2 . Press [PARAMETER] to select “HOLD TYPE.”
fig.5-21
❍ String Hold/String:
You can apply this hold effect to the strings of your choice.
As with “Sostenuto” above, the synth sound being played at
the instant you press the pedal is sustained, and continues
even if the string stops vibrating.
3 . Use [VALUE] to change the setting.
* For a detailed explanation, see the subsequent section,
“Variations that can be selected for HOLD TYPE.”
What’s different is that even without releasing the pedal, the
synth sound from strings not being held can still be
controlled with the guitar. This makes it possible to do things
like hold the synth sound on strings 5 and 6, and play a
melody over that with synth sound played by strings 1
through 4.
* When making settings, play the guitar while pressing pedal 3
to try the effect.
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
Releasing the pedal stops the held sound.
* After performing the Patch Write operation, you will
automatically return to Play mode.
Here are the fifteen types, which can be selected by using
[VALUE], as they actually appear (when Arpeggiator is off).
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
Damper All:
This damper hold works on all internal and external MIDI
sound generators.
◆ Va ria tio n s th a t ca n b e se le cte d fo r HO LD
TYPE
Damper 1st:
There are three types of hold effects you can select: damper;
sostenuto; and string.
This damper hold works only on the first internal sound
generator.
❍ Damper Hold/Damper:
Damper 2nd:
When you play the guitar while holding down the pedal, the
sound is sustained while playing continues, an effect like that
of a piano’s damper pedal.
This damper hold works only on the second internal sound
generator.
Damper 1&2:
When you hold the pedal down, you can play chords
without letting the sound from all the notes played die away.
However, even during Hold you cannot play the same string
more than once in an attempt to layer the synth sounds
coming from the same string.
This damper hold works on both the first and second internal
sound generators. (Not effective on external sound
generators.)
Damper Ext:
* The guitar recognizes the pitch only as long as the string
continues to vibrate, and this is reflected in the pitch of the
synth sound at all times.
This damper hold works only on external MIDI sound
generators.
Damper Ext&1:
This damper hold works on the first internal sound generator
and on external MIDI sound generators.
Damper Ext&2:
This damper hold works on the second internal sound
generator and on external MIDI sound generators.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Sostenuto All:
Sostenuto Ext&1:
This sostenuto hold works on all internal and external MIDI
sound generators.
This sostenuto hold works on the first internal sound
generator and on external MIDI sound generators.
Sostenuto 1st:
Sostenuto Ext&2:
This sostenuto hold works only on the first internal sound
generator.
This sostenuto hold works on the second internal sound
generator and on external MIDI sound generators.
Sostenuto 2nd:
String:
This sostenuto hold works only on the second internal sound
generator.
This string hold works on all internal and external MIDI
sound generators.
* When Arpeggiator is on, the fifteen choices shown above are
reduced to four: “Damper”; “Sostenuto”; “Latch TypeA”; and
“Latch TypeB.” At such times, the Hold function is effective
only on arpeggios, and you can use it in special ways such as
changing the arpeggios to chords without the rhythm of the
arpeggios being stopped.
Sostenuto 1&2:
This sostenuto hold works on both the first and second
internal sound generators. (Not effective on external sound
generators.)
Sostenuto Ext:
This sostenuto hold works only on external MIDI sound
generators.
For details, refer to “Effective Use of the Hold Function
During Arpeggios” (p. 76).
Usin g th e CTRL Pe d a l
Pedal 4 (the CTRL pedal) in Pedal Effect mode can be used as
an on/ off switch for either MULTI-FX or Arpeggiator/
Harmonist. This setting can be saved in patches.
■ Sp e cify in g th e fu n ctio n o f th e CTRL p e d a l
1 . Select the patch whose Pedal 4 function you wish to set,
and press [COMMON] to enter Patch Edit mode.
2 . Press [PARAMETER] to select “CTRL PEDAL.”
3 . Turn [VALUE] to select the desired setting.
HAR/ARP Control:
Each time you press the pedal, Arpeggiator/ Harmonist
will be switched on/ off.
Multi-FX Bypass:
Each time you press the pedal, the MULTI-FX Bypass
will be switched on/ off.
* Even by depressing the CTRL pedal, you won' t be able to
change the multi-effect to anything other than “Off” if the
“Off” within the patch.
4 . 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.
* You may hear a noise when MULTI-FX BYPASS is switched
on/off, but this does not indicate a malfunction.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Usin g th e Ex p re ssio n Pe d a l
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.
◆
Va ria tio n s th a t ca n b e se le cte d fo r EXP PEDAL
Volume:
Adjusts the volume level, from zero up to the level set with
the GK-2A’s volume knob.
Volume 1st (1st Tone Volume):
You can also use the EXP pedal for sending MIDI data for the
selected control change number. All of the above settings can
be saved in patches.
Controls the volume of the 1st tone only. In patches using
both tones, you get the effect of the 1st tone being added to
the 2nd.
Volume 2nd (2nd Tone Volume:
To Ad d Effe cts
Controls the volume of the 2nd tone only. In patches using
both tones, you get the effect of the 2nd tone being added to
the 1st.
Use the EXP pedal to immediately apply a designated effect
to the patch.
* When you have used the EXP pedal to add an effect to a patch,
and you switch to another patch, the pedal effect will be
canceled regardless of the pedal’s position. The newly selected
patch will play as programmed—the EXP pedal’s position will
begin to affect the sound the first time it is moved after the
sound has been selected.
Balance:
Changes the volume balance between the 1st and 2nd tones.
With the pedal all the way up (back), only the 1st tone is
heard, and when pressed completely down (forward), only
the 2nd tone plays.
Tone Param (tone parameter):
However, if both of the patches being switched between have
“Volume,” “Volume 1st,” or “Volume 2nd” assigned to them,
the prevailing volume level, as determined by the position of
the EXP pedal before the patch change, will be carried over to
the patch being switched to.
Modifies the parameters that are specific to the selected tone.
The change will depend on the selected tone.
Multi-FX Param (multi-effect parameter):
Modifies the parameters that are specific to the selected
multi-effect. The change will depend on the selected multi-
effect type.
To Sw itch Effe cts (EXP PEDAL)
* After selecting “Multi-FX Pparam,” you may notice a slight
noise as you move the EXP pedal---this is not a mulfunction.
■ Se le ctin g th e Ex p re ssio n Pe d a l Effe ct Ty p e
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.”
fig.5-22
Wah (Wah Pedal):
Creates a guitar wah-wah-like effect, adding that
characteristic sound to the patch’s tones.
Pitch:
While preserving the structure of a chord, changes the pitch
of the synthesizer’s sound. With the pedal back, the sound
plays at its normal pitch. The width of the pitch change is
controlled by the change width setting selected for Pedal
Effect mode’s GLIDE TYPE.
3 . Turn [VALUE] to select the desired setting.
* For more details, see the subsequent section, “Variations that
can be selected for EXP PEDAL.”
* When setting up effects, play the guitar while pressing Pedal 1
to try out the effect.
For the “GLIDE TYPE” settings, refer to “Selecting Pitch
Glide Type (GLIDE TYPE)” (p. 44).
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
* After performing the Patch Write operation, you will
automatically return to Play mode.
Modulation:
Changes the depth of vibrato applied to the synth sound,
from zero to maximum change. (The speed of the vibrato
depends on the predetermined setting for the tones.)
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Pan (Normal) (Normal Pan):
CC1 to 31, CC64 to 95 (MIDI Control Change):
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.
Sends control change data from MIDI OUT in response to
changes in the EXP pedal’s position. Select any control
change number from 1 to 31, or from 64 to 95. Use this when
you want to control external effects processors or parameters
in external devices. This has no effect on the GR-33’s internal
sound generators.
Pan (Cross Tones) (cross tone pan):
* After selecting “Pan (Normal)” or “Pan (Cross Tones),” you
may notice a slight noise as you move the EXP pedal—this is
not a malfunction. Furthermore, “Pan (L-R)” and “Pan
(Cross Tones)” do not affect the placement of reverb or chorus.
By manipulating the EXP pedal, you can move the location of
the patch’s 1st tone and 2nd tone over a range of -50– +50.
The tones will move in opposite directions left/ right, with 0
as the center location. The 1st tone is panned right with the
pedal pressed forward, and left with the pedal all the way
back. The 2nd tone is panned in the opposite directions.
* Use the “Arp Tempo1,” “Arp Tempo2,” “Arp Tempo3,” and
“Tempo&Pitch” settings when the arpeggiator is on.
Cho Send Level (chorus send level):
* “Volume 1st,” “Volume 2nd,” and “Balance,” are most
effective if both the 1st and 2nd tones are selected with
assigned to only one of the tones.
Changes the chorus level using the EXP pedal. When the
pedal is pressed forward, the chorus level set in the patch is
added to its sound. No chorus is added with the pedal all the
way back.
* When “Pitch” or “Tempo&Pitch” is selected, depending on
the tone and pitch range, the width of the pitch’s rise may be
limited.
Rev Send Level (reverb send level):
Changes the reverb level using the EXP pedal. (This does not
affect the chorus level.) When the pedal is pressed forward,
the reverb level set in the patch is added to its sound. No
reverb is added with the pedal all the way back.
* The effect of “Brightness” or “Wah” varies according to the
patch’s tones and their “BRIGHTNESS” (p. 50) settings.
Arp Tempo1 (Arpeggio Tempo 1):
Changes arpeggio tempo. When the pedal is pressed forward,
the arpeggio plays at the tempo programmed in the patch,
while with the pedal all the way back, the tempo slows down.
Arp Tempo2 (Arpeggio Tempo 2):
Changes arpeggio tempo. When the pedal is pressed forward,
the tempo speeds up, while with the pedal all the way back,
the tempo returns to the rate programmed in the patch.
Arp Tempo3 (Arpeggio Tempo 3):
Adjusts arpeggio tempo in a range of plus or minus 20%
from the center value, the value programmed in the patch.
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 “GLIDE TYPE” settings, refer to “Selecting
Pitch Glide Type (GLIDE TYPE)” (p. 44).
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Cre a tin g Sy n th So u n d s
You can select from among the 384 built-in sounds that provide the foundation for the GR-33’s patches, choosing a “1st tone”
(first tone) and a “2nd tone” (second tone).
Following the steps below, let’s actually select some tones and assemble a patch.
Se le ctin g th e b a sic in g re d ie n t
(to n e ) o f a so u n d (SELECT)
In cre a sin g / De cre a sin g Atta ck Tim e
(ATTACK)
The 384 tones of the GR-33 are broadly divided by their
sound into categories such as “PIANO” and “E.GUITAR."
With the “ATTACK” setting, you can change the amount of
time it takes for the 1st (or 2nd) tone you selected with 1ST
SELECT (or 2ND SELECT) to rise to its highest volume. Use
this setting to control whether the tone starts with a gentle
rise, or with a sharp attack.
For details refer to “Tone List” (p. 122).
■ Ho w to Se le ct a To n e
1 . Select the patch you want to start with, and press
■ Ch a n g in g th e ATTACK TIME
[TONE] to enter Patch Edit mode.
1 . Select the patch whose ATTACK you wish to change,
2 . Press [PARAMETER] to select “1ST SELECT.”
* If you wish to select the 2nd tone, choose “2ND SELECT.”
* By pressing [TONE] you can switch between “1ST
and press [TONE] to enter Patch Edit mode.
2 . Press [PARAMETER] to select “1ST ATTACK.”
* If you want to change the ATTACK TIME of the 2nd tone,
choose “2ND ATTACK.”
ATTACK” and “2ND ATTACK.”
fig.5-24
* By pressing [TONE] you can switch between “1ST
ATTACK” and “2ND ATTACK.”
fig.5-25
3 . Turn [VALUE] to select the desired tone.
* Only those tones in the category chosen in Step 3 will be
displayed.
3 . Turn [VALUE] to select a value in the range of -50–50.
With higher values, the volume of the sound rises to its
full level more slowly. Decreasing the value changes this
to a fast attack, like a percussion instrument’s. (Setting
the value to “0” means that the selected tone’s original
attack will be used.)
For details on the types of tone, refer to “Tone List” (p. 122).
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
* The ATTACK setting adjusts each tone’s individual attack
characteristics. Depending on the tone’s original attack, the
amount of possible change varies with the selected tone.
* 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.
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
* If “LAYER” is set to “Mute,” “1st Tone,” or “2nd Tone,”
either the 1st or 2nd tone—or neither tone—will sound.
Change the LAYER setting as necessary.
* 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.
For details on “LAYER” settings, refer to “Determing which
tone will be sounded by each string (LAYER)” (p. 51).
either the 1st or 2nd tone—or neither tone—will sound.
Change the LAYER setting as necessary.
For details on “LAYER” settings, refer to “Specifying which
tone will be sounded by each string (LAYER)” (p. 51).
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Ch a n g in g To n e Re le a se (RELEASE)
Ch a n g in g To n e Brig h tn e ss
(BRIGHTN ESS)
With the “RELEASE” setting, you can change the decay of
the 1st (or 2nd) tone you selected with 1ST SELECT (or 2ND
SELECT). By increasing the release time, the sound fades
away more gradually at the end of a note, even after the
strings stop vibrating. With a short release, the sound stops
at the moment the string stops vibrating, allowing you to
play staccato, with real “bite.”
By setting the “BRIGHTNESS” of the 1st (or 2nd) tone that
you selected with 1ST SELECT (or 2ND SELECT), you can
change the brightness of the patch. Changing the value
adjusts the setting of the internal digital filter—an effect
resembling a electric guitar’s tone knob, but reinforced with
digital circuitry—making the sound brighter (harder) or
darker (softer).
■ Ch a n g in g th e Re le a se
(*1) Digital filter:
1 . Select the patch whose RELEASE you want to change,
A digital circuit that produces an effect that is similar to, but even
more powerful than, the effect of an electric guitar’s tone control
knob.
and press [TONE] to enter Patch Edit mode.
2 . Press [PARAMETER] to select “1ST RELEASE.”
■ Ch a n g in g th e Brig h tn e ss
* If you want to change the RELEASE of the 2nd tone, choose
“2ND RELEASE.”
1 . Select the patch whose BRIGHTNESS you want to
change, and press [COMMON] to enter Patch Edit
mode.
* By pressing [TONE] you can switch between “1ST
RELEASE” and “2ND RELEASE.”
fig.5-26
2 . Press [PARAMETER] to select “1ST BRIGHTNESS.”
* If you want to change the BRIGHTNESS of the 2nd tone,
choose “2ND BRIGHTNESS.”
* By pressing [TONE] you can switch between “1ST
3 . Turn [VALUE] to select a value in the range of -50–50.
BRIGHTNESS” and “2ND BRIGHTNESS.”
fig.5-27
Increasing the value setting will lengthen the release
time. Decreasing the value will shorten the release time.
(Setting the value to “0” causes the original release of the
selected tone to be used.)
* The release setting is a method of adjusting each tone’s
individual release characteristics. Depending on the way in
which the original tone ends, the amount of possible change
varies with the selected tone.
3 . Turn [VALUE] to select a value in the range of -50–50.
Increasing the value will make the sound brighter and
crisper. Decreasing the value will create a darker,
muffled sound. (Setting the value to “0” preserves the
original brightness of the selected tone.)
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
* The brightness setting is a method of adjusting each tone’s
brightness characteristics. Depending on the tone’s original
sound, the amount of possible change varies with the selected
tone.
* 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.
4 . Press [WRITE] to perform the Patch Write operation (p.
* If “LAYER” is set to “Mute,” “1st Tone,” or “2nd Tone,”
either the 1st or 2nd tone—or neither tone—will sound.
Change the LAYER setting as necessary.
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.
For details on “LAYER” settings, refer to “Determining
Which Tones Will Be Sounded (LAYER)” (p. 51).
* If LAYER is set to “Mute,” “1st Tone,” or “2nd Tone,” either
the 1st or 2nd tone—or neither tone, will sound. Change the
LAYER setting as necessary.
For details on LAYER settings, refer to “Determining Which
Tones Will Be Sounded (LAYER)” (p. 51).
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
Co m b in in g / La y e rin g Tw o So u n d s (To n e s)
De te rm in in g W h ich To n e s W ill Be
So u n d e d (LAYER)
Ap p ly in g De tu n e (Su b tle Pitch Sh ift)
In Step 4 of the previous (LAYER) section, when you select
either “Weak Detune” or “Strong Detune,” both the first and
second tones are played, and a detune effect that slightly
offsets the pitch of each tone is added. Strong detune creates
a much greater difference in the tones’ pitch.
You can determine how the 1st and 2nd tones will be
combined using the TONE “LAYER” parameter in Patch Edit
mode. This parameter allows you to activate only the 1st
tone, only the 2nd, or both.
Detuning can add “thickness” to patches. You can make a
patch sound quite huge by detuning a patch’s tones, and
then panning them left and right by setting the COMMON
“PAN MODE” parameter (p. 41) to “Cross Tones” and
positioning the tones to the left and right. Since detune is one
of the “LAYER” settings, you can use it in combination with
the “STRING SELECT” button to set the detuning for each
string (p. 35).
LAYER, combined with the [STRING SELECT] button,
allows you to set up each string separately.
For example, you can group Strings 1 to 3 and Strings 4 to 6,
and then set each group to play different tones.
■ Pro ce d u re fo r Ch a n g in g th e La y e r Se ttin g s
o f th e 1 st a n d 2 n d To n e s
1 . Select the patch whose LAYER setting you want to
change, and press [TONE] to enter Patch Edit mode.
Tra n sp o sin g b y Se m ito n e s
(TRAN SPO SE)
2 . Press [PARAMETER] to select “LAYER.”
fig.5-28
Ordinarily in the GR-33, the pitch of the synth sound is the
same as the guitar’s. When the need arises, you can change
this pitch relationship, offsetting it by semitones—this is
called “transpose.” By transposing, you can change the
synthesizer’s sound by different intervals—an octave, fifth,
or the like—and then layer the synth sound with the sound
of the guitar.
3 . Press [STRING SELECT] to select the string you wish
to set up.
Also, with the built-in transpose setting, you can create
separate transposition settings for the 1st (“1ST
For more detailed information about the “STRING SELECT”
button, refer to “Making separate settings for each string
(STRING SELECT)” (p. 35).
TRANSPOSE”) and 2nd (“2ND TRANSPOSE”) tones. This
allows you to achieve a bigger, fatter sound by, for example,
transposing both of the synthesizer sounds together, or by
lowering one tone by an octave, and raising the other by a
fifth from your guitar’s original pitch.
*
When you want to set up all of the strings at once, choose “ALL.”
4 . Turn [VALUE] to select the desired setting.
Mute:
Neither the 1st or 2nd tone will sound.
When used in combination with the “STRING SELECT”
button, you can set the transposition for each string
individually.
1st Tone:
2nd Tone:
Both Tone:
Only the 1st tone will sound.
Only the 2nd tone will sound.
Both the 1st and 2nd tones will sound.
■ Ch a n g in g th e Tra n sp o sitio n o f th e To n e
Weak Detune: A slight amount of detuning.
1 . Select the patch whose TRANSPOSE you want to
Strong Detune: A large amount of detuning.
change, and press [TONE] to enter Patch Edit mode.
2 . Press [PARAMETER] to select “1ST TRANSPOSE.”
For details on detune, refer to “Applying detune (Subtle
Pitch Shift).”
* If you want to change the TRANSPOSE of the 2nd tone,
choose “2ND TRANSPOSE.”
5 . If you wish to set up other strings, repeat Steps 3–4.
* By pressing [TONE] you can switch between “1ST
6 . Press [WRITE] to perform the Patch Write operation (p.
TRANSPOSE” and “2ND TRANSPOSE.”
36).
fig.5-29
* 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.
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Ch a p te r 5 Se ttin g / Ch a n g in g So u n d s (Pa tch e s)
3 . Use [STRING SELECT] to select the string you wish to
3 . Turn [VALUE] to select a value in the range of -50–50.
set up.
Setting the parameter to “50” causes only the 1st tone to
sound, while “-50” causes only the 2nd tone to sound.
“0” 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
(STRING SELECT)” (p. 35).
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
* When you want to make settings to all of strings together,
choose “ALL.”
* 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.
4 . Turn [VALUE] to select the desired value.
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
shifted downward two octaves.
W h a t to d o W h e n a To n e is
Su p p o se d to So u n d , b u t Do e sn ’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
the following may be the cause. Check the following items,
and if one of them turns out to be the problem, refer to the
specified page and change your settings accordingly.
6 . Press [WRITE] to perform the Patch Write operation (p.
36).
* After performing the Patch Write operation, you will
automatically return to Play mode.
❍
❍
❍
All or one of the strings is set to “1st Tone” (1st tone
only) or “2nd Tone” (2nd tone only), in LAYER (p. 51).
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
Is the “1:2 BALANCE” setting (p. 52) set to “50” or “-
50”?
* If LAYER is set to “Mute,” “1st Tone,” or “2nd Tone,” either
the 1st or 2nd tone—or neither tone—will sound. Change the
LAYER setting as necessary.
When “Cross Tones” is selected as the COMMON “PAN
right (50 and -50), only one channel is being output from
your amp.
For details on LAYER settings, refer to (p. 51).
❍
“Volume 1st,” “Volume 2nd,” or “Balance” are selected
as the expression pedal setting (p. 47), and the pedal is
all the way back (or all the way forward).
De te rm in in g th e Vo lu m e Ba la n ce
o f Tw o To n e s (1 :2 BALAN CE)
* When neither the 1st nor 2nd tones can be heard, please refer
to p. 99 and consult the checklist there.
When the 1st and second tones are being played
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.
■ Ba la n cin g th e Vo lu m e o f Tw o To n e s
1 . Select the patch whose setting you want to change, and
press [TONE] to enter Patch Edit mode.
* Before changing the setting, set “LAYER” (p. 51) so both 1st
and 2nd tones play: select “Both Tone,” “Weak Detune,” or
“Strong Detune”.
2 . Press [PARAMETER] to select “1:2 BALANCE.”
fig.5-50
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
Ab o u t th e Effe cts Pro ce sso rs a n d Ava ila b le Effe cts
The GR-33 has the following three onboard effect processors.
MULTI-FX is Multi-effects which contains 40 types of effect,
including distortion and delay. The MULTI-FX also has effect
types named “Chorus,” and “Reverb” but these can be
applied separately from the Chorus (b) and Reverb (c) listed
above. It is also possible to apply the effect to just one of the
two tones.
a. MULTI-FX (Multi-effects)
b. CHORUS
c. REVERB
The overall structure of the EFFECTS as follows.
fig.6-00
Chorus is an effect that gives a wide, open sound, with a
special type of wavering, like that of multiple instruments
playing together.
REV SEND
LEVEL
REVERB
CHO SEND
LEVEL
Reverb is an effect that simulates the reverberation you get
when performing in a room or hall with good acoustics. With
the GR-33’s built-in reverb, you also get delay (an effect that
repeats a sound, sort of like a mountain echo).
CHORUS
MIX
OUT
MULTI-FX
The on/ off settings of these effects can be stored for each
patch.
Chorus and Reverb coneects in series.
* These effects are for use with the built-in sound generator.
They don’t work with guitar sounds or any other than the
internal synth sound generator. However, if you use the
GUITAR OUT (RETURN) jack, you can make additional
connections to add external guitar-only effects. (p. 15)
* You may hear a noise when changing effects, but this does not
indicate a malfunction.
Ma k in g Mu lti-e ffe cts Se ttin g s
4 . Press [WRITE] to perform the Patch Write operation (p.
Tu rn in g m u lti-e ffe cts o n / o ff
(MULTI-FX SW )
36) and save the data.
* After performing the Patch Write operation, you will
automatically return to Play mode.
Use “MULTI-FX SW” to select the tone for which the multi-
effect will be turned on/ off, or to which the multi-effect will
be applied.
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
■ Pro ce d u re fo r Mu lti-e ffe ct O n / O ff
1 . Select the patch for which Multi-effect is to be set, and
In Pedal Effect mode (or if you have chosen “Patch Select” as
the “S1/ S2 FUNCTION"), you can press the pedal 4 (CTRL)
to switch multi-effect bypass on/ off while you play.
press [EFFECTS] to go into Patch Edit mode.
2 . Use [PARAMETER] to select “MULTI-FX SW.”
fig.6-50
However, you must make “CTRL PEDAL” settings (p. 46).
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.
3 . Use [VALUE] to select the value.
Off:
1st:
Turn off the multi-effect.
Apply the multi-effect only to the 1st tone.
2nd: Apply the multi-effect only to the 2nd tone.
Both: Apply the multi-effect to both the 1st and the
2nd tones.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
■ Ma k in g Mu lti-e ffe cts Se ttin g s
Se le ctin g a Ty p e (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.
1 . Select the patch for which Multi-effect is to be set, and
press [EFFECTS] to go into Patch Edit mode.
2 . Use [PARAMETER] to select “MULTI-FX TYPE.”
fig.6-04
Parameters for each effects type are given on the following
pages.
1:
STEREO-EQ
OVERDRIVE
DISTORTION
PHASER
(→p. 55)
(→p. 55)
(→p. 56)
(→p. 56)
(→p. 56)
(→p. 57)
(→p. 57)
(→p. 57)
(→p. 58)
(→p. 58)
(→p. 59)
(→p. 59)
(→p. 60)
(→p. 60)
(→p. 61)
(→p. 61)
(→p. 62)
(→p. 63)
(→p. 63)
(→p. 64)
(→p. 65)
(→p. 65)
(→p. 66)
(→p. 67)
(→p. 67)
(→p. 68)
(→p. 68)
(→p. 69)
(→p. 69)
(→p. 69)
(→p. 69)
(→p. 70)
(→p. 70)
(→p. 71)
(→p. 71)
(→p. 72)
(→p. 72)
(→p. 73)
(→p. 73)
(→p. 73)
2:
3:
4:
4 . Press [PARAMETER] to select the setting item for the
5:
SPECTRUM
ENHANCER
AUTO-WAH
ROTARY
effect type selected in step 3.
6:
For a description of the effect type parameters, see the
subsequent section, “About Multi-Effects Parameters.”
7:
8:
9:
COMPRESSOR
LIMITER
10:
11:
12:
13:
14:
15:
16:
17:
18:
19:
20:
21:
22:
23:
24:
25:
26:
27:
28:
29:
30:
31:
32:
33:
34:
35:
36:
37:
38:
39:
40:
6 . Repeat steps 4 to 5 to set all parameters of the selected
HEXA-CHO
TREMOLO-CHORUS
SPACE-D
effect type.
STEREO-CHO
STEREO-FL
STEP-FL
36).
STEREO-DELAY
MOD-DELAY
3-TAP-DELAY
4-TAP-DELAY
TIMECTRL-DLY
2VOICE-P. SFT
FB-P. SFT
a “#” symbol can be controlled by the EXP pedal. For
details on EXP pedal settings, refer to “Using the
expression pedal” (p. 47).
REVERB
GATE-REVERB
OD→CHO
OD→FL
OD→DLY
DS→CHO
DS→FL
DS→DLY
EH→CHO
EH→FL
EH→DLY
CHO→DLY
FL→DLY
CHO→FL
CHO/DLY
FL/DLY
CHO/FL
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
P2 GAIN (Pe a k in g 2 g a in ) -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) that will take place
in the region specified by P2 FREQ and P2 Q.
Positive (+) settings will emphasize (boost) the region
specified by P2 FREQ and P2Q.
Ab o u t Mu lti-Effe cts Pa ra m e te rs
1 : STEREO -EQ (Ste re o e q u a lize r)
This is a stereo equalizer which allows you to adjust the tone
quality using a low range, two mid-range, and a high range
LEVEL (O u tp u t le ve l) 0 –1 2 7 #
Specify the output volume.
control.
fig.6-05
L in
L out
R out
4-Band EQ
4-Band EQ
2 : O VERDRIVE
R in
Overdrive produces a natural-sounding distortion similar to
that produced by a vacuum tube amplifier.
fig.6-06
LO W FREQ (Lo w fre q u e n cy ) 2 0 0 Hz/ 4 0 0 Hz
Select the frequency (200 Hz/ 400 Hz) at which the low
frequency range will be adjusted.
L in
L out
Pan L
Over
drive
Amp
Simulator
2-Band
EQ
Pan R
R in
LO W GAIN -1 5 –+1 5 d B
R out
Specify the low frequency gain (amount of boost or cut).
DRIVE 0 –1 2 7 #
Positive (+) settings will emphasize (boost) the low range.
Specify the depth of distortion. The volume will change
together with the depth of distortion.
HIGH FREQ (Hig h fre q u e n cy ) 4 0 0 0 Hz/ 8 0 0 0 Hz
Select the frequency (4 kHz/ 8 kHz) at which the high range
will be adjusted.
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
Specify the stereo location of the output sound.
HIGH GAIN -1 5 –+1 5 d B
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).
Positive (+) settings will emphasize (boost) the high range.
AMP TYPE (Am p sim u la to r ty p e )
Sm a ll/ Bu ilt-In / 2 -Sta ck / 3 -Sta ck
Select the type of guitar amp.
P1 FREQ (Pe a k in g 1 fre q u e n cy )
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200–8000 Hz)
Small:
Small amp
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
P1 Q (Pe a k in g 1 Q ) 0 .5 / 1 .0 / 2 .0 / 4 .0 / 8 .0
Specify the width of the region centered on the P1 FREQ
setting.
LO W GAIN -1 5 –+1 5 d B
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Higher settings will cause the region affected by P1 GAIN to
be narrower.
HIGH GAIN -1 5 –+1 5 d B
P1 GAIN (Pe a k in g 1 g a in ) -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) that will take place
in the region specified by P1 FREQ and P1 Q.
Positive (+) settings will emphasize (boost) the region
specified by P1 FREQ and P1Q.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
P2 FREQ (Pe a k in g 2 fre q u e n cy )
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200–8000 Hz)
You can use the Output Level setting to even out the volume
difference between the sound with and without Overdrive.
Specify the center frequency of the region in which the boost
or cut will take place.
P2 Q (Pe a k in g 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 GAIN to
be narrower.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
3 : DISTO RTIO N
4 : PHASER
Distortion produces a more intense distortion than the
Phaser is an effect that adds a phase-shifted sound to the
original sound to create time-varying change, modulating
Overdrive effect.
fig.6-07
the sound.
fig.6-08
L in
L out
Pan L
L in
Amp
Simulator
2-Band
EQ
L out
Pan L
Distortion
Pan R
Phaser
R in
R out
Mix
Pan R
R in
Resonance
R out
DRIVE 0 –1 2 7 #
MAN UAL 1 0 0 Hz–8 0 0 0 Hz
Specify the center frequency at which the sound is modulated.
Adjust the amount of distortion. The volume will change
together with the amount of distortion.
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
RATE 0 .0 5 –1 0 .0 Hz #
Specify the stereo location of the output sound.
Specify the frequency of modulation.
A setting of L64 is far left, 0 is center, and R63 is far right.
DEPTH 0 –1 2 7
Specify the depth of modulation.
AMP TYPE (Am p sim u la to r ty p e )
Sm a ll/ Bu ilt-In / 2 -Sta ck / 3 -Sta ck
Specify the type of guitar amp.
RESO N AN CE 0 –1 2 7
Specify the amount of feedback for the phaser. Higher
settings will give the sound a stronger character.
Small:
Small amp
Built-In:
Built-in type amp
2-Stack: Large two-level stack
MIX (Mix le ve l) 0 –1 2 7
3-Stack: Large three-level stack
Adjust the ratio with whitch the phase-shifted sound is
combined with the direct sound.
LO W GAIN -1 5 –+1 5 d B
Specify the low range gain (amount of boost or cut).
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
Specify the stereo location of the output sound.
Positive (+) settings will emphasize (boost) the low
frequency range.
A setting of L64 is far left, 0 is center, and R63 is far right.
HIGH GAIN -1 5 –+1 5 d B
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the high range gain (amount of boost or cut).
Specify the output volume.
Positive (+) settings will emphasize (boost) the high
frequency range.
5 : SPECTRUM
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
Spectrum is a type of filter which boosts or cuts the level at
specific frequencies to modify the tone.
It functions similarly to the equalizer, but since the eight
frequencies are fixed at positions ideal for giving the sound
You can use the Output Level setting to even out the volume
difference between the sound with and without Distortion.
more character, more distinctive sounds can be created.
fig.6-09
L in
L out
Pan L
Spectrum
Pan R
R in
R out
Determines the tone quality of Bands 1–8.
BAN D1 (Ba n d 1 g a in ) -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) at 250 Hz.
BAN D2 (Ba n d 2 g a in ) -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) at 500 Hz.
BAN D3 (Ba n d 3 g a in ) -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) at 1000 Hz.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
BAN D4 (Ba n d 4 g a in ) -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) at 1250 Hz.
7 : AUTO -W AH
Auto Wah cyclically moves the frequency of a filter to
produce a wah effect (cyclic modulation of the tone).
fig.6-11
BAN D5 (Ba n d 5 g a in ) -1 5 –+1 5 d B
L in
Specify the gain (amount of boost or cut) at 2000 Hz.
L out
Auto Wah
BAN D6 (Ba n d 6 g a in ) -1 5 –+1 5 d B
R in
R out
Specify the gain (amount of boost or cut) at 3150 Hz.
FILTER TYPE LPF/ BPF
Specify the type of filter.
LPF:
BAN D7 (Ba n d 7 g a in ) -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) at 4000 Hz.
BAN D8 (Ba n d 8 g a in ) -1 5 –+1 5 d B
The wah effect will be produced over a wide frequency range.
Specify the gain (amount of boost or cut) at 8000 Hz.
BPF:
The wah effect will be produced over a narrow frequency
range.
Q
0 .5 / 1 .0 / 2 .0 / 4 .0 / 8 .0
Specify the range of all bands in which the level will be modified.
RATE 0 .0 5 –1 0 .0 Hz
Specify the modulation frequency of the wah effect.
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
Specify the stereo location of the output sound.
A setting of L64 is far left, 0 is center, and R63 is far right.
DEPTH 0 –1 2 7
Specify the modulation depth of the wah effect.
LEVEL (O u tp u t le ve l) 0 –1 2 7 #
Specify the output volume.
SEN S (Se n sitivity ) 0 –1 2 7
Specify the sensitivity with which the filter will be affected.
6 : EN HAN CER
MAN UAL 0 –1 2 7 #
Enhancer controls the overtone structure of the high
Specify the center frequency at which the wah effect will be
produced.
frequency range, adding sparkle to the sound and improving
the definition.
fig.6-10
PEAK 0 –1 2 7
Specify how the wah effect will affect the region around the
center frequency.
2-Band
EQ
L in
L out
R out
Enhancer
Enhancer
Mix
Mix
Lower settings will produce a wah effect in a broad area
around the center frequency. Higher settings will produce a
wah effect in a narrow area around the center frequency.
2-Band
EQ
R in
SEN S (Se n sitivity ) 0 –1 2 7
Specify the depth of the Enhancer effect.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
MIX (Mix le ve l) 0 –1 2 7 #
Specify the proportion by which the overtones generated by
the enhancer will be mixed with the original sound.
8 : RO TARY
Rotary is an effect which simulates the sound of the rotary
speakers of the past. Since the movement of the high frequency
and low frequency rotors can be specified separately, the
unique modulation can be simulated realistically. This effect is
LO W GAIN -1 5 –+1 5 d B
Specify the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
most effective on organ-type Patches.
fig.6-12
L in
L out
R out
HIGH GAIN -1 5 –+1 5 d B
Specify the high frequency gain (amount of boost or cut).
Rotary
R in
Positive (+) settings will emphasize (boost) the high
frequency range.
HIGH SLO W
(Hig h fre q u e n cy slo w ra te ) 0 .0 5 –1 0 .0 Hz
Specify the low-speed (SLOW) rotational speed of the high-
range rotor.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
LO W SLO W
9 : CO MPRESSO R
(Lo w fre q u e n cy slo w ra te ) 0 .0 5 –1 0 .0 Hz
Specify the low-speed (SLOW) rotational speed of the low-
range rotor.
Compressor is an effect which restricts high sound levels and
boosts low sound levels, thus smoothing out variations in volume.
fig.6-13
L in
L out
Pan L
HIGH FAST
2-Band
EQ
Compressor
(Hig h fre q u e n cy fa st ra te ) 0 .0 5 –1 0 .0 Hz
Specify the high-speed (FAST) rotational speed of the high-
range rotor.
Pan R
R in
R out
SUSTAIN 0 –1 2 7
Specify the time over which low-level sounds are boosted to
a constant volume level.
LO W FAST
(Lo w fre q u e n cy fa st ra te ) 0 .0 5 –1 0 .0 Hz
Specify the high-speed (FAST) rotational speed of the low-
range rotor.
ATTACK 0 –1 2 7
Specify the attack time of the input sound.
SPEED Slo w / Fa st #
Select the rotational speed of the low-range rotor and high-
range rotor.
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
Specify the stereo location of the output sound.
A setting of L64 is far left, 0 is center, and R63 is far right.
Slow:
The specified rotational speeds (the LOW SLOW RATE/
HI SLOW RATE values) will take effect.
PO ST GAIN 0 / +6 / +1 2 / +1 8 d B
Specify the output level.
Fast:
The specified rotational speeds (the LOW FAST RATE/
HI FAST RATE values) will take effect.
LO W GAIN -1 5 –+1 5 d B
Specify the low frequency range gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
HIGH ACCL (Hig h fre q u e n cy a cce le ra tio n ) 0 –1 5
Specify the time required for the rotational speed of the high-
range rotor to change from the low speed to the high speed
(or from the high speed to the low speed). More time will be
required as the value of this parameter is decreased.
HIGH GAIN -1 5 –+1 5 d B
Specify the high frequency range gain (amount of boost or
cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
LO W ACCL (Lo w fre q u e n cy a cce le ra tio n ) 0 –1 5
Specify the time required for the rotational speed of the low-
range rotor to change from the low speed to the high speed
(or from the high speed to the low speed). More time will be
required as the value of this parameter is decreased.
LEVEL (O u tp u t le ve l) 0 –1 2 7 #
Specify the output volume.
HIGH LEVEL (Hig h fre q u e n cy le ve l) 0 –1 2 7
Specify the volume of the high-range rotor.
1 0 : LIMITER
Limiter is an effect which compresses sounds that are louder than
a specified volume level, preventing distortion from occurring.
fig.6-14
LO W LEVEL (Lo w fre q u e n cy le ve l) 0 –1 2 7
Specify the volume of the low-range rotor.
L in
L out
Pan L
2-Band
EQ
Limiter
SEPARATIO N 0 –1 2 7
Pan R
Specify the spaciousness of the sound.
R in
R out
THRESHO LD (Th re sh o ld le ve l) 0 –1 2 7
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the volume level at which compression will begin.
Specify the output volume.
RELEASE (Re le a se tim e ) 0 –1 2 7
Specify the time from when the volume falls below the
threshold level until the limiter effect no longer applies.
RATIO (Co m p re ssio n ra tio ) 1 .5 :1 / 2 :1 / 4 :1 / 1 0 0 :1
Specify the compression ratio.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
Specify the stereo location of the output sound.
PAN DEV (Pa n d e via tio n ) 0 –2 0
Specify the difference in stereo position between each of the
chorus sounds.
A setting of L64 is far left, 0 is center, and R63 is far right.
With a setting of 0, all of the chorus sounds will be panned to
the center. Setting this to 20 provides the greatest breadth.
PO ST GAIN 0 / +6 / +1 2 / +1 8 d B
Specify the level of the output sound.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the chorus sound.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the low
frequency range.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the chorus sound
will be output.
Positive (+) settings will emphasize (boost) the low
frequency range.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
Positive (+) settings will emphasize (boost) the high
frequency range.
1 2 : TREMO LO -CHO (Tre m o lo Ch o ru s)
Tremolo-chorus is a chorus with a tremolo effect (cyclic
LEVEL (O u tp u t le ve l) 0 –1 2 7 #
Specify the output volume.
modulation of volume).
fig.6-16
L in
L out
Balance D
Balance E
1 1 : HEXA-CHO RUS
Tremolo Chorus
Balance E
Hexa-chorus is a six-stage chorus which adds depth and
spaciousness to the sound. (Six chorus sounds with different
R in
R out
Balance D
delay times are overlaid.)
fig.6-15
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the delay time from the original sound until when
the chorus sound is heard.
L in
L out
Balance D
Balance E
Hexa Chorus
Balance E
CHO RUS RATE 0 .0 5 –1 0 .0 Hz
Specify the modulation frequency of the chorus sound.
R in
R out
Balance D
CHO RUS DEPTH 0 –1 2 7
Specify the modulation depth of the chorus sound.
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the delay time from the original sound until when
the chorus sound is heard.
TREM RATE (Tre m o lo ra te ) 0 .0 5 –1 0 .0 Hz #
RATE 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the tremolo effect.
Specify the modulation frequency of the chorus sound.
TREM SEP (Tre m o lo se p a ra tio n ) 0 –1 2 7
DEPTH 0 –1 2 7
Specify the spaciousness of the tremolo effect.
Specify the modulation depth of the chorus sound.
TREM PHASE (Tre m o lo p h a se ) 0 –1 8 0
PRE DLY DEV (Pre d e la y d e via tio n ) 0 –2 0
The Pre Delay parameter explained above specified the delay
time from the original sound until when the chorus sound is
heard. This Pre Delay Deviation parameter specifies the
differences in Pre Delay time for each of the chorus sounds.
Higher settings will cause each of the chorus sounds to be
spread further apart.
Adjusts the phase of the tremolo effect.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the tremolo-chorus sound.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the tremolo-
chorus sound will be output.
DEPTH DEV (De p th d e via tio n ) -2 0 –+2 0
Specify the difference in modulation depth between each of
the chorus sounds.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
1 3 : SPACE-D
FILTER TYPE O ff/ LPF/ HPF
Select the type of filter.
Off:
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
A filter will not be used.
LPF:
Balance D
2-Band
L in
L out
R out
The frequency region above the Cutoff Freq setting will
be cut.
EQ
Balance E
Space D
Space D
HPF:
Balance E
The frequency region below the Cutoff Freq setting will
be cut.
2-Band
EQ
R in
Balance D
CUTO FF FREQ (Cu to ff fre q u e n cy )
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200–8000 Hz)
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the delay time from the original sound until the
chorus sound is heard.
Specify the frequency at which the filter will begin cutting.
RATE 0 .0 5 –1 0 .0 Hz #
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
chorus sound is heard.
Specify the modulation frequency of the chorus sound.
DEPTH 0 –1 2 7
Specify the modulation depth of the chorus sound.
RATE 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the chorus sound.
PHASE 0 –1 8 0
Specify the spaciousness of the chorus sound.
DEPTH 0 –1 2 7
LO W GAIN -1 5 –+1 5 d B
Specify the modulation depth of the chorus sound.
Specify the gain (amount of boost or cut) for the low
frequency range.
PHASE 0 –1 8 0
Specify the spaciousness of the chorus sound.
Positive (+) settings will emphasize (boost) the low
frequency range.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the low
frequency range.
Positive (+) settings will emphasize (boost) the high
frequency range.
Positive (+) settings will emphasize (boost) the low
frequency range.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the chorus sound.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the chorus sound
will be output.
Positive (+) settings will emphasize (boost) the high
frequency range.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the chorus sound.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the chorus sound
will be output.
1 4 : STEREO -CHO (Ste re o Ch o ru s)
This is a stereo chorus. A filter allows you to adjust the tone
of the chorus sound.
fig.6-18
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
Balance D
2-Band
L in
L out
R out
EQ
Balance E
Chorus
Chorus
Balance E
2-Band
EQ
R in
Balance D
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
1 5 : STEREO -FL (Ste re o Fla n g e r)
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
Positive (+) settings will emphasize (boost) the high
frequency range.
that you can adjust the tone of the flanger sound.
fig.6-19
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the flanger sound.
Balance D
2-Band
L in
L out
EQ
Flanger
Balance E
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the flanger sound
will be output.
Feedback
Feedback
Balance E
Flanger
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
2-Band
EQ
R in
R out
Balance D
FILTER TYPE O ff/ LPF/ HPF
Specify the type of filter.
Off:
1 6 : STEP-FL (Ste p Fla n g e r)
Step flanger is a flanger in which the pitch of the flanger
sound changes in steps. The frequency of the pitch change
A filter will not be used.
LPF:
can be specified as a note length of a specific tempo.
fig.6-20
Balance D
2-Band
Cut the frequency region above the Cutoff Freq setting.
HPF:
L in
L out
EQ
Step Flanger
Balance E
Cut the frequency region below the Cutoff Freq setting.
Feedback
Feedback
CUTO FF FREQ (Cu to ff fre q u e n cy )
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200–8000 Hz)
Balance E
Step Flanger
2-Band
EQ
R in
R out
Specify the frequency at which the filter will begin cutting.
Balance D
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
flanger sound is heard.
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
flanger sound is heard.
RATE (LFO ra te ) 0 .0 5 –1 0 .0 Hz #
RATE 0 .0 5 –1 0 .0 Hz
Specify the modulation frequency of the flanger sound.
Specify the modulation frequency of the flanger sound.
DEPTH 0 –1 2 7
DEPTH (LFO d e p th ) 0 –1 2 7
Specify the modulation depth of the flanger sound.
Specify the modulation depth of the flanger sound.
FEEDBACK -9 8 –+9 8 %
Specify the proportion (%) of the flanger sound that is to be
returned to the input.
PHASE 0 –1 8 0
Specify the spaciousness of the flanger sound.
Positive (+) settings will return the signal to the input with
the original phase, while negative (-) settings produce an
inverted phase.
FEEDBACK -9 8 –+9 8 %
Specify the proportion (%) of the flanger sound that is to be
returned to the input.
Higher settings will produce a more distinctive sound.
Positive (+) settings will return the signal to the input with
the original phase, while negative (-) settings produce an
inverted phase.
STEP RATE 0 .0 5 –1 0 .0 Hz #
Specify the frequency of pitch change.
Higher settings will produce a more distinctive sound.
PHASE 0 –1 8 0
Specify the spaciousness of the flanger sound.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the low
frequency range.
Positive (+) settings will emphasize (boost) the low
frequency range.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the low
frequency range.
DELAY LEFT (De la y tim e le ft) 0 .0 –5 0 0 m s
Specify the delay time from the original sound until the left
delay sound is heard.
Positive (+) settings will emphasize (boost) the low
frequency range.
DELAY RIGHT (De la y tim e rig h t) 0 .0 –5 0 0 m s
Specify the delay time from the original sound until the right
delay sound is heard.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
PHASE LEFT (Fe e d b a ck p h a se le ft) N o rm a l/ In ve rt
Positive (+) settings will emphasize (boost) the high
frequency range.
Specify the phase of the left delay sound.
Normal:
Invert:
The phase will not change.
The phase will be inverted.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the flanger sound.
PHASE RIGHT (Fe e d b a ck p h a se rig h t) N o rm a l/ In ve rt
Specify the phase of the right delay sound.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the flanger sound
will be output.
Normal:
Invert:
The phase will not change.
The phase will be inverted.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
FEEDBACK (Fe e d b a ck le ve l) -9 8 –+9 8 % #
Specify the proportion (%) of the delay 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.
1 7 : STEREO -DELAY
This is a stereo delay.
fig.6-21
When Feedback Mode parameter is Normal:
HF DAMP
Balance D
2-Band
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
L in
L out
EQ
4000/5000/6300/8000 (200–8000 Hz), Bypass
Balance E
Delay
Specify the frequency at which the high frequency range of
the delayed sound returned to the input will be cut.
Feedback
Feedback
If you do not want the sound to be cut, select Bypass.
Balance E
Delay
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the low
frequency range.
2-Band
EQ
R in
R out
L out
Balance D
Positive (+) settings will emphasize (boost) the low
frequency range.
When Feedback Mode parameter is Cross:
Balance D
2-Band
L in
EQ
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
Balance E
Delay
Feedback
Feedback
Positive (+) settings will emphasize (boost) the high
frequency range.
Balance E
Delay
2-Band
EQ
R in
R out
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the delay sound.
Balance D
FB MO DE (Fe e d b a ck m o d e ) N o rm a l/ Cro ss
Specify the input destination to which the delay sound will
be returned.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the delay sound
will be output.
Normal:
The left delay sound will be returned to the left input,
and the right delay sound to the right input.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Cross:
Specify the output volume.
The left delay sound will be returned to the right input,
and the right delay sound to the left input.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
RATE 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the modulation effect.
1 8 : MO D-DELAY (Mo d u la tio n De la y )
Modulation-delay is an effect which adds modulation to the
delay sound. It produces a flanger-like effect.
DEPTH 0 –1 2 7
fig.6-22
When Feedback Mode parameter is Normal:
Specify the modulation depth of the modulation effect.
Balance D
2-Band
PHASE 0 –1 8 0
Specify the spaciousness of the modulation sound.
L in
L out
EQ
Balance E
Delay
Modulation
Feedback
Feedback
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the low
frequency range.
Balance E
Delay
Modulation
Balance D
Positive (+) settings will emphasize (boost) the low
frequency range.
2-Band
EQ
R in
R out
L out
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the high
frequency range.
When Feedback Mode parameter is Cross:
Balance D
2-Band
L in
EQ
Delay
Modulation
Positive (+) settings will emphasize (boost) the high
frequency range.
Balance E
Feedback
Feedback
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the modulation-delay sound.
Delay
Modulation
Balance D
Balance E
2-Band
EQ
R in
R out
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the modulation-
delay sound will be output.
FB MO DE (Fe e d b a ck m o d e ) N o rm a l/ Cro ss
Specify the input destination to which the delay sound will
be returned.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
Normal:
The left delay sound will be returned to the left input,
and the right delay sound to the right input.
Cross:
1 9 : 3 -TAP-DELAY (Trip le Ta p De la y )
The left delay sound will be returned to the right input,
and the right delay sound to the left input.
Triple-tap-delay is an effect that produces delays in three
directions: center, left and right. The delay time can also be
specified as a note length relative to a specific tempo.
fig.6-23
DELAY LEFT (De la y tim e le ft) 0 .0 –5 0 0 m s
Specify the delay time from the original sound until the left
delay sound is heard.
Balance D
2-Band
L in
L out
EQ
Balance E
Left Tap
DELAY RIGHT (De la y tim e rig h t) 0 .0 –5 0 0 m s
Specify the delay time from the original sound until the right
delay sound is heard.
Triple Tap Delay
Feedback
Center Tap
Balance E
Right Tap
FEEDBACK (Fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the delay sound that is to be
returned to the input.
2-Band
EQ
R in
R out
Balance D
DELAY LEFT (De la y tim e le ft) 2 0 0 –1 0 0 0 m s
Specify the delay time from the original sound until the left
delay sound is heard.
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
HF DAMP
DELAY RIGHT (De la y tim e rig h t)
Specify the delay time from the original sound until the right
delay sound is heard.
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 delay sound returned to the input will be cut.
* The setting values are the same as for DELAY LEFT.
If you do not want the sound to be cut, select Bypass.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
DELAY CEN TER (De la y tim e ce n te r)
Specify the delay time from the original sound until the
center delay sound is heard.
2 0 : 4 -TAP-DELAY (Q u a d ru p le Ta p De la y )
Quadruple-tap-delay provides four delays. The delay time
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.
fig.6-24
Balance D
FEEDBACK (Fe e d b a ck le ve l) -9 8 %–+9 8 % #
Specify the proportion (%) of the delay sound that is to be
returned to the input.
L in
L out
Delay 1
Delay 2
Balance E
Feedback
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
Quadruple Tap Delay
Delay 3
Balance E
R out
Delay 4
R in
HF DAMP
Balance D
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200–8000 Hz), Bypass
DELAY1 (De la y tim e 1 ) 2 0 0 –1 0 0 0 m s
Specify the frequency at which the high frequency range of
the delayed sound returned to the input will be cut.
Specify the delay time from the original sound until the delay
1 sound is heard.
If you do not want the sound to be cut, select Bypass.
* The setting values for Delay Time 2 to Delay time 4 are the
same.
LEFT LEVEL 0 –1 2 7
Specify the volume of the left delay sound.
DELAY2 (De la y tim e 2 )
Specify the delay time from the original sound until the delay
2 sound is heard.
RIGHT LEVEL 0 –1 2 7
Specify the volume of the right delay sound.
DELAY3 (De la y tim e 3 )
Specify the delay time from the original sound until the delay
3 sound is heard.
CEN TER LEVEL 0 –1 2 7
Specify the volume of the center delay sound.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the low
frequency range.
DELAY4 (De la y tim e 4 )
Specify the delay time from the original sound until the delay
4 sound is heard.
Positive (+) settings will emphasize (boost) the low
frequency range.
LEVEL1 0 –1 2 7
Specify the volume level of delay 1.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
LEVEL2 0 –1 2 7
Specify the volume level of delay 2.
Positive (+) settings will emphasize (boost) the high
frequency range.
LEVEL3 0 –1 2 7
Specify the volume level of delay 3.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the delay sound.
LEVEL4 0 –1 2 7
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 D0:100E only the delay sound
will be output.
FEEDBACK (Fe e d b a ck le ve l) -9 8 %–+9 8 % #
Specify the proportion (%) of the delay sound that is to be
returned to the input.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
HF DAMP
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
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.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the low
frequency range.
If you do not want the sound to be cut, select Bypass.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the delay sound.
Positive (+) settings will emphasize (boost) the low
frequency range.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the delay sound
will be output.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) for the high
frequency range.
Positive (+) settings will emphasize (boost) the high
frequency range.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the delay sound.
2 1 : TIMECTRL-DLY (Tim e Co n tro l De la y )
This lets you control a delay time in real time.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the delay sound
will be output.
When the delay time has been made to change, the delay
time and pitch of the delayed sound change at the speed set
for Acceleration. Depending on the settings you use, you can
achieve some really tricky effects with this.
fig.6-24a
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
2-Band
EQ
Balance E
L in
L out
R out
Balance D
2 2 : 2 VO ICE-P.SFT (2 Vo ice Pitch Sh ifte r)
Time Control Delay
Balance E
Pitch Shifter is an effect that shifts the pitch of the original
sound. 2-voice-pitch-shifter has two pitch shifters, and is able
Feedback
Balance D
2-Band
EQ
R in
to add two pitch-shifted sounds to the original sound.
fig.6-25
DELAY (De la y tim e ) 2 0 0 –1 0 0 0 m s #
Balance D
L in
L out
Specify the time delay from the original sound until the delay
sound is heard.
Level Balance A
PanA L
PanA R
Balance E
2Voice Pitch Shifter
Level Balance B
FEEDBACK (Fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the delay sound that is to be
returned to the input.
PanB L
Balance E
R out
PanB R
R in
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
Balance D
MO DE (Pitch sh ifte r m o d e ) 1 –5
Higher settings will cause the response to be slower, but the
pitch will be steadier.
ACCELERATIO N 0 –1 5
Specify the time over which the current delay time will
change to the newly-specified delay time when the delay
time is modified. The speed of the pitch change will be
proportionate to the delay time.
CO ARSE A (Co a rse p itch A) -2 4 –+1 2 #
Specify the pitch shift amount in semitones for pitch shift A.
(-2–+1 octave)
CO ARSE B (Co a rse p itch B) -2 4 –+1 2
Specify the pitch shift amount in semitones for pitch shift B.
(-2—+1 octave)
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.
FIN E A (Fin e p itch A) -1 0 0 –+1 0 0
Adjust the pitch shift amount in 2-cent units (1 cent = 1/
100th of a semitone) for pitch shift A.
If you do not want the sound to be cut, select Bypass.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
FIN E B (Fin e p itch B) -1 0 0 –+1 0 0
Adjust the pitch shift amount in 2-cent units (1 cent = 1/
100th of a semitone) for pitch shift B.
2 3 : FB-P.SFT (Fe e d b a ck p itch sh ifte r)
This is a pitch shifter that is able to return the pitch shifted
sound back to the input.
fig.6-26
PRE DELAY A (Pre d e la y tim e A) 0 .0 –5 0 0 m s
Specify the time delay from the original sound until the pitch
shift A sound is heard.
2-Band
EQ
Balance E
L in
L out
R out
Balance D
Pitch Shifter
Balance E
PRE DELAY B (Pre d e la y tim e B) 0 .0 –5 0 0 m s
Specify the time delay from the original sound until the pitch
shift B sound is heard.
Feedback
Balance D
2-Band
EQ
R in
MO DE (Pitch sh ifte r m o d e ) 1 –5
Higher settings will cause the response to be slower, but the
pitch will be steadier.
PAN A (O u tp u t p a n A) L6 4 –0 –R6 3
Specify the stereo location of the pitch shift A sound.
A setting of L64 is far left, 0 is center, and R63 is far right.
CO ARSE (Co a rse p itch ) -2 4 –+1 2 #
Specify the pitch shift amount in semitone steps. (-2–+1 octave)
PAN B (O u tp u t p a n B) L6 4 –0 –R6 3
Specify the stereo location of the pitch shift B sound.
FIN E (Fin e p itch ) -1 0 0 –+1 0 0
Adjust the pitch shift amount in 2-cent steps (1 cent = 1/
100th of a semitone).
A setting of L64 is far left, 0 is center, and R63 is far right.
LVL BALAN CE (Le ve l b a la n ce ) A1 0 0 :0 B–A0 :1 0 0 B
Adjust the volume balance between the pitch shift A and
pitch shift B sounds.
PRE DELAY (Pre d e la y tim e ) 0 .0 –5 0 0 m s
Specify the time delay from the original sound until the pitch
shift sound is heard.
With a setting of A100:0B only the pitch shift A sound will be
output, and with a setting of A0:100B only the pitch shift B
sound will be output.
FEEDBACK -9 8 –+9 8 %
Specify the proportion (%) of the pitch shift sound that is to
be returned to the input.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Adjust the volume balance between the original sound and
the pitch shift sound.
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the pitch shift
sound will be output.
PAN (O u tp u t p a n ) L6 4 –0 –R6 3
Specify the stereo location of the pitch shift sound.
A setting of L64 is far left, 0 is center, and R63 is far right.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the low
frequency range.
Positive (+) settings will emphasize (boost) the low
frequency range.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the high
frequency range.
Positive (+) settings will emphasize (boost) the high
frequency range.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the pitch shift sound.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the pitch shift
sound will be output.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
2 4 : REVERB
2 5 : GATE-REVERB
Reverb adds reverberation to the original sound, simulating
Gate reverb is a type of reverb effect which cuts the reverb
an acoustic space.
fig.6-27
sound during its decay.
fig.6-28
2-Band
EQ
Balance E
2-Band
EQ
Balance E
L in
L out
R out
L in
L out
R out
Balance D
Reverb
Balance D
Gate Reverb
Balance E
Balance E
2-Band
EQ
2-Band
EQ
R in
R in
Balance D
Balance D
TYPE (Re ve rb ty p e )
Ro o m 1 / Ro o m 2 / Sta g e 1 / Sta g e 2 / Ha ll1 / Ha ll2
Specify the type of reverb.
TYPE (Ga te re ve rb ty p e )
N o rm a l/ Re ve rse / Sw e e p 1 / Sw e e p 2
Specify the type of reverb.
Room1: Short reverberation with high density
Room2: Short reverberation with low density
Normal:
Reverse:
Sweep1:
Sweep2:
Conventional gated reverb.
Reverse reverb.
Stage1:
Reverberation with heavy subsequent reverberation
The reverb sound moves from right to left.
The reverb sound moves from left to right.
Stage2: Reverberation with strong early reflections
Hall1:
Hall2:
Clear reverberation
Rich reverberation
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
reverb is heard.
PRE DELAY (Pre d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
reverb is heard.
GATE TIME 5 –5 0 0 m s
Specify the length of the reverb sound.
TIME (Re ve rb tim e ) 0 –1 2 7 #
Specify the length of reverberation.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the low
frequency range.
HF DAMP
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200–8000 Hz), Bypass
Positive (+) settings will emphasize (boost) the low
frequency range.
Specify the frequency at which the high frequency portion of
the reverb sound will be cut.
Lower frequency settings will cause a greater portion of the
high range to be cut, producing a softer reverb sound.
If you do not want the sound to be cut, select Bypass.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the high
frequency range.
Positive (+) settings will emphasize (boost) the high
frequency range.
LO W GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the low
frequency range.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E #
Specify the volume balance between the original sound and
the reverb sound.
Positive (+) settings will emphasize (boost) the low
frequency range.
HIGH GAIN -1 5 –+1 5 d B
Specify the gain (amount of boost or cut) of the high
frequency range.
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.
Positive (+) settings will emphasize (boost) the high
frequency range.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
BALAN CE (Effe ct b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
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.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
2 6 : O D ➔ CHO (O ve rd rive ➔ Ch o ru s)
2 7 : O D ➔ FL (O ve rd rive ➔ Fla n g e r)
This effect connects an overdrive and chorus in series.
fig.6-29
This effect connects an overdrive and a flanger in series.
fig.6-30
Balance D
L out
L out
L in
L in
Balance D
Chorus
Feedback
Flanger
Balance E
Balance E
Overdrive
Overdrive
Balance E
R out
Balance E
R out
R in
R in
Balance D
Balance D
O D DRIVE 0 –1 2 7 #
O D DRIVE 0 –1 2 7 #
Specify the amount of distortion for the overdrive. The
volume will change together with the amount of distortion.
Specify the amount of distortion for the overdrive. The
volume will change together with the amount of distortion.
O D PAN (O ve rd rive p a n ) L6 4 –0 –R6 3
Specify the stereo location of the overdrive sound.
A setting of L64 is far left, 0 is center, and R63 is far right.
O D PAN (O ve rd rive p a n ) L6 4 –0 –R6 3
Specify the stereo location of the overdrive sound.
A setting of L64 is far left, 0 is center, and R63 is far right.
CHO PRE DLY (Ch o ru s p re d e la y tim e ) 0 .0 –1 0 0 m s
This sets the interval from the time when the original sound
is played until the time when the chorus sound is played.
FL PRE DLY (Fla n g e r p re d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
flanger sound is heard.
CHO RATE (Ch o ru s ra te ) 0 .0 5 –1 0 .0 Hz
FL RATE (Fla n g e r ra te ) 0 .0 5 –1 0 .0 Hz
Specify the modulation frequency of the chorus sound.
Specify the modulation frequency of the flanger sound.
CHO DEPTH (Ch o ru s d e p th ) 0 –1 2 7
FL DEPTH (Fla n g e r d e p th ) 0 –1 2 7
Specify the modulation depth of the chorus sound.
Specify the modulation depth of the flanger sound.
CHO BALAN CE (Ch o ru s b a la n ce )
D1 0 0 :0 E–D0 :1 0 0 E
FL FEEDBACK (Fla n g e r fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the flanger sound that is to be
returned to the input.
Specify the relative volume levels for the overdrive sound
that does not pass through chorus, versus that which does.
A setting of D100:0E will result in output of solely the overdrive
sound, while a setting of D0:100E will cause only the overdrive
sound that is passed through chorus to be output.
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
FL BALAN CE (Fla n g e r b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the overdrive sound
that does not pass through the flanger and the overdrive
sound that does pass through the flanger.
A setting of D100:0E will output only the overdrive sound,
and a setting of D0:100E will output only the overdrive
sound that is passed through the flanger.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
2 8 : O D ➔ DLY (O ve rd rive ➔ De la y )
2 9 : DS ➔ CHO (Disto rtio n ➔ Ch o ru s)
This effect connects an overdrive and a delay in series.
fig.6-31
This effect connects distortion and chorus in series. The
parameters are essentially the same as “26: OD → CHO,”
with the exception of the following two.
L out
L in
Balance D
Delay
Balance E
O D DRIVE ➔ DS DRIVE #
Overdrive
Balance E
R out
(Specify the amount of distortion.)
Feedback
Balance D
R in
O D PAN ➔ DS PAN
(Specify the stereo location of the distortion sound.)
fig.6-32
O D DRIVE 0 –1 2 7 #
L out
Specify the amount of distortion for the overdrive. The
volume will change together with the amount of distortion.
L in
Balance D
Balance E
Distortion
Chorus
Balance E
R out
O D PAN (O ve rd rive p a n ) L6 4 –0 –R6 3
Specify the stereo location of the overdrive sound.
A setting of L64 is far left, 0 is center, and R63 is far right.
R in
Balance D
3 0 : DS ➔ FL (Disto rtio n ➔ Fla n g e r)
DLY TIME (De la y tim e ) 0 .0 –5 0 0 m s
Specify the time delay from the original sound until the delay
sound is heard.
This effect connects distortion and flanger in series. The
parameters are essentially the same as in “27: OD → FL,”
with the exception of the following two.
DLY FEEDBACK (De la y fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the delay sound that is to be
returned to the input.
O D DRIVE ➔ DS DRIVE #
(Specify the amount of distortion.)
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
O D PAN ➔ DS PAN
(Specify the stereo location of the distortion sound.)
fig.6-33
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
Balance D
L out
L in
Feedback
Flanger
Balance E
DLY HF DAMP (De la y HF d a m p )
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
4000/5000/6300/8000 (200–8000 Hz), Bypass
Distortion
Balance E
R out
Specify the frequency at which the high frequency range of
the delayed sound returned to the input will be cut.
R in
Balance D
If you do not want the sound to be cut, select Bypass.
3 1 : DS ➔ DLY (Disto rtio n ➔ De la y )
DLY BALAN CE (De la y b a la n ce )
D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the overdrive sound
that does not pass through the delay and the overdrive
sound that does pass through the delay.
This effect connects distortion and delay in series. The
parameters are essentially the same as in “28: OD → DLY,”
with the exception of the following two.
O D DRIVE ➔ DS DRIVE #
(Specify the amount of distortion.)
A setting of D100:0E will output only the overdrive sound,
and a setting of D0:100E will output only the overdrive
sound that is passed through the delay.
O D PAN ➔ DS PAN
(Specify the stereo location of the distortion sound.)
fig.6-34
LEVEL (O u tp u t le ve l) 0 –1 2 7
L out
L in
Specify the output volume.
Balance D
Delay
Balance E
Distortion
Balance E
R out
Feedback
Balance D
R in
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
3 2 : EH ➔ CHO (En h a n ce r ➔ Ch o ru s)
3 3 : EH ➔ FL (En h a n ce r ➔ Fla n g e r)
This effect connects an enhancer and a chorus in series.
fig.6-35
This effect connects an enhancer and a flanger in series.
fig.6-36
Balance D
L in
L out
Enhancer
Balance D
Chorus
L in
L out
Mix
Mix
Enhancer
Enhancer
Mix
Mix
Feedback
Flanger
Balance E
Balance E
Balance E
R out
Balance E
R out
R in
Enhancer
Balance D
R in
Balance D
EH SEN S (En h a n ce r se n sitivity ) 0 –1 2 7
Specify the sensitivity of the enhancer.
EH SEN S (En h a n ce r se n sitivity ) 0 –1 2 7
Specify the sensitivity of the enhancer.
EH MIX (En h a n ce r m ix le ve l) 0 –1 2 7
Specify the volume of the overtones generated by the
enhancer, relative to the original sound.
EH MIX (En h a n ce r m ix le ve l) 0 –1 2 7
Specify the volume of the overtones generated by the
enhancer, relative to the original sound.
CHO PRE DLY (Ch o ru s p re d e la y tim e )
0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
chorus sound is heard.
FL PRE DLY (Fla n g e r p re d e la y tim e )
0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
flanger sound is heard.
CHO RATE (Ch o ru s ra te ) 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the chorus sound.
FL RATE (Fla n g e r ra te ) 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the flanger sound.
CHO DEPTH (Ch o ru s d e p th ) 0 –1 2 7
Specify the modulation depth of the chorus sound.
FL DEPTH (Fla n g e r d e p th ) 0 –1 2 7
Specify the modulation depth of the flanger sound.
CHO BALAN CE (Ch o ru s b a la n ce )
D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the enhancer sound that
does not pass through the chorus and the enhancer sound
that does pass through the chorus.
FL FEEDBACK (Fla n g e r fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the flanger sound which will 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.
A setting of D100:0E will output only the enhancer sound,
and a setting of D0:100E will output only the enhancer sound
that is passed through the chorus.
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
FL BALAN CE (Fla n g e r b a la n ce )
D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the enhancer sound that
does not pass through the flanger and the enhancer sound
that does pass through the flanger.
A setting of D100:0E will output only the enhancer sound,
and a setting of D0:100E will output only the enhancer sound
that is passed through the flanger.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
3 4 : EH ➔ DLY (En h a n ce r ➔ De la y )
3 5 : CHO ➔ DLY (Ch o ru s ➔ De la y )
This effect connects an enhancer and delay in series.
fig.6-37
This effect connects a chorus and a delay in series.
fig.6-38
Balance D
L in
L out
Enhancer
L in
L out
Balance D
Mix
Mix
Balance D
Balance E
Balance E
Balance E
Delay
Feedback
Balance D
Chorus
Balance E
Delay
Feedback
Balance D
Balance E
R out
Balance E
R out
R in
Enhancer
R in
Balance D
EH SEN S (En h a n ce r se n sitivity ) 0 –1 2 7
Specify the sensitivity of the enhancer.
CHO PRE DELAY (Ch o ru s p re d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
chorus sound is heard.
EH MIX (En h a n ce r m ix le ve l) 0 –1 2 7
CHO RATE (Ch o ru s ra te ) 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the chorus sound.
Specify the volume of the overtones generated by the
enhancer, relative to the original sound.
DLY TIME (De la y tim e ) 0 .0 –5 0 0 m s
Specify the time delay from the original sound until the delay
sound is heard.
CHO DEPTH (Ch o ru s d e p th ) 0 –1 2 7
Specify the modulation depth of the chorus sound.
CHO BALAN CE (Ch o ru s b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the chorus sound.
DLY FEEDBACK (De la y fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the delay sound that is to be
returned to the input.
#
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the chorus sound
will be output.
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
DLY TIME (De la y tim e ) 0 .0 –5 0 0 m s
Specify the time delay from the original sound until the delay
sound is heard.
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
DLY HF DAMP (De la y HF d a m p )
DLY FEEDBACK (De la y fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the delay sound that is to be
returned to the input.
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.
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
If you do not want the sound to be cut, select Bypass.
DLY BALAN CE (De la y b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the enhancer sound that
does not pass through the delay and the enhancer sound that
does pass through the delay.
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
DLY HF DAMP (De la y HF d a m p )
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
A setting of D100:0E will output only the enhancer sound,
and a setting of D0:100E will output only the enhancer sound
that is passed through the delay.
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.
LEVEL (O u tp u t le ve l) 0 –1 2 7
If you do not want the sound to be cut, select Bypass.
Specify the output volume.
DLY BALAN CE (De la y b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
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 D0:100E only the chorus sound
that passes through the delay will be output.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
LEVEL (O u tp u t le ve l) 0 –1 2 7
DLY HF DAMP (De la y HF d a m p )
200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/
Specify the output volume.
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.
3 6 : FL ➔ DLY (Fla n g e r ➔ De la y )
This effect connects a flanger and a delay in series.
fig.6-39
If you do not want the sound to be cut, select Bypass.
Balance D
DLY BALAN CE (De la y b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance of the flanger sound that passes
through the delay and the flanger sound which does not pass
through the delay.
L in
L out
Balance D
Feedback
Flanger
Balance E
Balance E
Balance E
Delay
Feedback
Balance D
Balance E
R out
With a setting of D100:0E only the flanger sound will be
output, and with a setting of D0:100E only the flanger sound
that passes through the delay will be output.
R in
Balance D
FL PRE DLY (Fla n g e r p re d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
flanger sound is heard.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
FL RATE (Fla n g e r ra te ) 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the flanger sound.
3 7 : CHO ➔ FL (Ch o ru s ➔ Fla n g e r)
This effect connects a chorus and flanger in series.
fig.6-40
FL DEPTH (Fla n g e r d e p th ) 0 –1 2 7
Balance D
Feedback
Flanger
Balance D
Specify the modulation depth of the flanger sound.
L in
L out
Balance E
Chorus
FL FEEDBACK (Fla n g e r fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the flanger sound that is to be
returned to the input.
Balance E
Balance E
R out
Balance E
R in
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
Balance D
Balance D
CHO PRE DLY (Ch o ru s p re d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
chorus sound is heard.
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
FL BALAN CE (Fla n g e r b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the flanger sound.
CHO RATE (Ch o ru s ra te ) 0 .0 5 –1 0 .0 Hz
Specify the modulation frequency of the chorus sound.
CHO DEPTH (Ch o ru s d e p th ) 0 –1 2 7
Specify the modulation depth of the chorus sound.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the flanger sound
will be output.
CHO BALAN CE (Ch o ru s b a la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the original sound and
the chorus sound.
DLY TIME (De la y tim e ) 0 .0 –5 0 0 m s
Specify the time delay from the original sound until the delay
sound is heard.
With a setting of D100:0E only the original sound will be
output, and with a setting of D0:100E only the chorus sound
will be output.
DLY FEEDBACK (De la y fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the delay sound that is to be
returned to the input.
FL PRE DLY (Fla n g e r p re d e la y tim e ) 0 .0 –1 0 0 m s
Specify the time delay from the original sound until the
flanger sound is heard.
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
FL RATE (Fla n g e r ra te ) 0 .0 5 –1 0 .0 Hz #
Specify the modulation frequency of the flanger sound.
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
FL DEPTH (Fla n g e r d e p th ) 0 –1 2 7
Specify the modulation depth of the flanger sound.
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
4 0 : CHO / FL (Ch o ru s/ Fla n g e r)
FL FEEDBACK (Fla n g e r fe e d b a ck le ve l) -9 8 –+9 8 %
Specify the proportion (%) of the flanger sound that is to be
returned to the input.
This effect connects a chorus and a flanger in parallel. The
parameters are essentially the same as “37:CHO → FL.”
However, Flanger Balance specifies the volume balance
Positive (+) settings will return the sound to the input with
the original phase, while negative (-) settings produce an
inverted phase.
between the original sound and the flanger sound.
fig.6-43
Balance D
You can set a value from -98% to +98%, in steps of 2%. There
is no feedback when the value is zero.
L in
L out
Balance E
Chorus
FL BALAN CE (Fla n g e r Ba la n ce ) D1 0 0 :0 E–D0 :1 0 0 E
Specify the volume balance between the chorus sound that
passes through the flanger and the chorus sound that does
not pass through the flanger.
Feedback
Balance E
Flanger
R in
R out
Balance D
With a setting of D100:0E only the chorus sound will be
output, and with a setting of D0:100E only the chorus that
passes through the flanger sound will be output.
LEVEL (O u tp u t le ve l) 0 –1 2 7
Specify the output volume.
3 8 : CHO / DLY (Ch o ru s/ De la y )
This effect connects a chorus and a delay in parallel. The
parameters are essentially the same as “35: CHO → DLY.”
However, Delay Balance specifies the volume balance
between the original sound and the delay sound.
fig.6-41
Balance D
L in
L out
Balance E
Chorus
Feedback
Balance E
Delay
R in
R out
Balance D
3 9 : FL/ DLY (Fla n g e r/ De la y )
This effect connects a flanger and a delay in parallel. The
parameters are essentially the same as “36: FL → DLY.”
However, Delay Balance specifies the volume balance
between the original sound and the delay sound.
fig.6-42
Balance D
L in
L out
Balance E
Flanger
Feedback
Feedback
Balance E
Delay
R in
R out
Balance D
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
Ma k in g Ch o ru s Se ttin g s
Here’s how to adjust parameters such as modulation depth
and speed for the chorus sound.
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
■ Pro ce d u re fo r Se ttin g Ch o ru s
◆ Ch o ru s p a ra m e te rs a n d th e ir sig n ifica n ce
CHO SEND LEVEL (Chorus Send Level)
Specifies the volume of the chorus.
1 . Select the patch for which Chorus is to be set, and press
[EFFECTS] to go into Patch Edit mode.
Increasing this setting will raise the volume.
CHORUS RATE
2 . Use [PARAMETER] to select the CHORUS-related
parameter.
Specifies the modulation frequency of the chorus effect.
Higher values result in a faster modulation (cycle).
CHORUS DEPTH
For a description of the chorus parameter types, “Chorus
parameters and their significance.”
fig.6-02
Specifies the modulation depth of the chorus effect.
As this setting is increased, the modulation will become
deeper.
CHORUS PRE-DELAY
3 . Use [VALUE] to choose the setting value.
Specifies the delay between when the original sound is heard
and when chorusing begins.
For the setting values, see the subsequent section,
“Chorus parameters and their significance.”
Higher settings will make the sound more spacious.
4 . Repeat steps 2 to 3 to set all chorus parameters.
CHORUS FEEDBACK
Adjusts the amount of chorus sound that is returned (fed
back) to the input of the chorus.
5 . Press [WRITE] to perform the Patch Write operation (p.
36).
Higher settings create more complex chorusing.
* After performing the Patch Write operation, you will
automatically return to Play mode.
Ma k in g Re ve rb Se ttin g s
With the GR-33 you can pick one of eight types (REVERB
TYPE), and then freely make your own settings to reverb
amount and length. Depending on the type you select, delay
(an effect that repeats a sound, sort of like a mountain echo),
is also available.
4 . Use [PARAMETER] to choose a reverb parameter that
has not set.
For a description of the reverb parameter types, “Reverb
parameters and their significance.”
5 . Use [VALUE] to choose the value.
■ Pro ce d u re fo r Se ttin g Re ve rb
6 . Repeat steps 4 to 5 to set all reverb parameters.
1 . Select the patch for which Reverb is to be set, and press
7 . Press [WRITE] to perform the Patch Write operation (p.
[EFFECTS] to go into Patch Edit mode.
36).
2 . Press [PARAMETER] to select “REVERB TYPE.”
fig.6-01
* 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.
◆ Re ve rb p a ra m e te rs a n d th e ir sig n ifica n ce
3 . Use [VALUE] to select the reverb type.
REVERB TYPE (Reverb/Delay Type)
For the setting values, see the subsequent section,
“Reverb parameters and their significance.”
Selects a type of reverb or delay.
Room1:
Room2:
Stage1:
Stage2:
Short reverb with high density
Short reverb with low density.
Reverb with much subsequent reverberation
Reverb with strong early reflections
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Ch a p te r 6 Usin g th e Bu ilt-in Effe cts
Hall1:
Hall2:
Delay:
Reverb with clear reverberation.
Reverb with rich reverberation.
Standard delay
REVERB HF DAMP (Reverb/Delay HF Damp)
Specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
Lower values cause a greater range of high frequencies to be
cut, producing a softer reverb sound.
Pan Delay: A delay effect with echoes that pan left and
right.
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
REV SEND LEVEL (Reverb/Delay Send Level)
Specifies the volume of the reverb (or delay).
Increasing this setting will raise the volume.
DELAY FEEDBACK
This parameter goes into effect only when REVERB TYPE is
set to “Delay” or “Pan Delay.” Specifies the amount of the
delay effect’s output to be returned — fed back – to its input.
Higher values result in more repeats.
REVERB TIME (Reverb/Delay Time)
When the REVERB TYPE is “Delay” or “Pan Delay” (delay),
this sets the delay time. For other settings (reverb), this sets
the time that the reverb will continue.
Higher settings will produce longer times.
Te m p o ra rily Tu rn in g O ff Effe cts (EFFECT BYPASS)
When you want to compare a sound with and without effect,
and while you are making effect settings in the process of
creating a patch, there will be times when you’ll want a
simple way to turn the internal Multi-effects on and off. You
get this kind of convenience with the Effect Bypass.
* The Bypass function is available only in Patch Edit mode
EFFECTS (effect-related settings).
* Even if you use the Bypass function, the contents of the effect
settings will not be affected.
2 . Press [EFFECTS] once again.
■ Te m p o ra rily Tu rn in g O ff a n Effe ct
The Bypass function will be defeated, and you will
return to the state before you selected Bypass.
1 . In Patch Edit mode EFFECTS (effect-related settings),
The three-digit display “Edt” will change from blinking
back to steadily lit.
press [EFFECTS].
Of the onboard reverb, chorus, and multi-effects, the
effect currently being edited will be switched off, and be
bypassed. The three-digit display “Edt” will blink,
showing that the unit is bypassed. The three-digit
display “Edt” will blink, showing that the unit is
bypassed.
* Since Effect Bypass remains a temporary condition
throughout, the bypass conditions are not preserved even when
saving to patches or if the power is turned off. To turn off an
effect in an individual patch, set REV SEND LEVEL (p. 75)
and CHO SEND LEVEL (p. 74) to “0,” set MULTI-FX SW
* Only the effect being edited will be bypassed by the Bypass
function.
W h e n th e O n b o a rd Effe cts Do n ’t W o rk
If the onboard reverb, chorus, or Multi-effects is having no
effect, double-check reconfirm each of the following:
•
If the “Cho Send Level (Chorus Send Level)” function is
selected, make sure that the expression pedal (p. 47) is
not rocked back all the way.
•
Check whether “Edit” is blinking in the three-digit
display (the Bypass function is working).
•
Make sure that parameters such as the “LEVEL” of the
effect type used by the Multi-effects are set to an
appropriate value.
•
•
Is the “MULTI-FX SW” (p. 53) settings set to “Off”?
See if the “REV SEND LEVEL” (p. 75) value is adjusted
to a suitable level.
•
•
See if the “CHO SEND LEVEL” (p. 74) value is adjusted
to a suitable level.
If the “Rev Send Level (Reverb Send Level)” function is
selected, make sure that the expression pedal (p. 47) is
not rocked back all the way.
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Ch a p te r 7 Th e Arp e g g ia to r Fu n ctio n
The GR-33 is equipped with an Arpeggiator function that is
uniquely suited to guitar performances. When turned on,
Arpeggiator takes over when a chord is strummed, and plays
the chord’s notes for you in simple or complex ways. The
arpeggiator can be create a basic backing using synthesizer
sounds as you play the melody, and can also provide a wide
variety of musical effects that have never before been
possible with a guitar synthesizer.
Ab o u t th e Arp e g g ia to r Fu n ctio n
On the GR-33, the sequence of played strings (“5, 4, 3, 4...”) is
called an “arpeggio pattern,” or sometimes simply “pattern.”
Ab o u t “ Arp e g g io Pa tte rn s”
Let’s consider the simplest way to play an arpeggio on an
actual acoustic guitar.
The GR-33 contains 50 preset arpeggio patterns. For each
patch, you can select any one of the preset arpeggio patterns.
When Arpeggiator is on, fingering a chord (or single note)
and stroking the strings once causes the arpeggiator to play
an arpeggio using synth sounds according to the patch
settings that specify how the notes are to be played—ARP.,
TEMPO, and so on.
The left hand fingers the song’s chord progression.
Meanwhile, the right hand plays a constant pattern, such as
Strings 5, 4, 3, 4, 1, 3, 2, 3.
fig.7-01
(Chord = C)
1st
2nd
3rd
4th
5th
6th
0
* If you play a string that is not part of the selected pattern—
such as String 6 in the example 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.
1
0
0
0
2
2
3
Effe ctive Use o f th e Ho ld Fu n ctio n Du rin g Arp e g g io s
The hold effect obtained by pressing Pedal 3 while in Pedal
Effect mode can be used to create a chord progression
without stopping or breaking the rhythm produced by
Arpeggiator.
◆ Ho ld Va ria tio n s Ava ila b le W h e n
Arp e g g ia to r Is O n
Any of the following hold variations can be selected when
Arpeggiator is on.
When Arpeggiator is on, the effect of the Hold pedal is
applied only to arpeggios—as opposed to its usual behavior.
This means that it can hold the arpeggiator’s pattern playing
one tone while you pluck out a melody with the other.
Damper:
Pressing the pedal and playing the guitar produces an
arpeggio that is held even after the string stops vibrating. If
the strings are played again, the new notes are recognized by
Arpeggiator and affect the held arpeggio.
The GR-33 also has a latch hold that can cause arpeggios to
continue to play even after the pedal is released. It will play
until the pedal is pressed again.
Releasing the pedal ends the hold for the arpeggio—if the
string has already stopped vibrating, the arpeggio stops. Use
this feature when you want to change the content of
arpeggios without breaking the rhythm created by
Arpeggiator.
The hold type is set by the COMMON “HOLD TYPE”
parameter in Patch Edit mode.
For more detailed information and instructions about this
parameter, refer to “Selecting Hold Type (HOLD TYPE)” (p.
45).
Sostenuto:
Pressing the pedal as you play while arpeggios are being
produced causes the arpeggio currently being played to be
held until the pedal is released. If a new string is played
while the arpeggio is held, this new performance is not
reflected in the arpeggio. This lets you to play guitar-sound
melodies along with synth arpeggio backing.
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Ch a p te r 7 Th e Arp e g g ia to r Fu n ctio n
Latch TypeA (Latch hold type A):
Latch TypeB (Latch hold type B):
With an ordinary hold function, pressing the pedal starts the
hold, and releasing the pedal ends it. With a latch hold,
however, pressing the pedal once begins the hold, and
pressing the pedal again ends it. On the GR-33, a latch hold is
available only when using Arpeggiator.
The basic operation is the same as for “Latch TypeA”—the
hold is maintained even if you take your foot off the pedal,
and the hold is released when you press the pedal again.
“Latch TypeB” is also like “Latch TypeA” in that nothing you
play while the hold is on affects the held arpeggio.
When Arpeggiator is playing and Pedal 3 (HOLD) is pressed,
the GR-33 holds the arpeggio being played at the moment the
pedal is pressed. This is a latch hold, so the held arpeggio
continues even if you release the pedal. The hold ends when
you press the pedal again. As with “Sostenuto,” no new
notes you play affect the held arpeggio.
The difference from “Latch TypeA” lies in what happens
when the guitar is played while Pedal 4 (CTRL) is
depressed—with “Latch TypeB,” you can play new notes on
the guitar to affect the held arpeggio, as with “Damper.”
However, when Pedal 4 is not held down, newly played
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.
Ch a n g in g th e So u n d in g o f Arp e g g io s
The GR-33’s Arpeggiator function allows you to select the
arpeggiated tone (HAR/ ARP SELECT), the arpeggio pattern
(ARP PATTERN), and the tempo (ARP TEMPO).
5 . Enter Pedal Effect mode.
For details on operation refer to ““Pedal Effect Mode”: What
It Is, and How to Call It Up” (p. 26).
Tu rn in g Arp e g g ia to r O n a n d O ff
(HAR/ ARP CO N TRO L)
* Alternatively, use the System mode item “S1/S2
FUNCTION” to choose “Patch Select” and return to Play
mode.
Using pedal 4 (CTRL) to turn the arpeggiator on/ off
If you wish to turn the arpeggiator on/ off while you
perform, make the following settings.
6 . Press pedal 4 (CTRL) to turn the arpeggiator on/off.
Tu rn in g th e a rp e g g ia to r o n / o ff in Pa tch Ed it
m o d e
1 . Press [COMMON] to enter Patch Edit mode.
Here’s how to store the arpeggiator on/ off setting in the
patch.
2 . Use [PARAMETER] to select “CTRL PEDAL.”
3 . Use [VALUE] to select “HAR/ARP Control.”
fig.7-01a
1 . Press [EFFECTS] to enter Patch Edit mode.
2 . Use [PARAMETER] to select “HAR/ARP CONTROL.”
3 . Use [VALUE] to turn the arpeggiator either “On” or
“Off.”
fig.7-01b
4 . Press [WRITE] and perform the Patch Write operation
(p. 36) to save the data.
* After Patch Write is completed, you will automatically return
to Play mode.
* If you decide not to save the data, press [PLAY] to return to
Play mode.
4 . Press [WRITE] to perform the Patch Write operation (p.
36) to save the data.
* After Patch Write is completed, you will automatically return
to Play mode.
* If you decide not to save the data, press [PLAY] to return to
Play mode.
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Ch a p te r 7 Th e Arp e g g ia to r Fu n ctio n
* 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.
3 . Turn [VALUE] to select the desired Arpeggiator
setting.
For the Arpeggiator settings in “HAR/ ARP SELECT,”
see the subsequent section, “Arpeggiator Settings that
can be selected in HAR/ ARP SELECT.”
* The arpeggiator on/off setting is independent for each patch.
When you execute the Patch Write operation, the status at that
time (on or off) will be reproduced the next time you recall that
patch.
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
To move to a different Arpeggiator parameter, use
[PARAMETER] to select the desired parameter, and turn
[VALUE] to change its setting.
For each patch, either Arpeggiator or Harmonist can be
selected, but not both.
Even with a patch in which these are turned off, either
Arpeggiator or Harmonist is still selected. When the
Arpeggiator (Harmonist) is turned on, the display of the Play
mode shows “ARP” or “HAR” to indicate which one
* 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.
currently selected.
fig.7-03
◆ Arp e g g ia to r Se ttin g s th a t ca n b e se le cte d
in HAR/ ARP SELECT
Arpeggio All:
All tones from the internal sound generator and the external
MIDI sound generator are arpeggiated.
To use Arpeggiator with a patch for which Harmonist is
selected, follow the steps in the next section to set “HAR/
ARP SELECT” to an Arpeggiator value such as “Arpeggio
All.”
Arpeggio 1st:
Only the 1st tone of the internal sound generator is
arpeggiated.
* If you try to change an Arpeggiator-related setting—“HAR/
ARP SELECT,” “ARP PATTERN,” or “ARP TEMPO”—for
a patch in which Arpeggiator is turned off, Arpeggiator will be
automatically turned on to let you check the new setting.
Arpeggio 2nd:
Only the 2nd tone of the internal sound generator is
arpeggiated.
Arpeggio 1&2:
The 1st and 2nd tones are both arpeggiated. (The external
sound generator is not arpeggiated.)
Se le ctin g To n e s to Be
Arp e g g ia te d (HAR/ ARP SELECT)
Arpeggio Ext:
The EFFECTS “HAR/ ARP SELECT” (Harmony/ Arpeggio
select) parameter in Patch Edit mode determines for the
currently selected patch whether the 1st tone, the 2nd tone,
or an external sound generator is arpeggiated by
Arpeggiator. Try making changes to this setting for the
preset patches, and listen to the results.
Only the external MIDI sound generator is arpeggiated.
Arpeggio Ext&1:
The 1st tone and the external MIDI sound generator are
arpeggiated.
Arpeggio Ext&2:
The 2nd tone and the external MIDI sound generator are
arpeggiated.
■ Se le ctin g To n e s to Be Arp e g g ia te d
1 . Select the patch for which Arpeggiator settings are to
be modified, and press [EFFECTS] to go into Patch Edit
mode.
* You can also set the parameters that precede these—Harmony
All, Harmony 1st, ..., Harmony Ext&2—but choosing one of
these causes Arpeggiator to stop and selects Harmonist (p. 80).
Please note that if Harmonist is chosen, it is not possible to set
the “ARP PATTERN,” or “ARP TEMPO” parameters.
2 . Press [PARAMETER] to select “HAR/ARP SELECT.”
fig.7-04
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Ch a p te r 7 Th e Arp e g g ia to r Fu n ctio n
4 . Press [WRITE] to perform the Patch Write operation (p.
Se le ctin g Arp e g g io Pa tte rn s (ARP
PATTERN )
36).
To move to a different Arpeggiator parameter, use
[PARAMETER] to select the desired parameter, and turn
[VALUE] to change its setting.
The GR-33 contains 50 preset arpeggio patterns. For each
patch, you can select any one of the preset arpeggio patterns.
* After performing the Patch Write operation, you will
automatically return to Play mode.
For more detailed information about arpeggio patterns,
please refer to “About “Arpeggio Patterns” (p. 76).”
Play mode.
■ Se le ctin g Arp e g g io Pa tte rn s
1 . Select the patch for which the Arpeggio pattern is to be
modified, and press [EFFECTS] to go into Patch Edit
mode.
Usin g th e p e d a l to se t th e te m p o
(Ta p Te m p o Te a ch fu n ctio n )
You can set the arpeggiator tempo by pressing a pedal
rhythmically at the desired tempo. This is called the Tap
Tempo Teach function.
2 . Press [PARAMETER] to select “ARP PATTERN.”
fig.7-05
When you enter Patch Edit mode and make arpeggiator-
related settings, Pedal 4 (CTRL) normally turns the
arpeggiator on and off.
Pedal 4 (CTRL) can also be used for the Tap Tempo Teach
function while you are setting the arpeggio tempo.
3 . Turn [VALUE] to select the desired Arpeggiator
pattern.
While the tempo is shown in the display for the Patch Edit
mode EFFECTS “ARP. TEMPO” parameter, repeatedly press
Pedal 4 (CTRL) at the desired tempo. The display will
indicate “TAP,” and the tempo will change accordingly.
When the tempo is set—when you’ve finished tapping—the
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
To move to a different Arpeggiator parameter, use
[PARAMETER] to select the desired parameter, and turn
[VALUE] to change its setting.
“TAP” indicator will disappear.
fig.7-07
* 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.
Original tempo
Se ttin g Te m p o (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”
(arpeggio tempo) parameter.
Changed
■ Se ttin g Arp e g g io Te m p o
* The Tap Tempo function can also be activated using the
BANK SHIFT pedal (Up side) in Pedal Effect mode when
Arpeggiator is on.
1 . Select the patch for which the arpeggio tempo is to be
modified, and press [EFFECTS] to go into Patch Edit
mode.
* The modified tempo is a patch parameter. If desired, press the
[WRITE] button to perform the Patch Write operation and
save the tempo in the patch.
2 . Press [PARAMETER] to select “ARP TEMPO.”
fig.7-06
* Some preset patches set the value of “ARP TEMPO” to a
multiple of the actual tempo in order to achieve a fine tremolo
at the proper rate. In such cases, Tap Tempo may produce
unexpected results.
3 . Turn [VALUE] to select the desired value.
The range for ARP TEMPO is from 50 to 250. As the
setting is increased, the tempo speeds up.
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Ch a p te r 8 Ad d in g Ha rm o n ie s in a Sp e cific Ke y
(Th e Ha rm o n ist)
The GR-33 lets you use the TONE “TRANSPOSE” setting (p.
guitar’s pitch, creating an always-parallel harmony.
The GR-33’s Harmonist function, also known as
“Harmonist,” creates harmonies in just this fashion. By
setting the key of the melody a patch plays, Harmonist can
create beautiful, appropriate harmonies by adding synth
sounds to guitar sounds, or to other synth sounds.
However, to create harmonies that are more musically
useful, the differences in pitch between notes must follow the
key of the song and the scale being played.
Ab o u t th e Ha rm o n ist
Let’s take a look at how Harmonist is put together, and
compare it with the Transpose function.
The difference in the results of the two methods is shown by
the arrows in the figure.
The sample score shown below compares the effects of the
Transpose function and Harmonist when playing the scale in
The harmonies produced by parallel transposition may
sound odd at times. The place on the scale where this
problem occurs depends on the key, whether the key is major
or minor, the interval between the main melodic line and the
harmony, and so on.
the key of C major.
fig.8-01
Transpose
Transposed note
The GR-33’s Harmonist uses what it knows about the current
key—which is already set in the patch—to continuously
adjust the harmonic intervals between the guitar sound and
synth sound, or between the 1st and 2nd tones, creating
pleasing harmonies.
Normal note
Harmonist
Harmony note
The GR-33’s Harmonist also fully supports chord play. This
means that complex chords can be created by playing a
simple three-note chord, greatly reducing the chances of
fingering mistakes during difficult performances.
Normal note
W h a t Yo u Ca n Do w ith th e Ha rm o n ist
Ad d in g Sy n th So u n d s to Gu ita r
So u n d s
Cre a tin g Ha rm o n ie s w ith Tw o
Sy n th So u n d s
The commercially available device known as “Harmonist” is
a type of pitch shifter, and can only make guitar-sound
harmonies for guitar sounds.
You can make harmonies using only synth sounds, without
hearing the guitar, by setting the guitar/ synth selector
switch on the GK-2A to “SYNTH.”
In contrast, the GR-33 Synth Harmonist lets you take the
guitar sounds you normally use and make harmonies using
any sounds you like.
You can produce a richer sound by using two similar tones to
create harmony. It can also be quite effective to create
harmonies with totally different tones—such as sax and
muted trumpet—and select “CROSS TONES” with
COMMON “PAN MODE” to assign these to the left and
right stereo positions. You can also combine guitar sounds
with the main melodic synth line by setting the switch on the
GK-2A to “MIX.”
These can be put to practical use, such as adding a marimba
line to a clean guitar sound to produce a supporting
harmony, or adding a rock organ to a distorted guitar to
create a bluesy minor-key harmony.
And of course, you can always select a guitar tone on the GR-
33 to create pure guitar harmonies.
If you wish to create a harmony between your guitar’s sound
and the GR-33’s sounds, set the guitar/ synth selector switch
on the GK-2A to “MIX.”
* To make all synth sounds contained in patches—from the 1st
and 2nd tones to the external MIDI sound generator—
harmonize with your guitar’s sound, follow the steps on p. 82
to set “HAR/ARP SELECT” to “Harmony All.”
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Ch a p te r 8 Ad d in g Ha rm o n ie s in a Sp e cific Ke y (Th e Ha rm o n ist)
O p e ra tio n
Tu rn in g th e Ha rm o n ist o n / o ff in Pa tch Ed it
m o d e
Tu rn in g th e Ha rm o n ist O n a n d O ff
(HAR/ ARP CO N TRO L)
If you wish to store the Harmonist on/ off setting in the
patch, use the following procedure.
Usin g p e d a l 4 (CTRL) to tu rn Ha rm o n ist o n / o ff
If you wish to turn Harmonist on/ off while you perform,
make the following settings.
1 . Press [EFFECTS] to enter Patch Edit mode.
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.”
fig.7-01b
2 . Use [PARAMETER] to select “CTRL PEDAL.”
3 . Use [VALUE] to select “HAR/ARP Control.”
fig.7-01a
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 return
to Play mode.
36) and save the data.
* After Patch Write is completed, you will automatically return
to Play mode.
* If you decide not to save the data, press [PLAY] to return to
Play mode.
* If you decide not to save the data, press [PLAY] to return to
Play mode.
* Alternatively, when one of the Harmonist setting items
“HAR/ARP CONTROL,” “HAR/ARP
SELECT,”“HARMONY STYLE,” “HARMONY KEY,” or
“HARMONY REMOTE” is selected, you can use pedal 4
(CTRL) to turn the Harmonist on/off.
5 . Enter Pedal Effect mode.
For details on operation, refer to ““Pedal Effect Mode”: What
It Is, and How to Call It Up” (p. 26).
* The Harmonist on/off setting is independent for each patch.
When you execute the Patch Write operation, the status at that
time (on or off) will be reproduced the next time you recall that
patch.
* Alternatively, use the System mode setting “S1/S2
FUNCTION” to choose “Patch Select” and return to Play
mode.
For each patch, either Arpeggiator or Harmonist can be
selected, but not both.
6 . Press pedal 4 (CTRL) to turn the Harmonist on/off.
Even for a patch in which these are turned off, either
Arpeggiator or Harmonist is still selected. When the
Arpeggiator (Harmonist) is turned on, the display of the Play
mode shows “ARP” or “HAR” to indicate which one
currently selected.
fig.8-02
To use Harmonist with a patch in which Arpeggiator is
selected, follow the steps in the next section to set “HAR/
ARP SELECT” to a Harmonist setting such as “Harmony
All.”
* In patches where the harmonist is selected and turned off,
changing the value of a related parameter—“HAR/ARP
SELECT,” “HARMONY STYLE,” “HARMONY KEY,” or
“HARMONY REMOTE”—will cause Harmonist to be
automatically turned on.
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Ch a p te r 8 Ad d in g Ha rm o n ie s in a Sp e cific Ke y (Th e Ha rm o n ist)
Harmony Ext&1:
Se le ctin g Ha rm o n y To n e s (HAR/
ARP SELECT)
The 1st tone and the external MIDI sound generator produce
harmony.
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.
Harmony Ext&2:
The 2nd tone and the external MIDI sound generator
produce harmony.
* You can also set the subsequent parameters—Arpeggio All,
Arpeggio 1st, ..., Arpeggio Ext&2—but choosing one of these
causes Harmonist to stop and selects Arpeggiator (p. 76).
Please note that if Arpeggiator is chosen here, it is not possible
to set the “HARMONY STYLE,” “HARMONY KEY,” or
“HARMONY REMOTE” parameters.
■ Se ttin g Ha rm o n y Se le ct
1 . Select the patch for which Harmonist settings are to be
modified, and press [EFFECTS] to go into Patch Edit
mode.
2 . Press [PARAMETER] to select “HAR/ARP SELECT.”
fig.8-03
Se ttin g Ha rm o n ic In te rva ls
(HARMO N Y STYLE)
The interval between the melody and harmony that
Harmonist uses—a third, a fifth, or the like—is set with the
“HARMONY STYLE” parameter.
3 . Turn [VALUE] to select the desired Harmonist setting.
For the harmonist settings in “HAR/ ARP SELECT,” see
the subsequent section, “Harmonist Settings that can be
selected in HAR/ ARP SELECT.”
■ Se ttin g th e Ha rm o n y Sty le
1 . Select the patch for which Harmony Style settings are
to be modified, and press [EFFECTS] to go into Patch
Edit mode.
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
To move to a different Harmonist parameter, use
[PARAMETER] to select the desired parameter, and turn
[VALUE] to change its setting.
2 . Press [PARAMETER] to select “HARMONY STYLE.”
fig.8-04
* 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.
3 . Turn [VALUE] to select the desired harmony style
interval.
◆ Ha rm o n ist Se ttin g s th a t ca n b e se le cte d in
An interval of -7th, -6th, -5th, -4th, -3rd, -2nd, +2nd,
+3rd, +4th, +5th, +6th, +7th, or Diminish can be selected.
HAR/ ARP SELECT
Harmony All:
“Diminish” produces a harmony that is always a
diminished third (three semitones) from the melody,
regardless of the HARMONY KEY setting. This is useful
when playing in a diminished scale.
All tones—from the internal sound generator and the
external MIDI sound generator—produce harmonies.
Harmony 1st:
The 1st tone of the internal sound generator produces
harmony.
4 . Press [WRITE] to perform the Patch Write operation (p.
36).
To move to a different Harmonist parameter, use
[PARAMETER] to select the desired parameter, and turn
[VALUE] to change its setting.
Harmony 2nd:
The 2nd tone of the internal sound generator produces
harmony.
* After performing the Patch Write operation, you will
automatically return to Play mode.
Harmony 1&2:
Both the 1st and 2nd tones produce harmony.
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
Harmony Ext:
The external MIDI sound generator produces harmony.
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Ch a p te r 8 Ad d in g Ha rm o n ie s in a Sp e cific Ke y (Th e Ha rm o n ist)
The various settings produce the following intervals between
3 . Press [TONE], and use [PARAMETER] to select “1ST
the melody and the harmony.
TRANSPOSE.”
fig.8-05
4 . Turn [VALUE] to select “-12” (1 octave down).
fig.8-06
Key=C
HSTAYRLMEONY tonic b2nd 2nd b3rd 3rd 4th b5th 5th #5th 6th b7th 7th
dim
3
3
3
3
3
3
3
3
3
3
3
3
The 1st tone will play one octave lower than the guitar
sound.
+ 7th 11 10 10 9 10 11 10 10 9 10 9 10
+ 6th
+ 5th
+ 4th
+ 3rd
+ 2nd
9
7
5
4
2
9
6
5
3
2
9
7
5
3
2
8
6
5
3
2
8
7
5
3
1
9
7
6
4
2
8
6
5
3
2
9
7
5
4
2
8
6
5
3
2
8
7
5
3
2
8
6
5
3
2
8
6
5
3
1
* A TRANSPOSE value can be set independently for each
string. In this example, if you wish to shift all strings down by
an octave, use [STRING SELECT] to make the three-digital
display read “ALL,” and then set the TRANSPOSE value to
“-12.”
- 2nd -1 -2 -2 -3 -2 -1 -2 -2 -3 -2 -3 -2
- 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
- 5th -7 -7 -7 -7 -7 -7 -7 -7 -7 -7 -7 -7
- 6th -8 -9 -9 -9 -9 -8 -9 -8 -9 -9 -9 -9
5 . Press [EFFECTS], and then use [PARAMETER] to
choose “HAR/ARP SELECT.”
6 . Turn [VALUE] to select “Harmony 2nd.”
fig.8-07
- 7th -10 -10 -10 -10 -11 -10 -10 -10 -10 -10 -10 -11
minor
3
3
3
4
3
3
3
4
4
3
4
3
+ 3rd
(Unit: semitone)
* When HARMONY STYLE is “+3,” and HARMONY KEY is
set to “minor,” the harmony is made in a minor scale.
7 . Press [PARAMETER] to select “HARMONY STYLE.”
8 . Turn [VALUE] to select “+3rd.”
fig.8-08
Se ttin g Tra n sp o se a n d
“ HARMO N Y STYLE”
Transpose settings include the TONE “1ST TRANSPOSE”
and “2ND TRANSPOSE” parameters, as well as COMMON
“MIDI [TRANSPOSE].” Each of these is separate from
“HARMONY STYLE,” the Harmonist setting for the interval,
and each produces its own independent effect.
The 2nd tone will play a harmony of a third above the
guitar sound.
This produces a fat sound that sandwiches the guitar
between a synth sound transposed down an octave and a
synth harmony one third higher.
This means that when using Harmonist, the transposition
setting for any tone (or external sound generator) you intend
to use as a harmony should normally be set to “0.” “
* The values for Transpose (TONE “1ST TRANSPOSE” and
“2ND TRANSPOSE” and “MIDI [TRANSPOSE]”—-36 to
0 to 24)—are displayed in semitones (one octave = 12). In
contrast to this, however, the “HARMONY STYLE” values (-
7th to +7th, and Diminish) are displayed in intervals (third,
fifth, and so on). Remembering this will keep you from getting
confused.
On the other hand, you may find it helpful to use Transpose
to shift a melody or Harmonist harmony sound by octaves.
An Ex a m p le :
Tra n sp o sin g th e Ha rm o n y Do w n a n O cta ve
As an example, let’s use the 1st tone and 2nd tone to create a
counter-melody relative to the main melody played by the
guitar sound. The 1st tone will be shifted one octave down,
and the 2nd tone will play a harmony a third above.
1 . Set the GK-2A Guitar/Synth selector switch to “MIX.”
2 . Select the patch you wish to use, and set up the 1st and
2nd tones.
* For the tone settings, refer to “Creating Synth Sounds” (p.
49).
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Ch a p te r 8 Ad d in g Ha rm o n ie s in a Sp e cific Ke y (Th e Ha rm o n ist)
Se ttin g th e Ke y (HARMO N Y KEY)
Ch a n g in g th e Ke y fro m a n Ex te rn a l Pe d a l
o r O th e r De vice w ith MIDI N o te Me ssa g e s
(HARMO N Y REMO TE)
The “HARMONY KEY” setting selects the key in which the
patch’s melody is to be played, such as C or Gm (G minor).
The Harmonist key (HARMONY KEY) can be changed at
any time during a performance by sending a MIDI note
message to the GR-33 from an external MIDI device such as
optional FC-200 MIDI foot controller or PK-5 MIDI pedal
keyboard.
■ Se ttin g th e Ha rm o n y Ke y
1 . Select the patch for which the Harmony key setting is
to be modified, and press [EFFECTS] to go into Patch
Edit mode.
The parameter that determines whether this function is
enabled or disabled for each patch is “HARMONY
REMOTE” (harmony key remote).
2 . Press [PARAMETER] to select “HARMONY KEY.”
fig.8-09
■ Ch a n g in g th e Ha rm o n ist Ke y w ith a n
Ex te rn a l MIDI Pe d a l
3 . Turn [VALUE] to select the desired value.
1 . Use a MIDI cable to connect the MIDI OUT connector
on a MIDI keyboard, FC-200, or the like to the GR-33’s
MIDI IN connector.
For the possible values of HARMONY KEY, see the
subsequent section, “Harmonist Setting Values that can
be selected in HARMONY KEY.”
2 . Set the MIDI send channel of the external device to the
4 . Press [WRITE] to perform the Patch Write operation (p.
same MIDI channel as the GR-33 (p. 86).
36).
3 . Select the patch with which you wish to use the remote
key function, and press [EFFECTS] to enter Patch Edit
mode.
To move to a different Harmonist parameter, use
[PARAMETER] to select the desired parameter, and turn
[VALUE] to change its setting.
4 . Press [PARAMETER] to select “HARMONY
* After performing the Patch Write operation, you will
automatically return to Play mode.
REMOTE.”
fig.8-11
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
◆ Ha rm o n ist Se ttin g Va lu e s th a t ca n b e
se le cte d in HARMO N Y KEY
The current setting will be shown on the display. “On”
signifies that the remote function is on, and “Off” means
that it is not.
The values that can be chosen for HARMONY KEY are as
follows.
C, C#, D, D#, E, F, F#, G, G#, A, A#, and B
5 . Turn [VALUE] to select “On.”
Cm, C#m, Dm, D#m, Em, Fm, F#m, Gm, G#m, Am, A#m, and
Bm
6 . Press [WRITE] to perform the Patch Write operation (p.
36).
* If “Diminish” has been selected for the “HARMONY
STYLE” setting described earlier, the harmony remains the
same no matter what “HARMONY KEY” setting is selected.
(The harmony is fixed at a diminished third above the melody.)
To move to a different Harmonist parameter, use
[PARAMETER] to select the desired parameter, and turn
[VALUE] to change its setting.
* After performing the Patch Write operation, you will
automatically return to Play mode.
◆ Ab o u t th e Ke y Disp la y
In patches where Harmonist is chosen, you can check the
selected key in Play mode without having to enter Patch Edit
* If you don’t want to save the Patch, press [PLAY] to return to
Play mode.
mode to access the “HARMONIST KEY” seting screen.
fig.8-10
When “HARMONY STYLE” is set to “Diminish,” “dim” is
displayed instead of the selected key.
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Ch a p te r 8 Ad d in g Ha rm o n ie s in a Sp e cific Ke y (Th e Ha rm o n ist)
7 . Refer to the owner’s manual for the external device,
Sw itch in g Be tw e e n Ma jo r a n d
Min o r Du rin g a Pe rfo rm a n ce
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.
In Pedal Effect mode (p. 26), you can press the “Up” side of an
external BANK SHIFT pedal to change the patch’s “HARMONY
KEY” setting (p. 84) from major to minor, or vice versa.
No matter what mode the GR-33 is in, it will receive
MIDI Note On messages and switch HARMONY KEY to
the corresponding note.
(for example, C# → C#m → C# → C#m...)
fig.8-12
* The Harmonist key remote function has no effect on a patch for
which Harmonist has not been selected in “HAR/ARP
BANK
SHIFT
SELECT,” even if “HARMONY REMOTE” is set to “On.”
White
(RED)
* When “HARMONY REMOTE” is “On,” the GR-33’s
internal sound generator does not produce sounds in response
to received MIDI Note messages—Note messages are
interpreted as instructions for changing keys, not for playing
sounds. For this reason, “HARMONY REMOTE” should be
left “Off” when not needed.
BANK
UP
* “HARMONY REMOTE” is effective only in “Mono Mode”
(p. 88).
On some patches, the selected “HARMONY STYLE” setting
may be “Diminish”: the harmony is fixed at a diminished
third above the melody, regardless of the “HARMONY KEY”
setting. In such cases, the operation described above does not
toggle “HARMONY KEY” between major and minor key—
instead it toggles “HARMONY STYLE” between “Diminish”
and “+3rd.” When you switch to “+3rd,” the key will be the
key specified by “HARMONY KEY.” As a result, you can
toggle between diminished and a major (or minor) key.
(Example: Diminish → F → Diminish → F..., or Diminish →
Gm → Diminish → Gm..., and so on)
fig.8-13
BANK
SHIFT
White
(RED)
BANK
UP
* To ensure proper reproduction of your performance when the
GR-33 is used with a MIDI sequencer, the current major/
minor toggled state is output from MIDI OUT.
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Ch a p te r 9 Co n n e ctin g to Ex te rn a l So u n d
Ge n e ra to rs a n d Se q u e n ce rs
Connecting an external sound generator to the GR-33 makes
it possible to play sounds not included the 384 built-in tones,
and to create fatter sounds by combining notes from the GR-
33 and the external device.
The GR-33 can also serve as a convenient input tool for a
MIDI sequencer (a device for recording performances). This
chapter explains how to make such steps using external
devices (and how to use MIDI functions).
Ab o u t MIDI
What follows is a list of some of the different types of MIDI
messages that the GR-33 can handle.
<About MIDI>
❍
❍
❍
“Note On messages” provide information on what string
was played, and its pitch and force.
MIDI stands for “Musical Instrument Digital Interface,”
a worldwide standard that enables electronic
“Note Off messages” provide information on when a
string stops vibrating.
instruments and peripherals to share information about
performances, sound switching, and other functions.
MIDI is a standard that is shared by a wide range of
instruments from different manufacturers. For instance,
you could use a MIDI controller from company A to play
a sound module from company B or send data to a
sequencer from company C.
“Bend messages” provide information for changing the
pitch smoothly, such as when bending, sliding, or
hammering.
❍
❍
❍
“Program Change messages” transmit commands for
switching patches.
MIDI connectors (IN and OUT) are a standard feature of
the GR-33. With MIDI, you can use the guitar to control
external sound generators (such as synthesizers and
samplers), or play the music you want to input into a
MIDI sequencer.
“Control Change messages” provide information on
changes in volume and effects.
“System Exclusive (SysEx) messages” provide
information for exchanging patch data with external
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.
Co n tro llin g a n Ex te rn a l MIDI So u n d De vice
Co n n e ctin g to a n Ex te rn a l MIDI
So u n d De vice
Se ttin g MIDI Ch a n n e l/ Be n d Ra n g e
(BASIC CHAN N EL, BEN D RAN GE)
Follow the figure below to connect the GR-33 to an external
Once you’ve made the connections, make the required
settings on the GR-33.
MIDI sound device.
fig.9-01
❍ MIDI CHANNEL (BASIC CHANNEL)
MIDI OUT
When exchanging MIDI performance message with an
external device, the GR-33 and the external device must be
set to the same MIDI channel.
The channels available with MIDI range from 1 to 16. On the
GR-33, you can choose to use one channel per string, for a
total of six channels (Mono mode); or you can exchange
information for all six strings on a single channel (Poly
mode). In the case of Mono mode, you must specify the first
channel (BASIC CHANNEL) of the six consecutive channels
that will be used. Follow the steps described later to make
the BASIC CHANNEL setting.
MIDI IN
External MIDI Sound Device
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*
For a detailed explanation of Mono mode and Poly mode, see the
subsequent section, “Transmitting in Mono Mode or Poly Mode.”
3 . Use [VALUE] to select the setting value.
BASIC CHANNEL can be set to values of “Mono 1–11”
(mono mode transmission) and “Poly 1–16” (poly mode
transmission).
* When using the GR-33 in combination with a multitimbral
sound module (a sound generator offering a number of
performance parts) or a sequencer system (an automatic
performance device), make sure the other instrument parts and
channels do not overlap.
* When transmitting in Mono mode, six consecutive channels
are used. For this reason, it is not possible to select 12--16 as
one of the first channels (BASIC CHANNEL).
❍ BEND RANGE
4 . When you finish making the setting for BASIC
The GR-33 can even send continuous pitch changes obtained
with techniques such as bending, finger vibrators, tremolo
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.
CHANNEL, press [PARAMETER] to choose “BEND
RANGE.”
fig.9-03
5 . Use [VALUE] to select the setting value.
The GR-33 normally informs the external MIDI device of the
Bend Range setting on the GR-33, and sends a message
prompting change every time the patch is switched.
BEND RANGE can be set to values of “0, 1, 2, 4, 5, 7, 12, 24.”
6 . Maximum the setting to the maximum value for Bend
Range that can be set on the external sound generator,
then press [PLAY] to return to the Play mode.
This means that the Bend Range value on the sound
generator can be set automatically every time the patch is
changed simply by matching the maximum Bend Range
value that can be set on the external MIDI sound generator to
the GR-33. (Setting Bend Range to as large a value as possible
will help enable smooth pitch changes in a wider range. The
settable range varies according to the receiving sound
generator. For equipment having a different settable width in
the bend up and down directions, match the setting to the
narrowest maximum value.)
* These are the setting items for the GR-33, and not patch
settings, so there is no need to perform a Patch Write
operation. The latest setting is automatically stored in
memory, even after the power is switched off.
If the sending Bend Range on the GR-33 is set to “0,” an effect
similar to setting COMMON “CHROMATIC” (p. 42) to
“Type3” is obtained for the sounds from the external MIDI
sound generator.
Ab o u t m e ssa g e s th a t n o tify th e e x te rn a l MIDI
in stru m e n t o f th e Be n d Ra n g e a n d p ro m p t
ch a n g e
When a multitimbral sound generator has been connected
and Mono mode selected in step 3, the tones to be used are
allocated to six parts on the sound generator. Also, the
receiving channels are matched to the six connected channels
selected on the GR-33. When in this state, you can play the
external MIDI sound generator by playing the guitar own the
GK-2A is mounted.
The messages used here are MIDI RPN (Registered
Parameter Number) “Pitch Bend Sensitivity” messages
(Control Change messages No. 100, No. 101, No. 6, and No.
38). (Sending of these messages can be stopped, if necessary.
→ p. 98)
* If not sound is produced by the external MIDI sound
generator, try turning the volume on the GK-2A all the up and
setting the GK-2A’s selector switch to “SYNTH” or “MIX.”
If you are using an external MIDI sound generator which
cannot recognize such messages, manually change Bend
Range on the external device to the same value on the GR-33.
Refer to the Owner’s Manuals for the external sound
generator for information about its MIDI specifications.
If there’s still no sound, check the sound-level settings on the
sound generator, as well as the cable connections. If the
setting “MIDI [PC]” described later (p. 88) has been changed,
make sure that it is set to any setting other than “Off.”
■ Se ttin g th e Ch a n n e l (a n d Se n d in g Mo d e )
a n d Be n d Ra n g e
W h e n Usin g th e Vo lu m e Kn o b a n d Se le cto r
Sw itch o n th e GK-2 A
1 . Press [SYSTEM] to enter System mode.
When the volume on the GK-2A is adjusted, the change is
sent by MIDI Control Change message No. 7 from MIDI OUT
on the GR-33. (The receiving instrument should be set to
recognize Control Change message No. 7.)
2 . Press [PARAMETER] to select “BASIC CHANNEL.”
fig.9-02
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
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“GUITAR,” a value of zero is sent to the external sound
generator on the Control Change message No. 7, and sound
from the external sound generator also stops. When “MIX”
or “SYNTH” is selected, values corresponding to the state of
the GK-2A volume or the expression pedal are sent, and
sound production is restarted.
* In poly mode, individual, string-specific MIDI settings are
disabled. Instead, the settings for a single string are used.
Ch a n g in g Pa tch a n d O th e r Pa ra m e te rs b y
Tra n sm ittin g MIDI Me ssa g e s fro m th e GR-3 3
(MIDI [PC])
Sending of Control Change message No. 7 can be stopped
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
the external device from MIDI OUT. This can be used to
change tones on the external sound generator or to change
patches for guitar-sound effects.
Tra n sm ittin g in Mo n o Mo d e o r Po ly Mo d e
Transmission in Mono or Poly mode, one or the other of
which was selected at the same time as the channel in the
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
the time of purchase, Program Change numbers 1 through
128 are assigned sequentially to patches A11 through D84.)
❍ Tra n sm ittin g in Mo n o Mo d e
Number of channels used:
One channel per string is used. The number selected when
specifying the channel in the System mode is taken as the
start for automatically selecting six consecutive channels.
(For example, when “Mono 3” is selected, the six channels
from channel 3 to channel 8 are sequentially used for strings
1 through 6. This means that no channel from 12 to 16 can be
selected as the starting channel when transmitting in Mono
mode.)
■ Ch a n g in g th e Pro g ra m Ch a n g e N u m b e r
Se n t to th e Ex te rn a l De vice Du rin g Pa tch
Se le ctio n
1 . Select the patch whose setting you want to change, and
press [COMMON] to enter Patch Edit mode.
2 . Press [PARAMETER] to select “MIDI [PC].”
fig.9-04
Features:
Information on continuous pitch changes (MIDI Bend
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
strings you wish to make settings.
Suitable usage conditions:
If you wish to change settings for individual strings,
refer to the following section “Selecting Separate Sounds
Mainly when using a multitimbral sound generator offering
six or more parts
for Different String.”
fig.9-05
❍ Tra n sm ittin g in Po ly Mo d e
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.
4 . Use [VALUE] to choose the value.
Features:
The program change number can be selected from a
range of Off and 1–128.
Only a single channel is used for all guitar parts, so the
number of MIDI channels used can be reduced. This enables
control even for sound generators which cannot receive
simultaneously on six channels.
5 . Press [WRITE] to perform the Patch Write operation (p.
36).
However, it should be noted that when two or more strings
are playing, Bend messages are not sent and the pitch
changes at semitone intervals. This means that the pitch
actually being played on the guitar cannot be reflected
perfectly in the synth sound.
* 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.
If you wish to play only the internal sound generator, select
“Off” in the step 4 above. For patches that are set to “Off,”
you can also stop the transmission of performance data other
than program changes.
Suitable usage conditions:
When using an external sound generator with five or fewer
parts, or when the number of MIDI channels (sound
generator parts) must be reduced
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Conversely, if there is a patch which should be played using
Se le ctin g Mo re Th a n 1 2 8 To n e s
(MIDI [CC0 ], MIDI [CC3 2 ])
only the external sound generator, just set the GR-33 patch
“LAYER” setting (p. 51) to “Mute.”
When you use the GR-33 to select sounds on an external
sound module that has a larger number of sounds than
covered by the range of program change numbers (1--128),
use MIDI Bank Select messages (control change numbers 0
and 32) in conjunction with the program change messages.
* It’s not possible to alter the correspondences between Program
Change numbers received by the GR-33 and the GR-33
patches called up by these numbers. The At the time of
purchase, Program Change numbers 1 through 128 are
assigned sequentially to patches A11 through D84, and this
cannot be changed.
*
The “bank” referred to here is an extended Program Change
message set forth in the MIDI specification, and has absolutely
nothing to do with the GR-33’s bank number (the second place of
the display that is, the “Bank” in “Bank Shift,” “Bank Up, and
“Bank Down”). Care should be taken not to confuse the two.
If you wish to start by matching the transmit numbers and
receive numbers, access the System mode function
FACTORY RESET, select “PC Number,” and execute.
The GR-33 also supports this function for sending Bank
Select messages.
For more detailed information and instructions for this
procedure, refer to “Re-assigning Program Change Numbers
in the Order of Patches” (p. 97).
■ Se n d in g MIDI Ba n k Se le ct Me ssa g e s
* Make changes in settings only when a MIDI loop connection
is not being used.
1 . Select the patch whose setting you want to change, and
press [COMMON] to enter Patch Edit mode.
2 . Use [PARAMETER] to select “MIDI [CC0]” (Control
Se le ctin g Se p a ra te So u n d s
Pro g ra m m e d fo r Diffe re n t Strin g s
Change number 0).
fig.9-06
It’s possible to set different Program Change messages sent
to an external sound generator not only for each patch, but
even for each string.
In step 3 of the procedure just described, “Changing the
Program Change Number Sent to the External Device During
Patch Selection,” set the [STRING SELECT] button to any
string-number position other than “ALL” (such as 6-5, 6, 5, or
the like), then use [VALUE] to make the change. This method
makes it possible to change the Program Change number for
just the string selected.
3 . Press [STRING SELECT] to select “ALL.”
fig.9-07
4 . Use [VALUE] to set the value for the tone to be called
This also makes it simple to do unusual things like assigning
a different tone to each of the six strings with the external
sound generator. You can also mute out certain strings for
the external sound generator by using the setting “OFF” for
the desired strings.
up (Off, 0 to 127).
5 . When you finish making the “MIDI [CC0]” setting, use
[PARAMETER] to choose “MIDI [CC32]” (Control
Change number 32).
fig.9-08
* You can make settings for different strings for an external
MIDI sound generator using the [STRING SELECT] button
not only for Program Change messages, but for sending MIDI
Bank Select messages as well (see the next section).
6 . Press [STRING SELECT] to select “ALL.”
fig.9-09
7 . Use [VALUE] to set the value for the tone to be called
up (Off, 0 to 127).
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fig.9-10
8 . Press [WRITE] to perform the Patch Write operation (p.
36).
MIDI IN
* 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
External MIDI Sound Device
Play mode.
When you call up a patch for which the settings described
MIDI OUT
above have been made, the Bank Select message and
Program Change number set to the patch are used to call up
a tone on the external MIDI sound generator at the same
time.
MIDI
IN
MIDI
OUT
MIDI Foot Controller
If you’re making a different setting for each string, then in
steps 3 and 6 above, set the [STRING SELECT] button to any
string-number position other than “ALL” (such as 6-5, 6, 5, ...
1), and use [VALUE] to change “MIDI [CC0],” and “MIDI
[CC32].”
In Patch Edit mode, using [VALUE] to change the Program
Change number or changes Control Change No. 0 or No. 32
causes MIDI messages corresponding to the selected
numbers to be sent to the external MIDI sound generator as
required, and the setting results appear on the external MIDI
sound generator.
Performing the operation to sort Program Change numbers
“0” for user patch Bank Select messages.
Also, if you move through the values quickly, such as by
rotating [VALUE] quickly, the external sound generator may
overflow with MIDI messages and issue a corresponding
warning message (such as “MIDI Buffer Full”).
Ap p ly in g th e Arp e g g ia to r o r Ha rm o n ist
Usin g a n Ex te rn a l So u n d De vice
❍ Using Arpeggiator to Arpeggiate an External
MIDI Sound Generator
Receiving MIDI Bank Select
Bank Select is the common setting for both sending and
receiving. When the GR-33 is receiving, combinations of
Bank Select and Program Change messages from an external
device can be used to freely call up any of the 256 patches in
the unit.
You can use the GR-33’s Arpeggiator to arpeggiate the
sounds of an external MIDI sound generator in the same way
as for the internal first and seconds tones.
When “Arpeggio All,” “Arpeggio Ext,” “Arpeggio Ext&1,”
or “Arpeggio Ext&2” is set in the EFFECTS setting “HAR/
external MIDI sound generator are arpeggiated.
Preset patches (E11 through H84) can be called up with
Control Change No. 0 value “1” and the appropriate
Program Change message (1 through 128). Also, user patches
(A11 through D84) can be called up with Control Change No.
0 value “0” and the appropriate Program Change message (1
through 128).
❍ Using Harmonist to Create Harmonies with the
External MIDI Sound Generator
Harmonies can be created using an external MIDI sound
generator in the same way as when using the internal 1st
tone and 2nd tone.
The receiving-side Bank Select setting correspondences for
patches are also fixed and cannot be changed, even by
overwriting the Bank Select and Program Change messages
being sent.
By setting the Patch Edit mode EFFECTS parameter “HAR/
“Harmony Ext,” “Harmony Ext&1,” or “Harmony Ext&2,
you can create a counter-melody using an external MIDI
sound generator as well.
A MIDI foot controller such as the FC-200 or Boss FC-50 may
patches on the GR-33. In that case, Program Change
messages and the like written to the called-up patch for the
external MIDI sound generator are sent from MIDI OUT,
making it possible to control all downstream devices as a
group.
* Make changes in settings only when a MIDI loop connection
is not being used.
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❍ Pedal Effect 4 (CTRL)
Th e Re la tio n sh ip Be tw e e n En ve lo p e
Fo llo w Fu n ctio n a n d MIDI Me ssa g e
Arpeggiator and Harmonist can be turned on and off in the
same was as for the built-in sound generator.
Patches that use the Envelope Follow function (p. 36)—in
other words, patches for which “Envelope1” or “Envelope2”
has been selected for the COMMON “PLAY FEEL” setting in
the Patch Edit mode—send information on string amplitude
(decay) during play to MIDI OUT on MIDI Control Change
No. 18 (general control 3).
Ab o u t Ex p re ssio n Pe d a l Effe cts
When an expression pedal is used to apply some sort of
effect, the pedal’s action is output from MIDI OUT. This
output is usually made with Control Change No. 4 (foot
type), but other numbers can be used by changing the “EXP
PEDAL” setting (p. 47) as follows.
This is mainly used during recording and playback of
performances on the GR-33 itself through a loop connection
string envelopes (decay information) along with the played
sounds and playing back the performed sounds without
change.
“Volume”
:
Control Change No. 7
MIDI Pitch Bend messages
Control Change No. 1
Control Change No. 10
Control Change No. 93
Control Change No. 91
“Pitch”:
“Modulation”:
“Pan (Normal)”:
“Cho Send Level”:
“Rev Send Level”:
“Tempo&Pitch”:
When using an external MIDI sound generator that can
assign tone changes and other effects to any desired Control
Change message that is received, you can also use No. 18
(sent as described above) to create changes in sounds.
MIDI Pitch Bend messages
and Control Change No. 4
In addition to these, when a value from “CC1 to 31” or from
“CC64 to 95” has been selected for the “EXP PEDAL” setting
number follows the operation of the expression pedal and is
output only from MIDI OUT. This makes it possible to use
the pedal to control only the external MIDI sound generator.
Co n tro llin g Ex te rn a l MIDI De vice s
w ith th e Pe d a l
The GR-33’s built-in pedal effects and some expansion pedal
effects can also be applied to an external sound generator.
* When the GR-33 receives Control Change No. 4, the synth
sound of the GR-33’s internal sound generator changes
according to the function assigned to the expression pedal at
that time. However, when a function using a specific Control
has been assigned, No. 4 is ignored.
❍ Pedal Effect 1 (WAH)
Messages about pressing and releasing the pedal are sent on
Control Change No. 19. When “Modulation” has been
selected as the “WAH TYPE” setting (p. 43), Control Change
No. 1 is used, not No. 19.
❍ Pedal Effect 2 (P-GLIDE)
MIDI Pitch Bend messages are used to create an effect similar
to the effect for the built-in sound generator.
❍ Pedal Effect 3 (HOLD)
This is achieved by causing issuance of MIDI Note Off
messages to be paused during a hold. (A Control Change No.
64 used with keyboards is not sent. For control of the internal
sound generator, however, pedal action is sent on Control
Change No. 82 (general control 7).)
* When transmitting in Poly mode (p. 88), string-specific
processing is impossible when the same pitch is played on
different strings, so the hold effect can not be perfectly
conveyed.
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Tra n sp o sin g Pe rfo rm a n ce Da ta fo r a n Ex te rn a l So u n d
Ge n e ra to r (MIDI [TRAN SPO SE])
When using an external sound generator, notes in the bass
(or treble) range not on the guitar can be sent by changing the
COMMON setting “MIDI [TRANSPOSE]” in the Patch Edit
mode to transpose the output from MIDI OUT.
■ Pro ce d u re fo r Se ttin g MIDI [TRAN SPO SE]
1 . Select the patch whose setting you want to change, and
press [COMMON] to enter Patch Edit mode.
2 . Press [PARAMETER] to select “MIDI [TRANSPOE].”
fig.9-11
3 . Press [STRING SELECT] to select “ALL.”
If you wish to change settings for individual strings,
refer to “Selecting different sounds for each string” (p.
89).
fig.9-12
4 . Use [VALUE] to choose the value.
The available range that can be selected in “MIDI
[TRANSPOSE],” by semitone units, is -36 to +24.
5 . 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.
W h a t to d o if a n Ex te rn a l Mo d u le Do e sn ’t Pro d u ce So u n d a s Ex p e cte d
If the external sound generator doesn’t play as expected,
double-check the following items.
* If the pitch sounds out of tune with the guitar, check “BEND
RANGE.” (p. 86)
•
Do the MIDI channels for sending and receiving match?
(p. 86)
* If “BEND RANGE” has been set to “0,” the pitch will change
in semitone.
•
Make sure the volume level on the external sound
generator has not been lowered by sending a MIDI
Volume message been sent because of operation of
expression pedal volume.
* When transmitting in the Poly mode, pitch changes during
chord performances are in semitone (p. 86).
•
Make sure the volume on the GK-2A or the expression
pedal has not been turned down too low.
•
•
Has the GK-2A select switch been set to “GUITAR”?
Make sure that a sound generator which cannot
simultaneously receive six MIDI channels is receiving
data from the GR-33 in the Mono mode (p. 88).
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Usin g th e GR-3 3 a s a n Ex te rn a l Se q u e n ce r In p u t To o l
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.
Co n n e ctin g to a Se q u e n ce r
In p u t Pro ce d u re s a n d Se ttin g s fo r
Ea ch De vice
Use MIDI cables to hook up the GR-33, sequencer (or
computer running sequencer software) and multitimbral
1 . Set the sending channel, sending mode, and bend
range on the GR-33 to match the sound generator being
used.
sound generator as shown in the figure.
fig.9-13
MIDI IN
For details, refer to “Setting MIDI Channel/ Bend Range
(CHANNEL, BEND RANGE)” (p. 86).
2 . Turn 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.)
Multi timbral MIDI Sound Device
MIDI OUT
3 . Switch on the power to the GR-33 while holding down
the [PLAY] key to enable the “Local Control Off” state.
When doing this, the display reads “LOCAL
MIDI
IN
MIDI
OUT
CONTROL OFF,” and then the unit starts.
For more detailed information about Local Control Off, see
the subsequent section, “About “Local Control Off.”
4 . When everything is ready, play the guitar and make
sure the external sound generator produces sound. If
no problem is found, operate the external sequencer to
start recording. When the recording is done, put the
sequencer in the play mode and check what you’ve
recorded.
MIDI Sequencer
5 . If you also wish to use the GR-33’s sound generator in
the song, also connect MIDI THRU on the external
sound generator to MIDI IN on the GR-33. This makes
it possible to use the GR-33 sound generator as well
while listening to the performance of the external MIDI
sound generator parts. (At this time, the sending MIDI
channel should be selected so as not to conflict with the
channel setting on the external sound generator.)
The 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. (While
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 range that cannot be produced
by the guitar, change the “MIDI [TRANSPOSE]” setting to
“-12” (down one octave) or “-24” (down two octaves).
* If the sequencer you’re using doesn’t support simultaneous
recording on more than channel, use the Poly mode for
sending and recording (p. 88).
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Ab o u t “ Lo ca l Co n tro l O ff”
Cre a tin g Re a listic Plu ck e d Strin g
In stru m e n t So u n d s (Da ta )
While the GR-33’s internal sound generator and guitar
controller are connected together, it is set to “Local On.” In
contrast to this, “Local Off” is when the GR-33’s internal
sound generator and guitar controller are separated, and
only MIDI message from a sequencer is played. Also, guitar
Using the GR-33 to input parts for guitars and similar string
instruments, including harps, koto, and others, makes it
possible to achieve voicing and an expressive feeling of
dispersions for separately plucked strings that cannot be
reproduced with keyboard input. When doing this, however,
attention should be given to the following points.
performance message is output only from MIDI OUT.
fig.9-14
Sequencer
❍
Make sure that no Quantize function (a function which
forces data with loose input timing to conform to precise
timing as eighth notes, sixteenth notes, or the like) has
been enabled for input-data timing on the sequencer.
Thru function to
MIDI OUT: On
❍
When performing post-recording operation on the
sequencer to shift the position of data, make sure that
Bend messages are also shifted along with Note
messages, so as not to destroy the correspondences
between the two types of messages.
MIDI OUT
MIDI IN
MIDI IN MIDI OUT
GR-33
Also, those special changes in pitch that can only be
produced by a guitar synthesizer (such as using the tremolo
bar and harmonized bending) can also be input to the
sequencer and played by means of transmission in the Mono
mode, which uses one MIDI channel for each string.
Sound
Generator
PITCH
TO MIDI
GK IN
Local Control
OFF
Re co rd in g Arp e g g ia to r a n d
Ha rm o n ist Pe rfo rm a n ce s
Collisions of performance data from both the guitar and the
sequencer that occur at times such as when “soft thru” is
enabled can be prevented by turning off local control.
■
Re co rd in g Arp e g g ia to r Effe cts o n a Se q u e n ce r
To turn off local control, switch the power off and back on
while holding down the [PLAY] button. (The setting for
turning off local control is canceled when the power is
switched on again, and is not saved in memory.)
Example 1:
Arpeggiate the notes of the external MIDI sound generator,
and record the results
Set the EFFECTS “HAR/ ARP SELECT” setting in the Patch
Edit mode to “Arpeggio Ext,” then take the steps 1, 2 and 4 of
“Input Procedures and Settings for Each Device” on p. 93.
(Please don’t take step 3.) After taking step 4, play the guitar
and make sure that the external MIDI sound generator is
arpeggiated. Then, go to step 5 to record it.
* The detailed behavior of internal functions differs depending
on whether local control is on or off. Local control is normally
on, but you should be sure to switch off local control when a
loop connection with external equipment is used.
Making a MIDI loop connection with local control remaining
on may result in problems or faulty operation, such as failure
to recognize switch operations.
Example 2:
Arpeggiate the GR-33’s first and second tones, and record the
results
* Set MIDI [PC], MIDI [CC0], and MIDI [CC32] only when a
MIDI loop connection is not being used.
Set the EFFECTS “HAR/ ARP SELECT” setting in the Patch
Edit mode to “Arpeggio 1st,” “Arpeggio 2nd,” or “Arpeggio
1&2,” and carry out recording. (Arpeggios are played while
recording, but only the original guitar-performance
information—and not arpeggio information itself—is
recorded on the sequencer.) If the same patch is used during
playback, performance information is received from MIDI IN
and the GR-33 rebuilds the arpeggios.
* The setting “Arpeggio All” is not suitable for “HAR/ARP
SELECT” when a sequencer and the GR-33 are connected by a
MIDI cable (local control off).
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Ch a p te r 9 Co n n e ctin g to Ex te rn a l So u n d Ge n e ra to rs a n d Se q u e n ce rs
* As in Example 1 above, it is perfectly all right to record the
Re d u cin g th e Size o f a MIDI Pitch
Be n d Me ssa g e
arpeggios themselves with “Arpeggio Ext,” then return this
data unchanged from MIDI OUT on the sequencer (to a patch
for which first and second tone arpeggios are off) to re-create
the arpeggios. However, this method cannot be used to re-
create performance where both tones were played but only the
first tone was arpeggiated.
<The Bend Data Thin Function>
With the guitar, the finger vibrato technique can be used
to produce organic vibratos with amplitude and speed
do with a keyboard.
* When using transmission in the Poly mode (p. 88), only the
method described for Example 1 can be used to recording and
playback.
When creating sequencer data, the GR-33 records such
finger vibratos, glissandos, and tremolo bar usage as
MIDI Pitch Bend messages. As a result of this, the MIDI
performance message that is output contains a large
number of Pitch Bend messages. In some cases, however,
these Pitch Bend messages can greatly inflate the amount
of data and exceed the sequencer’s memory capacity.
■
Re co rd in g Ha rm o n ist Effe cts o n a Se q u e n ce r
Example 1:
Make the first tone the melody and the second tone the
harmony (or vice versa), and record the results
Set the EFFECTS “HAR/ ARP SELECT” setting in the Patch
Edit mode to “Harmony 2nd” (or “Harmony 1st”), and while
in the same state as step 4 of “Input Procedures and Settings
desired harmony is obtained. After that, continue from step 5
to record. The same harmony created when recording can be
reproduced by using the same patch during playback.
The Bend Data Thin function is available to keep this to a
minimum.
The amount of Pitch Bend messages that are sent can be
reduced by using the Bend Data Thin function. Although the
smoothness of pitch changes deteriorates, this can reduce the
amount of MIDI data.
* The Harmony feature is not available for playback in Poly
mode. Use Mono mode.
Example 2:
■ Ca llin g Up th e Be n d Da ta Th in Fu n ctio n
Make the notes from the external MIDI sound generator the
melody and the first and second tones the harmony, and
record the results
1 . Press [SYSTEM] to enter System mode.
2 . Press [PARAMETER] to select “BEND DATA THIN.”
fig.9-15
Set the EFFECTS “HAR/ ARP SELECT” setting in the Patch
Edit mode to “Harmony 1&2,” carry out recording in the
same way as for Example 1, and play back the performance
using the same patch. Make sure that the external sound
generator and the GR-33 are set to the same MIDI channel at
this time.
3 . Use [VALUE] to select “On.”
4 . Press [PLAY] to return to Play mode.
* This is the setting items for the GR-33 (System mode), and not
patch settings, so there is no need to perform a Patch Write
operation. The latest setting is automatically stored in
memory, even after the power is switched off.
This results in a reduced amount of pitch bend data
transmissions until BEND DATA THIN is set to “Off” again.
(While this function is active, the smoothness of pitch
changes for the internal sound generator is also restricted.)
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Ch a p te r 9 Co n n e ctin g to Ex te rn a l So u n d Ge n e ra to rs a n d Se q u e n ce rs
Pra ctica l Use o f MIDI Ch a n n e ls
A single MIDI system has 16 channels, and ordinarily 16
fig.9-16
instrument parts can exist.With a guitar synthesizer,
however, each of the six strings takes up one channel.
Transmitting in Mono Mode
This means that, for instance, two-part input with the guitar
synth to an ensemble from a 16-part external multitimbral
sound generator would use up 12 channels.
Guitar 1
Guitar 2
Mono Mode ch1
Mono Mode ch7
In cases like this, set the System mode setting “BASIC
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.
MIDIch
1
2
3
4
5
6
7
8
9 10 11 12 13 14 15 16
In use
Only 4 channels
One drawback of transmitting in Poly mode is that it is not
possible to send Pitch Bend messages for bending, sliding,
vibratos, and the like when playing chords, but this mode
can help in economical use of channels and parts when used
judiciously separately from Mono mode input while giving
consideration to the tones to be used and to single-note
playing.
remaining available for use
Transmitting in Poly Mode
Poly Mode ch1
Guitar 1
Poly Mode ch2
Guitar 2
MIDIch
1
2
3
4
5
6
7
8
9 10 11 12 13 14 15 16
In use
14 channels remaining available for use
W h a t to d o W h e n Yo u Ha ve Difficu lty Se q u e n cin g
❍
❍
❍
Double-check the MIDI cable connections (OUT → IN, p.
❍
If MIDI Bend Range is set to “1” or “2,” unpleasant
performance with continuous changes in pitch through
setting for both sending and receiving, make the value as
large as possible. (p. 86)
When performing playback, be sure to check the MIDI
channel and Bend Range settings (p. 86).
Be sure that the transmitting modes (Mono or Poly)
match up. If only the sound for one string is heard
during playback, you may be sending performance data
to created with transmission in Mono mode a non-
multitimbral sound generator.
❍
To achieve faster sound generation and smooth pitch
changes, the GR-33 transmits pitch as a combination of
Note messages and Pitch bend messages. This means
that if the sequencer’s microscope (event list) screen
shows only Note messages, what appears on-screen may
differ from what is actually performed. If continuous
pitch change is not required, you can create data that is
displayed more faithfully by setting the sending Bend
Range to “0” (p. 86).
❍
❍
If MIDI cannot be sent and recording is impossible for
only a particular string, use the [STRING SELECT]
button to set the COMMON “MIDI [PC]” setting in the
Patch Edit mode to the string’s number, and make sure
that the setting is not “Off.” (p. 88)
During transmission in Poly mode, pitch changes for
chord play are in semitone steps. If continuous change in
pitch is needed, use single-note playing or transmission
in MIDI Mono mode.
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Ch a p te r 1 0 O th e r Co n ve n ie n t Fu n ctio n s
Re -a ssig n in g Pro g ra m Ch a n g e N u m b e rs in th e O rd e r o f Pa tch e s
If you have repeatedly changed the original settings of
patches and re-written them to different memory locations,
or have otherwise reordered the patches, the Program
Change numbers “(MIDI [PC])” assigned to the patches no
longer correspond to their actual order.
3 . Turn [VALUE] to select “PC Number.”
4 . Press [WRITE].
The message “Sure ?” appears, asking you to confirm
that you want to perform the Factory Reset operation.
fig.10-02
If you want the fixed reception program change numbers to
once again correspond to the patch numbers starting at the
first patch, use the following procedure to reassign the
transmission program change numbers (to the factory
settings) starting at the first patch.
5 . To perform the operation, press [WRITE] again.
* Please note that performing this operation causes all prior
“MIDI [PC]” settings for the patches to be lost.
“Now Writing...” appears in the display. In a moment,
the GR-33 automatically returns to Play mode,
completing the factory Reset.
■ Re -a ssig n in g Pro g ra m Ch a n g e N u m b e rs in
th e O rd e r o f Pa tch e s
The patches’ Program Change numbers are re-assigned
in sequence starting from the first patch (1, 2, 3,..., 127,
128). (All Control Change No. 0 (MIDI[CC0]) and No. 32
(MIDI[CC32]) values are returned to “0” for the sending
of Bank Select messages for user patches.)
1 . Press [SYSTEM] to enter System mode.
2 . Press [PARAMETER] to select “FACTORY RESET.”
fig.10-01
To cancel the operation, press any button other than
[WRITE].
Te rm in a tin g Tra n sm issio n o f th e MIDI Co n tro lle r N o . 7 (Vo lu m e )
Control Change No. 7 is used not only for sending changes
from the GK-2A’s volume knob, but also for sending data
from its “SYNTH - MIX - GUITAR” selector switch. You may
occasionally encounter a MIDI-capable effects processor that
cannot be set to ignore Control Change No. 7 volume control
messages.
MIDI control of the external effects—setting the selector
switch on the GK-2A to “GUITAR” may mute the guitar
sound, not just the synth sound.
When using the GR-33 in combination with a processor that
cannot block out Control Change No. 7 messages, follow the
steps below to prevent the GR-33 from sending this type of
data.
If this occurs, it will require your attention, because when the
GR-33 has been connected via MIDI cables to an external
effects processor—for the processing of guitar sounds and
fig.10-03
To guitar amp
Effects processor for guitar sound
unable to stop receiving Volume
messages.
M IDIIN＊
To synth-sound amp
* Patch Change messages are sent
from the GR-33 to the guitar
effects processor.
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Ch a p te r 1 0 O th e r Co n ve n ie n t Fu n ctio n s
* This is a system-wide setting, and not a patch setting, so there
is no need to perform a patch write operation. The setting is
automatically stored in memory even after the power is
switched off.
■ Te rm in a tin g Tra n sm issio n o f th e MIDI
Co n tro lle r N o . 7
1 . Press [SYSTEM] to enter System mode.
This stops the transmission of Control Change No. 7 from
MIDI OUT, eliminating the problem described above.
2 . Press [PARAMETER] to select “VOL SEND SW.”
fig.10-04
* This also terminates transmission of Control Change No. 7
messages for other volume-related control, so this setting
should not used except when necessary. Please note that once
transmission has been disabled, it remains so until you switch
the setting back to “On” or restore system-related settings to
their default values by performing a Factory Reset (p. 16).
3 . Turn [VALUE] to select “Off.”
4 . Press [PLAY] to return to Play mode.
Te rm in a tin g Tra n sm issio n o f th e Be n d Ra n g e Re q u e st Me ssa g e
The GR-33 informs any external MIDI device of the GR-33’s
current Bend Range setting each time a new patch is selected.
The messages used here are MIDI RPN (Registered
Parameter Number) “Pitch Bend Sensitivity” messages—that
is, Control Change messages No. 100, No. 101, No. 6, and No.
38.
If it is necessary for some reason to stop the transmission of
these messages—such as when you wish to reduce the
number of messages sent to a sequencer as you change
patches on the GR-33—follow the steps below to turn off this
function.
1 . Press [SYSTEM] to enter System mode.
2 . Press [PARAMETER] to select “BEND REQ SW.”
fig.10-05
3 . Turn [VALUE] to select “Off.”
4 . Press [PLAY] to return to Play mode.
* This is a system-wide setting, and not a patch setting, so there
is no need to perform a Patch Write operation. The setting is
automatically stored in memory, even after the power is
switched off.
Once you’ve done this, no Bend Range Request messages
(MIDI Pitch Bend Sensitivity) are sent when changing
patches.
* Please note that once transmission has been disabled, it
remains so until you return the setting to “On” or restore
system-related settings to their default values by performing a
Factory Reset (p. 16).
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Ch a p te r 1 1 Ap p e n d ice s
Tro u b le sh o o tin g
Th e vo lu m e flu ctu a te s fro m o n e strin g
to a n o th e r
Du rin g N o rm a l Pla y w ith Ju st th e
GR-3 3
●
Are the “PICKUP SENS” settings correct for each
N o sy n th so u n d s a re h e a rd w h e n th e
g u ita r is p la y e d
string?
→
Adjust the settings as required (p. 17).
●
If the unit’s volume knob turned down too low?
Pitch d o e sn ’t rise w h e n u sin g Pitch Glid e
(o r th e e x p re ssio n p e d a l Pitch fu n ctio n )
→
Adjust the volume to an appropriate level.
●
Is the volume on the GK-2A turned down too low? Is
the GK-2A’s selector switch set to GUITAR?
●
Functions that vary pitch continuously may experience
a limited range of change during rising pitch due to the
tone or register.
→
Set the switch to SYNTH or MIX, and adjust the volume
to an appropriate level.
→
If a limitation is encountered, use with a narrower width
of change (p. 44).
●
Has the expression pedal assigned with the Volume
function been returned to its raised position?
→
Depress the expression pedal.
Th e so u n d ch a n g e p ro d u ce d b y a n
e x p re ssio n p e d a l va rie s fro m o n e to n e
to a n o th e r
●
Has neither the first nor second tone been selected for
the Layer setting?
→
Assign the first (or second) tone to each of the strings (p.
51).
●
For some of the 384 tones, the way the effect is applied
varies subtly from the usual case when the Brightness
or Wah-Wah function is assigned.
●
Is the “PATCH LEVEL” setting too low?
→
Actually assign the function and check in advance how
the effect is applied (p. 47).
→
Adjust the volume to an appropriate level (p. 38).
Th e p itch sta y s th e sa m e e ve n w h e n
th e Ma ste r Tu n e se ttin g is ch a n g e d .
Th e w a y m o d u la tio n is a p p lie d va rie s
fro m o n e to n e to a n o th e r w h e n u sin g
th e u n it’s p e d a l e ffe ct o r e x p re ssio n
p e d a ls
●
The only sounds that immediately change in pitch
when the GR-33’s Master Tune setting is changed are
synth sounds controlled by an external MIDI
●
Each tone has an independent setting for the speed of
undulations in pitch when using modulation.
instrument. Except when the patch “CHROMATIC”
setting is set to a value from “Type1” to “Type3,” synth
sounds controlled by the guitar follow the guitar’s
actual pitch, regardless of the Master Tune setting.
→
Check the undulations in advance and choose a tone
with an undulation speed that matches the song.
→
After making the Master Tune setting (p. 18), use the
built-in tuner to retune the guitar (p. 18) and ensure that
all pitches (including the guitar) are in tune.
●
depth for each tone.
→
Check the depth of the effect choose a tone with a depth
that matches the song.
Th e La y e r se ttin g is co rre ct, b u t o n e
to n e is n o t h e a rd
O n e to n e is n o t h e a rd w h e n th e
e x p re ssio n p e d a l is u se d to ch a n g e
th e to n e ’s vo lu m e b a la n ce
●
or the second tone?
→
Adjust the setting to obtain a suitable balance.
●
Has the expression pedal assigned with tone balance
been depressed (or returned to its raised position)?
●
Is the TONE “LAYER” setting set so that only the first
or the second tone (but not both) is played?
→
Try operating the expression pedal.
→
Change the setting so that the first and second tones are
both played (p. 51).
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Ch a p te r 1 1 Ap p e n d ice s
●
Is the TONE “1:2 BALANCE” setting (p. 52) set to “50”
or “-50”?
●
Is COMMON “CHROMATIC” set to a value from
“Type1” to “Type3”?
→
Change the setting to a value closer to “0” and check
operation.
→
Set CHROMATIC to “Off” for patches that require
continuous changes in pitch (p. 42).
Th e b u ilt-in e ffe cts d o n ’t w o rk
●
Is the Bend Data Thin function (p. 95) in use? Using
this function may result in a slight loss of smoothness
when pitch changes, even during normal play.
●
Is the EFFECTS setting item “REV SEND LEVEL” (p.
FX SW” (p. 53) set to “Off”?
→
Do not use the Bend Data Thin function when it is not
needed.
→
Select a type other than “Off.”
●
Are the “REV SEND LEVEL,” “CHO SEND LEVEL,”
and volume-related Multi-effect parameters set to
appropriate values?
“ Ba tte ry Lo w !” a p p e a rs in th e d isp la y
w h e n th e p o w e r is sw itch e d o n
→
Set them to appropriate values.
●
This is a warning that means that the internal battery
which maintains user patch and system setting data is
almost dead. If this message appears, data may be lost
●
Is the three-digit display blinking “Edt” to indicate
that the unit is in EFFECT BYPASS mode?
→
Press [EFFECTS] to release the Bypass function (p. 75).
→
Contact servicing by your dealer or qualified Roland
service personnel.
●
The GR-33’s built-in effects are exclusively for use
with the internal synth sounds. They are not applied to
the sounds of the guitar itself.
W h e n Ch a n g in g Pa tch Se ttin g s
→
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
sounds, you should also use the GUITAR RETURN jack
as well.) (p. 15)
Th e d isp la y su d d e n ly sta rts fla sh in g
●
In a parameter where the [STRING SELECT] button is
valid and you select “ALL” (all strings) or “5-6” (strings
5 and 6), the blinking display indicates that the current
settings differ between strings.
●
If the “Cho Send Level (Chorus Send Level)” or “Rev
Send Level (Reverb Send Level)” function is selected,
make sure that the expression pedal (p. 47) is not
rocked back all the way.
●
that the bypass function is ON.
→
Depress the expression pedal.
Th e so u n d d o e sn ’t va ry w h e n th e
se ttin g s a re ch a n g e d
Th e p itch o f th e sy n th so u n d s d o e sn ’t
ch a n g e in th e sa m e w a y a s th e p itch
o f th e g u ita r so u n d s
●
the GR-33’s Attack, Release, and Brightness settings
are intended to adjust the original data belonging to
each tone. This means that the range of change differs
according to the tone, and some tones may not show
much of a change.
●
Some tones (such as percussion instruments and effect
sounds) show different changes in pitch than with the
guitar. This is not a defect.
●
Is the setting being changed one of the seven settings
that can be made independently for each string (see the
following item), and is the setting affecting only a
particular string?
●
If Harmonist is on, scale changes for synth sounds are
different from the guitar when “HAR/ARP SELECT”
→
Use the [STRING SELECT] button to set it to “ALL.” (p.
35)
N o ise w ith su b tle u n d u la tio n s is h e a r
in e x tre m e ly h ig h re g iste rs
●
This is a phenomenon peculiar to digital sound
generators known as “aliasing noise.” It may be
audible when using the slide technique or the Pitch
Shift function, but it is not a defect. The GR-33 is
designed to minimize such noise during guitar play.
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Ch a p te r 1 1 Ap p e n d ice s
Se ttin g s ca n n o t b e m a d e
in d e p e n d e n tly fo r in d ivid u a l strin g s
W h e n Se n d in g Pe rfo rm a n ce Da ta fro m
th e GR-3 3 to a n Ex te rn a l MIDI De vice
(so u n d g e n e ra to r o r Se q u e n ce r)
●
Is the setting one that cannot be made for individual
strings?
→
The seven settings that can be made independently for
each of the strings using the [STRING SELECT] button
are TONE “Layer,” “1ST TRANSPOSE,” and “2ND
TRANSPOSE,” COMMON “MIDI [PC],” “MIDI [CC0],”
“MIDI [CC32]” and “MIDI [TRANSPOSE].”
N o so u n d fro m th e e x te rn a l so u n d
g e n e ra to r
●
Do the MIDI channels for sending and receiving
match?
→
Make sure the MIDI channels match (p. 86).
W h e n Pla y in g th e GR-3 3 so u n d
g e n e ra to r w ith a MIDI Ke y b o a rd
o r O th e r In stru m e n t
●
The volume level of the external sound generator may
have been lowered by a MIDI Volume message
(Control Change No. 7) sent from the GR-33.
→
Raise the volume on the GK-2A.
N o so u n d
●
Make sure the volume on the GK-2A or the expression
pedal has not been turned down too low.
●
Do the MIDI channels for sending and receiving
match?
→
Use the controls to increase the volume.
→
Make sure the MIDI channels match (p. 86).
●
for patches for which COMMON “MIDI[PC]” is set to
“Off.”
Th e P-GLIDE a n d HO LD p e d a l e ffe cts
d o n ’t w o rk
→
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
external instrument (such as a keyboard).
Th e e x te rn a l so u n d g e n e ra to r p la y s o n ly
o n e strin g (so m e strin g s ca n ’t b e h e a rd )
→
Use the controls on the external instrument to apply
pitch bending and holds.
●
Is the GR-33 using the Mono mode to send data to a
sound generator which cannot simultaneously receive
data on six MIDI channels?
Sin g le n o te s a re so u n d e d w h e n MIDI
m e ssa g e s a re se n t fro m th e e x te rn a l
in stru m e n t, b u t m e ssa g e s su ch a s
Pro g ra m Ch a n g e a re n o t re ce ive d
→
For such sound generators, send data in the Poly mode
(p. 88).
N o te s in a b a ss re g iste r n o t o n th e
g u ita r ca n n o t b e p la y e d
●
Are MIDI messages being sent to the five channels
other than the first channel specified by the SYSTEM
“BASIC CHANNEL” setting? MIDI messages other
than Note messages and Bend messages must be sent
to the first channel.
→
Output from MIDI OUT can be transposed as desired by
changing the COMMON “MIDI[TRANSPOSE]” setting
(p. 92).
→
Be sure to send data from the external instrument to the
first matching channel.
Th e p itch is w ro n g
(o u t o f tu n e w ith th e g u ita r)
●
Is MIDI Bend Range the same for both sending and
receiving?
→
If the pitch is off, adjust the Bend Range setting (p. 86).
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Ch a p te r 1 1 Ap p e n d ice s
Pitch d o e sn ’t ch a n g e sm o o th ly
Erro r Me ssa g e s
●
Is data being sent in the Poly mode? When
Ba tte ry Lo w !
transmitting in the Poly mode, pitch changes during
chord performances are in semitone steps (p. 88).
Cause:
maintains the data in the user memory) is
running down.
→
Play with single notes, or use the Mono mode to send
data.
Solution: Contact your dealer or a nearby Roland service
●
Is the Bend Data Thin function (p. 95) in use?
center to have the battery replaced.
→
Do not use the Bend Data Thin function when it is not
needed.
Me m o ry Da m a g e d !
Pre ss W RITE
●
Is SYSTEM “BEND RANGE” set to “1” or “2”?
→
When matching with sending and receiving, use as large
a value as possible (p. 86).
Cause:
The contents of internal memory has been lost
due to the backup battery having run down or to
some malfunction.
●
If SYSTEM “BEND RANGE” has been set to “0,” the
pitch will change in semitone.
Solution: Press [WRITE] to execute Factory Reset. If this
does not resolve the problem, contact a nearby
Roland service center.
→
Change the setting to a preferable value (p. 86).
Th e N o te m e ssa g e s in p u t to th e
se q u e n ce r d o n ’t lo o k lik e th e sca le
th a t is a ctu a lly p la y e d
MIDI
O ff Lin e !
●
To start playing sounds rapidly and achieve smooth
changes in pitch, the GR-33 transmits pitch as a
combination of Note messages and Pitch Bend
messages. This means that if only the Note messages
are examined on the sequencer’s microscope (event
list) screen, the on-screen information may differ from
what is actually performed.
Cause:
There is a problem with the MIDI cable connection.
Solution: Check that the MIDI cable has not been
disconnected or broken.
MIDI
→
If continuous pitch change is not required, you can
create data that is displayed more faithfully by setting
the sending Bend Range to “0.” (p. 88)
Bu ffe r Fu ll!
Cause:
More MIDI data was received at once than could
be handled by the GR-33.
Solution: Reduce the amount of MIDI data that is being
O th e rs
received by the GR-33.
Th e vo lu m e le ve l o f th e in stru m e n t
co n n e cte d to RETURN ja ck is to o lo w .
W ro n g Ad d re ss!
Cause:
The System Exclusive address value that was
received is incorrect.
●
Could you be using a connection cable that contains a
resistor?
→
Use a connection cable that does not contain a resistor.
Solution: Correct the address value.
Ch e ck su m Erro r!
Cause:
The System Exclusive checksum value that was
received is incorrect.
Solution: Correct the checksum value.
1 0 2
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Ch a p te r 1 1 Ap p e n d ice s
Ro la n d Ex clu sive Me ssa g e s
1 . Da ta Fo rm a t fo r Ex clu sive Me ssa g e s
• O n e -w a y tra n sfe r p ro ce d u re (Se e Se ctio n 3
fo r d e ta ils.)
Roland’s MIDI implementation uses the following data format for all
Exclusive messages (type IV):
This procedure is suited to the transfer of a small amount of data. It sends out
an Exclusive message completely independent of the receiving device's status.
Byte
F0H
Description
Co n n e ctio n Dia g ra m
Exclusive Status
Manufacturer ID (Roland)
Device ID
41H
Device A
MIDI OUT
Device B
MIDI IN
1
2
DEV
MDL
CMD
[BODY]
F7H
MIDI IN
MIDI OUT
Model ID
Command ID
Main data
Connection at point 2 is essential for “Request data” procedures. (See Section 3.)
• Ha n d sh a k e -tra n sfe r p ro ce d u re (Th is d e vice
d o e s n o t u se th is p ro ce d u re )
End of exclusive
• MIDI sta tu s: F0 H, F7 H
This procedure initiates
a
predetermined transfer sequence (handshaking)
across the interface before data transfer takes place. Handshaking ensures that
An Exclusive message must be flanked by a pair of status codes, starting
with a Manufacturer ID immediately after F0H (MIDI version 1.0).
reliability and transfer speed are high enough to handle a large amount of data.
Co n n e ctio n Dia g ra m
• Ma n u fa ctu re r ID: 4 1 H
Device A
MIDI OUT
Device B
MIDI IN
1
2
The Manufacturer ID identifies the manufacturer of a MIDI instrument that
sends an Exclusive message. Value 41H represents Roland’s Manufacturer ID.
MIDI IN
MIDI OUT
• De vice ID: DEV
Connection at points 1 and 2 is essential.
The Device ID contains a unique value that identifies individual devices in
the implementation of several MIDI instruments. It is usually set to
00H–0FH, a value smaller by one than that of a basic channel, but value
00H–1FH may be used for a device with several basic channels.
N o te s o n th e a b o ve p ro ce d u re s
* There are separate Command IDs for different transfer procedures.
* Devices A and B cannot exchange data unless they use the same transfer procedure,
share identical Device ID and Model ID, and are ready for communication.
• Mo d e l ID: MDL
The Model ID contains a value that identifies one model from another.
Different models, however, may share an identical Model ID if they handle
similar data.
3 . O n e -w a y Tra n sfe r Pro ce d u re
This procedure sends out data until it has all been sent and is used when the
messages are so short that answerbacks need not be checked.
For longer messages, however, the receiving device must acquire each
message in time with the transfer sequence, which inserts 20 milliseconds
intervals.
The Model ID format may contain 00H in one or more places to provide an
extended data field. The following are examples of valid Model IDs, each
representing a unique model:
01H
02H
Ty p e s o f Me ssa g e s
03H
Message
Command ID
RQ1 (11H)
DT1 (12H)
00H, 01H
00H, 02H
00H, 00H, 01H
Request data 1
Data set 1
• Co m m a n d ID: CMD
• Re q u e st d a ta # 1 : RQ 1 (1 1 H)
The Command ID indicates the function of an Exclusive message. The
Command ID format may contain 00H in one or more places to provide an
extended data field. The following are examples of valid Command IDs,
each representing a unique function:
This message is sent out when there is a need to acquire data from a device
at the other end of the interface. It contains data for the address and size that
specify designation and length, respectively, of data required.
On receiving an RQ1 message, the remote device checks its memory for the
data address and size that satisfy the request.
01H
02H
03H
If it finds them and is ready for communication, the device will transmit a
“Data set 1 (DT1)” message, which contains the requested data. Otherwise,
the device won't send out anything.
00H, 01H
00H, 02H
00H, 00H, 01H
Byte
F0H
41H
DEV
MDL
11H
aaH
|
Description
Exclusive Status
Manufacturer ID (Roland)
• Ma in d a ta : BO DY
Device ID
Model ID
This field contains a message to be exchanged across an interface. The exact
data size and content will vary with the Model ID and Command ID.
Command ID
Address MSB
|
2 . Ad d re ss-m a p p e d Da ta Tra n sfe r
|
|
LSB
Address mapping is a technique for transferring messages conforming to the
data format given in Section 1. It assigns a series of memory-resident
records—waveform and tone data, switch status, and parameters, for
example, to specific locations in a machine-dependent address space, thereby
allowing access to data residing at the address a message specifies.
ssH
Size
MSB
|
|
|
|
LSB
sum
F7H
Check sum
Address-mapped data transfer is therefore independent of models and data
categories. This technique allows use of two different transfer procedures:
one-way transfer and handshake transfer.
End of exclusive
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Ch a p te r 1 1 Ap p e n d ice s
* The size of the requested data does not indicate the number of bytes that will make
up a DT1 message, but represents the address fields where the requested data
resides.
* Some models are subject to limitations in data format used for a single transaction.
Requested data, for example, may have a limit in length or must be divided into
predetermined address fields before it is exchanged across the interface.
* The same number of bytes comprises address and size data, which, however, vary
with the Model ID.
* The error-checking process uses a checksum that provides a bit pattern where the
last 7 bits are zero when values for an address, size, and that checksum are
summed.
• Da ta se t 1 : DT1 (1 2 H)
This message corresponds to the actual data transfer process.
Because every byte in the data is assigned a unique address, a DT1 message
can convey the starting address of one or more bits of data as well as a series
of data formatted in an address-dependent order.
The MIDI standards inhibit non real-time messages from interrupting an
Exclusive one. This fact is inconvenient for devices that support a “soft-thru”
function. To maintain compatibility with such devices, Roland has limited
the DT1 to 256 bytes so that an excessively long message is sent out in
separate ‘segments’.
Byte
F0H
41H
DEV
MDL
12H
aaH
|
Description
Exclusive Status
Manufacturer ID (Roland)
Device ID
Model ID
Command ID
Address MSB
|
|
|
LSB
ddH
Data
MSB
|
|
|
|
LSB
sum
F7H
Check sum
End of exclusive
* A DT1 message is capable of providing only the valid data among those specified by
an RQ1 message.
* Some models are subject to limitations in data format used for a single transaction.
Requested data, for example, may have a limit in length or must be divided into
predetermined address fields before it is exchanged across the interface.
* The number of bytes comprising address data varies from one Model ID to another.
* The error-checking process uses a checksum that provides a bit pattern where the
last 7 bits are zero when values for an address, size, and that checksum are
summed.
• Ex a m p le o f Me ssa g e Tra n sa ctio n s
• De vice A se n d in g d a ta to De vice B
Transfer of a DT1 message is all that takes place.
Device A
Device B
[Data set 1]
* More than 20m sec time interval.
[Data set 1]
[Data set 1]
• De vice B re q u e stin g d a ta fro m De vice A
Device B sends an RQ1 message to Device A.
Checking the message, Device A sends a DT1 message back to Device B.
Device A
Device B
[Request data]
[Data set 1]
* More than 20m sec time interval.
[Data set 1]
[Data set 1]
1 0 4
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Ch a p te r 1 1 Ap p e n d ice s
MIDI Im p le m e n ta tio n
Model:
Date:
GR-33
❍Pan
STATUS
SECOND
0AH
THIRD
vvH
Jul. 21, 2000
1.01
BnH
Version:
n=MIDI Channel Number:
vv=Pan:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 40H - 7FH (0 - 64 - 127)
1. Recognized Receive Data
■Channel Voice Message
●Note Off
*
*
Can be received only through the Basic channel.
The value 0 is left, 64 is center, and 127 is right.You can adjust in 127 steps from 0 to 127.
❍General Purpose #2
STATUS
SECOND
THIRD
vvH
STATUS
SECOND
THIRD
BnH
11H
8nH
kkH
vvH
9nH
kkH
00H
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
0: minor, -7th,
n=MIDI Channel Number:
kk=Note Number:
vv=Velocity:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
1: minor, -6th,
00H - 7FH (0 - 127)
2: minor, -5th,
3: minor, -4th,
●Note On
4: minor, -3rd,
STATUS
SECOND
kkH
THIRD
vvH
5: minor, -2nd,
9nH
6: minor, +2nd,
7: minor, +3rd,
8: minor, +4th,
n=MIDI Channel Number:
kk=Note Number:
vv=Velocity:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
9: minor, +5th,
01H - 7FH (1 - 127)
10: minor, +6th,
11: minor, +7th,
12: minor, Diminish,
64: major, -7th,
65: major, -6th,
66: major, -5th,
67: major, -4th,
68: major, -3rd,
69: major, -2nd,
70: major, +2nd,
71: major, +3rd,
72: major, +4th,
73: major, +5th,
74: major, +6th,
75: major, +7th,
76: major, Diminish,
*
vv=00H is received as Note-off (velocity 40H).
●Control Change
❍Bank Select
STATUS
BnH
SECOND
00H
THIRD
mmH
n=MIDI Channel Number:
mm=Bank Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H, 01H
*
*
The LSB of Bank Select is ignored.
Can be received only through the Basic channel.
❍Modulation
STATUS
*
*
Can be received only through the Basic channel.
Received when Harmony is on, to switch the key between Major/ Minor.
SECOND
01H
THIRD
vvH
BnH
❍General Purpose #3
n=MIDI Channel Number:
vv=Modulation Depth:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
STATUS
SECOND
THIRD
vvH
BnH
12H
*
Can be received only through the Basic channel.
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
❍Foot Type
STATUS
SECOND
04H
THIRD
vvH
*
*
*
Can be received only through the Basic channel when this channel is set to POLY1-
POLY16.
BnH
When the Basic channel is set to MONO1-MONO11, reception takes place on the
channels for each string.
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
When the PLAY FEEL is set to ENVELOPE1 or ENVELOPE2, and recognized as the
string envelope follow values.
*
Can be received only through the Basic channel.
❍General Purpose #4
❍Volume
STATUS
SECOND
THIRD
vvH
STATUS
SECOND
07H
THIRD
vvH
BnH
13H
BnH
n=MIDI Channnel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H = Reset,
01H-3FH=OFF, 40H-7FH=ON
n=MIDI Channel Number:
vv=Volume:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
*
Can be received only through the Basic channel.
*
*
Can be received only through the Basic channel.
Having received this message, the GR-33 acts as if the onboard WAH(foot switch) is
operated.
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Ch a p te r 1 1 Ap p e n d ice s
❍Hold1
❍General Effect 3 (Chorus Send Level)
STATUS
SECOND
40H
THIRD
vvH
STATUS
SECOND
THIRD
BnH
BnH
5DH
vvH
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
*
Can be received only through the Basic channel.
*
Can be received only through the Basic channel when this channel is set to POLY1-
POLY16.
●Program Change
❍General Purpose #5
STATUS
SECOND
CnH
ppH
STATUS
SECOND
THIRD
vvH
BnH
50H
n=MIDI Channel Number:
pp=Program Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 0=prg.1 127=prg.128
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
*
*
Can be received only through the Basic channel.
The recognized Program Change Number corresponds to each patch as follows.
*
*
Functions as Tap Tempo Teach.
<When the patches of group A, b, C, or d are selected..>
Can be received only through the Basic channel when this channel is set to MONO1-
MONO16.
1... 4 = A11...A14
5... 8 = A21...A24
9...12 = A31...A34
13...16 = A41...A44
17...20 = A51...A54
21...24 = A61...A64
25...28 = A71...A74
29...32 = A81...A84
65...68 = C11...C14
69...72 = C21...C24
73...76 = C31...C34
77...80 = C41...C44
81...84 = C51...C54
85...88 = C61...C64
89...92 = C71...C74
93...96 = C81...C84
❍General Purpose #6
STATUS
SECOND
THIRD
vvH
BnH
51H
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
33...36 = b11...b14
37...40 = b21...b24
41...44 = b31...b34
45...48 = b41...b44
49...52 = b51...b54
53...56 = b61...b64
57...60 = b71...b74
61...64 = b81...b84
97...100 = d11...d24
101...104 = d21...d24
105...108 = d31...d34
109...112 = d41...d44
113...116 = d51...d54
117...120 = d61...d64
121...124 = d71...d74
125...128 = d81...d84
*
*
Can be received only through the Basic channel when this channel is set to MONO1-
MONO16.
The specified function—MULTI-FX BYPASS, Arpeggiator, or Harmonist—will be
switched on or off for each Patch.
*
When you call the patches of the group E - H from the external device, send the value
"1" of the control change number 0 before sending Program Change message.
<When the patches of group E, F, G, or H are selected..>
❍Genenal Purpose #7
STATUS
SECOND
THIRD
vvH
1... 4 = E11...E14
5... 8 = E21...E24
9...12 = E31...E34
13...16 = E41...E44
17...20 = E51...E54
21...24 = E61...E64
25...28 = E71...E74
29...32 = E81...E84
65...68 = G11...G14
69...72 = G21...G24
73...76 = G31...G34
77...80 = G41...G44
81...84 = G51...G54
85...88 = G61...G64
89...92 = G71...G74
93...96 = G81...G84
BnH
52H
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
33...36 = F11...F14
37...40 = F21...F24
41...44 = F31...F34
45...48 = F41...F44
49...52 = F51...F54
53...56 = F61...F64
57...60 = F71...F74
61...64 = F81...F84
97...100 = H11...H24
101...104 = H21...H24
105...108 = H31...H34
109...112 = H41...H44
113...116 = H51...H54
117...120 = H61...H64
121...124 = H71...H74
125...128 = H81...H84
*
*
Can be received only through the Basic channel.
Having received this message, the GR-33 acts as if the HOLD pedal is operated.
❍General Purpose #8
STATUS
SECOND
THIRD
vvH
BnH
53H
*
When you call the patches of the group A - d from the external device, send the value "0"
of the control change number 0 before sending Program Change message.
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
●Pitch Bend Change
STATUS
SECOND
THIRD
mmH
*
*
Can be received only through the Basic channel.
EnH
llH
Having received this message, the GR-33 acts as if the CTRL pedal is operated when the
Arpeggio is held.
n=MIDI Channel Number:
mm,ll=Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H, 00H - 7FH, 7FH (-8192 - +8191)
❍General Effect 1 (Reverb Send Level)
STATUS
SECOND
THIRD
BnH
5BH
vvH
■Channel Mode Message
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
●All Note Off
STATUS
SECOND
7BH
THIRD
00H
*
Can be received only through the Basic channel.
BnH
n=MIDI Channel Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
*
*
Can be received only through the Basic channel
Turn off all notes that are now on.
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Ch a p te r 1 1 Ap p e n d ice s
●OMNI OFF
2. Transmitted Data
STATUS
SECOND
7CH
THIRD
00H
BnH
■Channel voice messags
n=MIDI Channel Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
●Note Off
*
*
Can be received only through the Basic channel.
Will act the same as All Note Off.
STATUS
SECOND
kkH
THIRD
00H
9nH
n=MIDI channel Number:
kk=Note Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
●OMNI ON
STATUS
SECOND
00H
THIRD
BnH
●Note On
7DH
STATUS
SECOND
kkH
THIRD
vvH
9nH
n=MIDI Channel Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
n=MIDI Channel Number:
kk=Note Number:
vv=Velocity:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
*
*
Can be received only through the Basic channel.
Will act the same as All Note Off.
01H - 7FH (1 - 127)
●Control Change
●MONO
STATUS
SECOND
7EH
THIRD
mmH
❍Bank Select
BnH
STATUS
SECOND
THIRD
mmH
llH
BnH
00H
20H
n=MIDI Channel Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 10H (0 - 16)
BnH
mm=Number of Individual Channels:
n=MIDI Channel Number:
mm,ll=Bank 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.
00H, 00H - 7FH, 7FH (bank1-bank16384)
❍Modulation
STATUS
SECOND
01H
THIRD
vvH
●POLY
BnH
STATUS
SECOND
7FH
THIRD
00H
BnH
n=MIDI Channel Number:
vv=Modulation Depth:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
n=MIDI Channel Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
❍Foot type
STATUS
*
*
Can be received only through the Basic channel.
Will act the same as All Note Off.
SECOND
04H
THIRD
vvH
BnH
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
■System Realtime Message
●Active Sensing
STATUS
*
When the Expression pedal is operated, the GR-33 sends this as the operation(Except
some noted setting of the "EXP PEDAL" paramater).
FEH
❍Data Entry
STATUS
*
Having received this message, the GR-33 expects to receive information of any status of
data during about 420msec.If the GR-33 doesn't receive any message during that time, it
acts as if the All Note Off message is received, and returns to normal operation (will not
check interval of messages).
SECOND
06H
THIRD
mmH
llH
BnH
BnH
26H
n=MIDI Channel Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
mm,ll=the value of the parameter specified by RPN
■System Exclusive Message
❍Volume
STATUS
STATUS
F0H
DATA BYTE
iiH ddH
STATUS
eeH
SECOND
07H
THIRD
vvH
F7H
BnH
F0H:
System Exclusive
41H (65)
n=MIDI Channel Number:
vv=Volume:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
ii = ManufacturerID:
dd ......ee = Data:
F7H:
00H - 7FH (0 - 127)
EOX (End Of Exclusive)
*
*
Transmitted the total volume fixed with expression pedal and GK-2A operation.
Not transmitted when the VOLUME SEND SW of SYSTEM menu is OFF.
*
For more details, refer to the page of "Roland Exclusive message" and Section 3 or after.
❍Pan
STATUS
SECOND
0AH
THIRD
vvH
BnH
n=MIDI Channel Number:
vv=Pan:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 40H - 7FH (0 - 64 - 127)
*
Transmitted the action of the expression pedal when "EXP pedal" is set to "Pan
(Normal)".
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Ch a p te r 1 1 Ap p e n d ice s
❍General Purpose #2
❍General Effect #3 (Chorus Send Level)
STATUS
SECOND
THIRD
vvH
STATUS
SECOND
THIRD
BnH
11H
BnH
5DH
vvH
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=Major,
40H-7FH=Minor
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
*
Transmitted the action of the EXP pedal when the EXP pedal is set to “CHO SEND
LEVEL”.
*
Transmitted when an external pedal is used to switch the harmony key between Major/
Minor.
❍RPN MSB/LSB
STATUS
❍General Purpose #3
SECOND
65H
THIRD
mmH
llH
STATUS
SECOND
THIRD
vvH
BnH
BnH
12H
BnH
64H
n=MIDI Channle Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
n=MIDI Channel Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
mm=Upper byte of the parameter data designated by RPN
ll=Lower byte of the parameter data designated by RPN
*
*
Transmitted the envelope data of the strings when the “PLAY FEEL” is set to
ENVELOPE1 or ENVELOPE2.
<<< RPN >>>
Data is sent only in Mono mode. Transmission doesn’t take place in Poly mode.
Control change includes RPN(registered parameter number), function which are defined by
the MIDI standard.
The GR-33 can transmit only one RPN: pitch bend sensitibity(RPN#0).
❍General Purpose #4
STATUS
SECOND
THIRD
vvH
RPN
Data entry
MSB LSB
mmH 00H
BnH
13H
MSB LSB
00H 00H
Function
pitch bend sensitivity
n=MIDI Channel Number:
vv=Control value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H = Reset,
01H-3FH=OFF, 40H-7FH=ON
The transmitted lower byte is always 00H.
*
*
Transmitted when you change the BEND RANGE parameter on SYSTEM menu.
Not transmitted when BEND REQ SW on SYSTEM menu is set to OFF.
*
Transmitted the operation of onboard WAH function (Pedal 1).
❍General Purpose #6
●Program change
STATUS
SECOND
THIRD
vvH
STATUS
SECOND
BnH
51H
CnH
ppH
n=MIDI Channel Number:
vv=Control value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
n=MIDI Channel Number:
pp=Program Number:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 0=prg.1 127=prg.128
*
Transmitted the operation of turning ON or OFF by CTRL pedal when this channel is set
to MONO1-MONO16.
●Pitch Bend Change
STATUS
SECOND
THIRD
mmH
EnH
llH
❍General Purpose #7
STATUS
SECOND
THIRD
vvH
n=MIDI Channel Number:
mm,ll=Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H, 00H - 7FH, 7FH (-8192 - +8191)
BnH
52H
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
■System Realtime Message
*
Transmitted the operation of onboard HOLD pedal when this channel is set to MONO1-
MONO16.
●Active Sensing
STATUS
FEH
❍General Purpose #8
*
This message is always transmitted at about 270msec' interval.
STATUS
SECOND
THIRD
vvH
BnH
53H
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127) 00H-3FH=OFF,
40H-7FH=ON
■System Exclusive message
STATUS
F0H
DATA BYTES
STATUS
F7H
iiH,ddH,.....,eeH
*
Transmitted the operation of CTRL pedal when the Arpeggio is held, and the HOLD
TYPE is set to Latch Type A/ B.
F0H:
System Exclusive
41H (65)
ii=ID Number:
dd,...,ee=Data:
F7H:
❍General Effect #1 (Reverb Send Level)
00H-7FH (0-127)
EOX (End of Exclusive/ System Common Message)
STATUS
SECOND
THIRD
BnH
5BH
vvH
*
For more details, refer to the page “Roland exclusive message” and Section3 or after.
n=MIDI Channel Number:
vv=Control Value:
0H - FH (0 - 15) 0=ch.1 15=ch.16
00H - 7FH (0 - 127)
*
Transmitted the action of the EXP pedal when the EXP pedal is set to "REV SEND
LEVEL".
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❍Model ID
The Model ID of the GR-33 is 00H 30H.
3. Exclusive Communications
The GR-33 can transmit or receive system and patches parameters using system exclusive
❍Device ID
Device ID of the GR-33 is fixed at 10H.
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.
/ Example of creating the exclusive message/
If you want to set as the following the reverb parameter of temporary patch, create data as
the following and send it to your GR-33.
●Request Data1 RQ1 (11H)
Reverb setting:
REVERB TYPE : Hall1
REV SEND LEVEL : 115
REVERB TIME : 90
THis message is to request the GR-33 to transmit its parameters.
The address and size indicate the type and amount of parameters requested.
The GR-33 itself does not send this message.
REVERB HF DAMP : Bypass
When the GR-33 receives this message, it responds with appropriate parameters if the
following conditions are satisfied:
Tramsmitted data:
F0H 41H 10H 00H 30H 12H 02H 00H 00H 60H 04H 73H 5AH 11H 3CH F7H
1.
The address indicated with RQ1 matches with one of the parameter base address of
the GR-33.
1
2
3
4
5
6
7
8
9
2.
3.
The requested size is larger than 2.
1.
2.
3.
4.
5.
6.
Exclusive status is F0H.
When the Bulk Load standby in System mode.
Roland's Manufacturer ID is 41H.
This is the device ID.(Fixed at 10H for GR-33)
Model ID of the GR-33 is 00H 30H.
DT1(Data Set1) Command ID is 12H.
With these conditions provided, the GR-33 transmits specified parameters in Data Set 1
(DT1) message.
These are the parameter addresses. Please find the start address of the temporary
Patch from the table of the start address.You can find the address as 02H 00H 00H
00H.
Bytes
F0H
41H
10H
00H
30H
11H
aaH
bbH
ccH
ddH
ssH
Comments
System Exclusive Status
Manufacturer ID (Roland)
Device ID (Dev=10H)
Model ID MSB (GR-33)
Model ID LSB (GR-33)
Command ID (RQ1)
Address MSB
Address
Next, please find the offset address of the Reverb Type from the table 4-2. That is 00H
00H 60H.The result will be 02H 00H 00H 60H.
02H 00H 00H 00H (the start address of the temporary patch)
+)
00H 00H 61H (the offset address of the Reverb Type)
-----------------
02H 00H 00H 61H
7.
The settings value for REVERB TYPE Hall1 is 4. This is expressed as 04H in
hexadecimal notation with two digits. (Refer to the attached Chart A-1)
The settings value for REV SEND LEVEL is 115. This is expressed as 73H in
hexadecimal notation with two digits.
Address
Address LSB
Size MSB
ssH
Size
The settings value for REVERB TIME is 90. This is expressed as 5AH in hexadecimal
notation with two digits.
ssH
Size
ssH
Size LSB
The settings value for REVERB HF DAMP Bypass is 0. This is expressed as 00H in
hexadecimal notation with two digits.
sum
F7H
Check sum
EOX (End Of Exclusive)
8.
This is the check sum byte.The error checking process uses a Checksum and provides a
pattern where the last significant 7 bits are zero when values for address, data(or size)
and the Checksum are summed.
●Data Set 1: DT1 (12H)
If the address of the exclusive message that you wish to send is aa bb cc ddH and the
data(or size) is ee ff hh iiH,
❍The GR-33 transmits this message in the following conditions.
If the address matches with one of the parameter base addresses of the GR-33, the received
aa + bb + cc + dd + ee + ff + hh + ii = sum
sum ÷ 128 = quotient ...remainder
data is stored at the specified address of the memory.
*
The message that can be received is only the one with data size of larger than two bytes.
128 - remainder = checksum
*
However, when sum=0, then the checksum also results in 0.
❍The GR-33 transmits this message in the following conditions.
When data request (RQ1) is received with the Bulk Load standby in System mode, and the
In case of this example,
specified parameters are transmitted.
F0H 41H 10H 00H 30H 12H 02H 00H 00H 60H 04H 73H 5AH 11H ??H F7H
or you executes Bulk Dump function.
address
data
checksum
Regarding details of the parameter transmitted/ sended, please refer to the Parameter
Address Map.
Using the above formula, Checksum will be as follows.
02H + 00H + 00H + 60H + 04H + 73H + 5AH + 11H = 2 + 0 + 0 + 96 + 4 + 115 + 90 + 17 = 324(sum)
324(sum) ÷ 128 = 2(quotient) ...68(remainder)
Bytes
F0H
41H
10H
00H
30H
12H
aaH
bbH
ccH
ddH
eeH
:
Comments
System Exclusive Status
Manufacturer ID (Roland)
Device ID (Dev=10H)
Model ID MSB (GR-33)
Model ID LSB (GR-33)
Command ID (DT1)
Address MSB
Address
checksum = 128 - 68(remainder) = 60 = 3CH
If you calculate with hexadecimal,
aa + bb + cc + dd + ee + ff = sum(xxH)
sum(xxH) ÷ 80H = quotient...remainder
80H - remainder = checksum
Address
Checksum will be as follows.
Address LSB
Data
02H + 00H + 00H + 60H + 04H + 73H + 5AH + 11H = 144H
144H ÷ 80H = 02H(quotient) ...44H(remainder)
checksum = 80H - 44H(remainder) = 3CH
:
ffH
Data
sum
F7H
Check Sum
EOX (End of Exclusive)
9.
F7H is the mark of the end of exclusive.
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●Inquiry Message
❍Identity Reply
Bytes
Comments
F0H
Exclusive Status
❍Identity Request
7EH
ID number (Universal Non-realtime Message)
Device ID (fixed at 10H)
SubID#1
Bytes
F0H
7EH
10H
06H
01H
F7H
Comments
10H
Exclusive Status
06H
ID number (Universal Non-realtime Message)
02H
SubID#2
Device ID
41H
ID number(Roland)
Device Family Code
Device Family Number Code
SubID#1
30H 01H
00H 00H
SubID#2
EOX (End of Exclusive)
00H 00H 00H 00H Software Revision Level
F7H EOX (End of Exclusive)
*
*
*
The 7FH (Broadcast) device ID is also supported.
Identity request can be received when Bulk Load is standby in System mode.
When an Identity Request is received, the GR-33 will transmit the following Identity
Reply.
*
When an Identity Request is received, the GR-33 will transmit the above Identity Reply.
4. Parameter Address Map
Addresses and sizes are expressed in 7-bit hexadecimal values.
Address
Binary
MSB
LSB
0aaa aaaa
AA
0bbb bbbb
BB
0ccc cccc0ddd dddd
CCDD
7 bit Hex
Size
MSB
0sss ssss
SS
LSB
Binary
7 bit Hex
0ttt tttt
TT
0uuu uuuu0vvv vvvv
UUVV
+————————————————————————————————————————————————————+
| Start
Address
|
|
|
|
| Contents and Remarks
|—————————————+——————————————————————————————————————|
| 00 00 00 00 | System Area
|-------------|--------------------------------------|
*4-1|
| 01 00 00 00 | Patch A11 (1)
| 01 01 00 00 | Patch A12 (2)
| 01 02 00 00 | Patch A13 (3)
| 01 03 00 00 | Patch A14 (4)
*4-2|
*4-2|
*4-2|
*4-2|
|
|
:
|
:
| 01 7F 00 00 | Patch D84 (128)
*4-2|
|-------------|--------------------------------------|
| 02 00 00 00 | Temporary Patch
*4-2|
+————————————————————————————————————————————————————+
*
4-1 System Area(Total size = 24H)
+———————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
| Address | Data
| Contents
| Remarks
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 00 | 00 - 01 | OUTPUT SELECT
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 01 | 00 - 03 | GUITAR SELECT | Gtr1 - 4
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 02 | 00 - 7E | MASTER TUNE | 427.4 - 452.6 [Hz]
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 03 | 00 - 01 | G.AMP SIM | Off, On
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 04 | 00 - 07 | BEND RANGE | 0, 1, 2, 4, 5, 7, 12, 24 [semi tone]
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 05 | 00 - 01 | BEND DATA THIN | Off, On
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 06 | 00 - 1A | BASIC CHANNEL | Mono 1 - 11, Poly 1 - 16
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 07 | 00 - 01 | S1/S2 FUNCTION | Normal, Patch Select
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 08 | 00 - 01 | DIAL FUNCTION | PATCH & VALUE, VALUE Only
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 09 | 00 - 01 | DISPLAY TYPE | Grp/Bnk/Num, Decimal
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 0A | 00 - 01 | BEND REQ SW | Off, On
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 0B | 00 - 01 | VOL SEND SW | Off, On
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| Line, Guitar Amp
|
|
|
|
|
|
|
|
|
|
|
|
| 00 00 0C | 00 - 07 | PICKUP SENS 1
(String #1)| 1 - 8
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
|
|
|
|
|
|
| 00 00 0D |
| 00 00 0E |
| 00 00 0F |
| 00 00 10 |
| 00 00 11 |
|
|
|
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 12 | 00 - 07 | PICKUP SENS 2
(String #1)| 1 - 8
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
|
|
|
|
|
|
| 00 00 13 |
| 00 00 14 |
| 00 00 15 |
| 00 00 16 |
| 00 00 17 |
|
|
|
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 18 | 00 - 07 | PICKUP SENS 3
(String #1)| 1 - 8
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
|
|
|
|
|
|
| 00 00 19 |
| 00 00 1A |
| 00 00 1B |
| 00 00 1C |
| 00 00 1D |
|
|
|
|
|
1 1 0
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|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 1E | 00 - 07 | PICKUP SENS 4
(String #1)| 1 - 8
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
|
|
|
|
|
|
| 00 00 1F |
| 00 00 20 |
| 00 00 21 |
| 00 00 22 |
| 00 00 23 |
|
|
|
|
|
+———————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————+
/ Example using RQ1/
To extract the all system parameters, send the following message to the GR-33.
F0 41 10 00 30 11 00 00 00 00 00 00 00 24 5C F7
/ Example using DT1/
To change BEND RANGE to 12 and BEND DATA THIN to Off, send the following message to the GR-33.
F0 41 10 00 30 12 00 00 00 04 06 00 76 F7
*
4-2 Patch(Total size = 01H 00H)
+———————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
| Address | Data
| Contents
| Remarks
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 00 | 20 - 7F | PATCH NAME 1 - 12
| ASCII Character
|
|
|
|
|
|
:
|
|
|
| 00 00 0B |
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 0C | 00 - 64 | PATCH LEVEL
| 0 - 100
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 0D | 00 - 0F | PLAY FEEL
| Normal, Finger, Hard, Soft, Tapping, No Dynamics, Envelope1, Envelope2, |
| Accl Normal, Accl Finger, Accl Hard, Accl Soft, Accl Tapping,
| Accl No Dynamics, Accl Envelope1, Accl Envelope2
|
|
|
|
|
|
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 0E | 00 - 0B | PAN MODE
| Normal, Cross Tones, 1-6, 6-1, Odd-Even, Even-Odd, Random Both,
| Random 1st, Random 2nd, Alternate Both, Alternate 1st, Alternate 2nd
|
|
|
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 0F | 0E - 72 | PAN
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 10 | 00 - 03 | CHROMATIC | Off, Type1, Type2, Type3
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 11 | 00 - 23 | WAH TYPE
| -50 - +50
*1)|
|
| Wah1 - 5, AutoWah1 - 5, Brightness1 - 5, NarrowWah1 - 5, R.Wah1 - 5,
| R.Brightness1 - 5, R.NarrowWah1 - 5, Modulation
|
|
|
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 12 | 00 - 0D | GLIDE TYPE
| Down7 - 1, Up1 - 7
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 13 | 00 - 0E | HOLD TYPE (for Arpeggio OFF)
| Damper All, Damper 1st, Damper 2nd, Damper 1&2, Damper Ext, Damper Ext&1,|
| Damper Ext&2, Sostenuto All, Sostenuto 1st, Sostenuto 2nd, Sostenuto 1&2,|
| Sostenuto Ext, Sostenuto Ext&1, Sostenuto Ext&2, String
|
|
|
|
|
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 14 | 00 - 03 | HOLD TYPE (for Arpeggio ON)
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 15 | 00 - 01 | CTRL PEDAL | HAR/ARP Control, Multi-FX Bypass
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| Damper, Sostenuto, Latch TypeA, Latch TypeB
|
|
| 00 00 16 | 00 - 50 | EXP PEDAL
| Volume, Volume 1st, Volume 2nd, Balance, Tone Param, Multi-FX Param,
| Brightness, Wah, Pitch, Modulation, Pan(Normal), Pan(Cross Tones),
| Cho Send Level, Rev Send Level, Arp Tempo1 - 3, Tempo & Pitch,
| CC 1 - 31, CC 64 - 95
|
|
|
|
|
|
|
|
|
|
|
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 17 | 00 - 7F | MIDI [PC]
(String #1)| Transmit Program Change #1 - 128
|
|
|
|
|
|
| 00 00 18 |
| 00 00 19 |
| 00 00 1A |
| 00 00 1B |
| 00 00 1C |
|
|
|
|
|
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 1D | 00 - 01 | MIDI [PC] (Off/On)
| 00 00 1E |
| 00 00 1F |
| 00 00 20 |
| 00 00 21 |
| 00 00 22 |
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 23 | 00 - 7F | MIDI [CC0]
| 00 00 24 |
| 00 00 25 |
| 00 00 26 |
| 00 00 27 |
| 00 00 28 |
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 29 | 00 - 01 | MIDI [CC0] (Off/On)
| 00 00 2A |
| 00 00 2B |
| 00 00 2C |
| 00 00 2D |
| 00 00 2E |
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 2F | 00 - 7F | MIDI [CC32]
| 00 00 30 |
| 00 00 31 |
| 00 00 32 |
| 00 00 33 |
| 00 00 34 |
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 35 | 00 - 01 | MIDI [CC32] (Off/On)
| 00 00 36 |
| 00 00 37 |
| 00 00 38 |
| 00 00 39 |
| 00 00 3A |
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 3B | 1C - 58 | MIDI [TRANSPOSE]
| 00 00 3C |
| 00 00 3D |
| 00 00 3E |
| 00 00 3F |
| 00 00 40 |
(String #1)| 0: Transmit Program Change = Off, 1: Transmit Program Change = On
|
|
|
|
|
|
|
|
|
|
|
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
(String #1)| Transmit CC#0 0 - 127
(String #2)|
|
|
|
|
|
|
|
|
|
|
|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
(String #1)| 0: Transmit CC#0 = Off, 1: Transmit CC#0 = On
|
|
|
|
|
|
|
|
|
|
|
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
(String #1)| Transmit CC#32 0 - 127
(String #2)|
|
|
|
|
|
|
|
|
|
|
|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
(String #1)| 0: Transmit CC#32 = Off, 1: Transmit CC#32 = On
|
|
|
|
|
|
|
|
|
|
|
(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
(String #1)| -36 - 24 [semi tone]
(String #2)|
|
|
|
|
|
|
|
|
|
|
|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
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Ch a p te r 1 1 Ap p e n d ice s
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 41 |always 00| (reserved)
| (reserved)
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 42 | 0000 - | 1ST SELECT
| 00 00 43 | 017F |
(LSB)| 0 - 383 (as Tone Number 001 - 384)
(MSB)|
*2)|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 44 | 0E - 72 | 1ST ATTACK
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 45 | 0E - 72 | 1ST RELEASE | -50 - +50
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 46 | 0E - 72 | 1ST BRIGHTNESS | -50 - +50
| -50 - +50
|
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|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 47 | 1C - 58 | 1ST TRANSPOSE
(String #1)| -36 - +24 [semi tone]
(String #2)|
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| 00 00 48 |
| 00 00 49 |
| 00 00 4A |
| 00 00 4B |
| 00 00 4C |
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(String #3)|
(String #4)|
(String #5)|
(String #6)|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 4D |always 00| (reserved)
| (reserved)
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 4E | 0000 - | 2ND SELECT
| 00 00 4F | 017F |
(LSB)| 0 - 383 (as Tone Number 001 - 384)
(MSB)|
*2)|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 50 | 0E - 72 | 2ND ATTACK
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 51 | 0E - 72 | 2ND RELEASE | -50 - +50
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 52 | 0E - 72 | 2ND BRIGHTNESS | -50 - +50
| -50 - +50
|
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|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 53 | 1C - 58 | 2ND TRANSPOSE
(String #1)| -36 - +24 [semi tone]
(String #2)|
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| 00 00 54 |
| 00 00 55 |
| 00 00 56 |
| 00 00 57 |
| 00 00 58 |
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(String #3)|
(String #4)|
(String #5)|
(String #6)|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 59 | 0E - 72 | 1:2 BALANCE
| -50 - +50
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 5A | 00 - 05 | LAYER
(String #1)| Mute, 1st Tone, 2nd Tone, Both Tone, Weak Detune, Strong Detune
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| 00 00 5B |
| 00 00 5C |
| 00 00 5D |
| 00 00 5E |
| 00 00 5F |
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(String #2)|
(String #3)|
(String #4)|
(String #5)|
(String #6)|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 60 | 00 - 07 | REVERB TYPE | Room1 - 2, Stage1 - 2, Hall1 - 2, Delay, Pan Delay
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 61 | 00 - 7F | REV SEND LEVEL | 0 - 127
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 62 | 00 - 7F | REVERB TIME | 0 - 127
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|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 63 | 00 - 11 | REVERB HF DAMP
| 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
| 4000, 5000, 6300, 8000 [Hz], Bypass
|
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|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 64 | 00 - 7F | DELAY FEEDBACK
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 65 | 00 - 7F | CHO SEND LEVEL | 0 - 127
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 66 | 00 - 7F | CHORUS RATE | 0 - 127
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 67 | 00 - 7F | CHORUS DEPTH | 0 - 127
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 68 | 00 - 7F | CHORUS PRE-DELAY | 0 - 127
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 69 | 00 - 7F | CHORUS FEEDBACK | 0 - 127
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 6A | 00 - 03 | MULTI-FX SW | Off, 1st, 2nd, Both
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 0 - 127
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| 00 00 6B | 00 - 27 | MULTI-FX TYPE
| STEREO-EQ, OVERDRIVE, DISTORTION, PHASER, SPECTRUM, ENHANCER, AUTO-WAH, |
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| ROTARY, COMPRESSOR, LIMITER, HEXA-CHORUS, TREMOLO-CHO, SPACE-D,
| STEREO-CHO, STEREO-FL, STEP-FL, STEREO-DELAY, MOD-DELAY, 3-TAP-DELAY,
|
|
| 4-TAP-DELAY, TIMECTRL-DLY, 2VOICE-P.SFT, FB-P.SFT, REVERB, GATE-REVERB, |
| OD->CHO, OD->FL, OD->DLY, DS->CHO, DS->FL, DS->DLY, EH->CHO, EH->FL,
| EH->DLY, CHO->DLY, FL->DLY, CHO->FL, CHO/DLY, FL/DLY, CHO/FL
|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 6C | 00 - 7F | MULTI-FX PARAMETER 1 - 12
| 0 - 127
|
|
*3)|
|
:
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|
| 00 00 77 |
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 78 | 00 - 01 | HAR/ARP CONTROL
| Off, On
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 79 | 00 - 0D | HAR/ARP SELECT
| Harmony All, Harmony 1st, Harmony 2nd, Harmony 1&2, Harmony Ext,
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| Harmony Ext&1, Harmony Ext&2, Arpeggio All, Arpeggio 1st, Arpeggio 2nd, |
| Arpeggio 1&2, Arpeggio Ext, Arpeggio Ext&1, Arpeggio Ext&2
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 7A | 00 - 0C | HARMONY STYLE
| -7th, -6th, -5th, -4th, -3rd, -2nd, +2nd, +3rd, +4th, +5th, +6th, +7th, |
| Diminish
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 7B | 00 - 17 | HARMONY KEY | C,C#,D,D#,E,F,F#,G,G#,A,A#,B,Cm,C#m,Dm,D#m,Em,Fm,F#m,Gm,G#m,Am,A#m,Bm
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 7C | 00 - 01 | HARMONY REMOTE | Off, On
|
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|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 7D | 0032 - | ARP TEMPO
| 00 00 7E | 00FA |
(LSB)| 50 - 250 [b.p.m]
(MSB)|
*2)|
|
|——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|
| 00 00 7F | 00 - 31 | ARP PATTERN
| Pattern No. 1 - 50
*4)|
+———————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————+
*
*
*
1) This parameter is enabled only when PAN MODE is set to Normal or Cross Tones.
2) This parameter is expressed with the parameter value equal to (MSB * 80H) + LSB. It is disregarded when only the MSB or LSB is received.
3) The correspondence of MULTI-FX PARAMETER 1-12 for each MULTI-FX TYPE is shown below (p. 113–117). Parameters appended with "#" can be controlled with the EXP pedal when the
EXP PEDAL parameter is set to Multi-FX Param.
1 1 2
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Ch a p te r 1 1 Ap p e n d ice s
+—————————————————————————————————————————————————————————————————————————————————————————————————————————————+
| MULTI-FX TYPE | MULTI-FX PARAMETER | Data | Remarks
|
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 1. STEREO-EQ
| 1. LOW FREQ
| 2. LOW GAIN
| 3. HIGH FREQ
| 4. HIGH GAIN
| 5. P1 FREQ
|
| 6. P1 Q
| 7. P1 GAIN
| 8. P2 FREQ
|
| 9. P2 Q
| 10. P2 GAIN
|#11. LEVEL
| 12. -
| 00 - 01 | 200, 400 [Hz]
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| 00 - 1E | -15 - +15 [dB]
| 00 - 01 | 4000, 8000[Hz]
| 00 - 1E | -15 - +15 [dB]
| 00 - 10 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000 [Hz]
| 00 - 04 | 0.5, 1.0, 2.0, 4.0, 9.0
| 00 - 1E | -15 - +15 [dB]
| 00 - 10 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000 [Hz]
| 00 - 04 | 0.5, 1.0, 2.0, 4.0, 9.0
| 00 - 1E | -15 - +15 [dB]
| 00 - 7F | 0 - 127
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 2. OVERDRIVE
|# 1. DRIVE
| 2. PAN
| 3. AMP TYPE
| 4. LOW GAIN
| 5. HIGH GAIN
| 6. LEVEL
| 7. -
| 00 - 7F | 0 - 127
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| 00 - 7F | L64 - R63
| 00 - 03 | Small, Built-In, 2-Stack, 3-Stack
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 8. -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 3. DISTORTION
|# 1. DRIVE
| 2. PAN
| 3. AMP TYPE
| 4. LOW GAIN
| 5. HIGH GAIN
| 6. LEVEL
| 7. -
| 00 - 7F | 0 - 127
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| 00 - 7F | L64 - R63
| 00 - 03 | Small, Built-In, 2-Stack, 3-Stack
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 8. -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 4. PHASER
| 1. MANUAL
|# 2. RATE
| 3. DEPTH
| 4. RESONANCE
| 5. MIX
| 6. PAN
| 7. LEVEL
| 8. -
| 00 - 7D | 100 - 8000 [Hz]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
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| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | L64 - R63
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 5. SPECTRUM
| 1. BAND1
| 2. BAND2
| 3. BAND3
| 4. BAND4
| 5. BAND5
| 6. BAND6
| 7. BAND7
| 8. BAND8
| 9. Q
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 04 | 0.5, 1.0, 2.0, 4.0, 8.0
| 00 - 7F | L64 - R63
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| 10. PAN
|#11. LEVEL
| 12. -
| 00 - 7F | 0 - 127
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 6. ENHANCER
| 1. SENS
|# 2. MIX
| 3. LOW GAIN
| 4. HIGH GAIN
| 5. LEVEL
| 6. -
| 00 - 7F | 0 - 127
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| 00 - 7F | 0 - 127
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 7. -
| 8. -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 7. AUTO-WAH
| 1. FILTER TYPE
| 2. RATE
| 3. DEPTH
| 4. SENS
|# 5. MANUAL
| 6. PEAK
| 7. LEVEL
| 8. -
| 00 - 01 | LPF, BPF
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
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| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 8. ROTARY
| 1. HIGH SLOW
| 2. LOW SLOW
| 3. HIGH FAST
| 4. LOW FAST
|# 5. SPEED
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 01 | Slow, Fast
| 00 - 0F | 0 - 15
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| 6. HIGH ACCL
| 7. LOW ACCL
| 8. HIGH LEVEL
| 9. LOW LEVEL
| 10. SEPARATION
| 11. LEVEL
| 00 - 0F | 0 - 15
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 12. -
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 9. COMPRESSOR
| 1. SUSTAIN
| 2. ATTACK
| 3. PAN
| 4. POST GAIN
| 5. LOW GAIN
| 6. HIGH GAIN
| 00 - 7F | 0 - 127
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| 00 - 7F | 0 - 127
| 00 - 7F | L64 - R63
| 00 - 03 | 0, +6, +12, +18 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
1 1 3
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Ch a p te r 1 1 Ap p e n d ice s
|
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|# 7. LEVEL
| 8. -
| 9. -
| 10. -
| 11. -
| 12. -
| 00 - 7F | 0 - 127
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| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 10. LIMITER
| 1. THRESHOLD
| 2. RELEASE
| 3. RATIO
| 4. PAN
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 03 | 1.5:1, 2:1, 4:1, 100:1
| 00 - 7F | L64 - R63
| 00 - 03 | 0, +6, +12, +18 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 7F | 0 - 127
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| 5. POST GAIN
| 6. LOW GAIN
| 7. HIGH GAIN
|# 8. LEVEL
| 9. -
| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 11. HEXA-CHORUS
| 1. PRE DELAY
|# 2. RATE
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
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| 3. DEPTH
| 4. PRE DLY DEV
| 5. DEPTH DEV
| 6. PAN DEV
| 7. BALANCE
| 8. LEVEL
| 9. -
| 00 - 14 | 0 - 20
| 00 - 28 | -20 - 20
| 00 - 14 | 0 - 20
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 12. TREMOLO-CHO
| 1. PRE DELAY
| 2. CHORUS RATE
| 3. CHORUS DEPTH
|# 4. TREM RATE
| 5. TREM SEP
| 6. TREM PHASE
| 7. BALANCE
| 8. LEVEL
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
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| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 5A | 0 - 180
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| 9. -
| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 13. SPACE-D
| 1. PRE DELAY
|# 2. RATE
| 3. DEPTH
| 4. PHASE
| 5. LOW GAIN
| 6. HIGH GAIN
| 7. BALANCE
| 8. LEVEL
| 9. -
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
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| 00 - 5A | 0 - 180
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 14. STEREO-CHO
| 1. FILTER TYPE
| 2. CUTOFF FREQ
|
| 3. PRE DELAY
|# 4. RATE
| 5. DEPTH
| 6. PHASE
| 7. -
| 8. LOW GAIN
| 9. HIGH GAIN
| 10. BALANCE
| 11. LEVEL
| 12. -
| 00 - 02 | OFF, LPF, HPF
| 00 - 10 | 200,250,315,400,500,630,800,1000,1250,1600,
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| 2000,2500,3150,4000,5000,6300,8000 [Hz]
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 5A | 0 - 180
| -
| -
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 15. STEREO-FL
| 1. FILTER TYPE
| 2. CUTOFF FREQ
|
| 3. PRE DELAY
|# 4. RATE
| 5. DEPTH
| 6. PHASE
| 7. FEEDBACK
| 8. LOW GAIN
| 9. HIGH GAIN
| 10. BALANCE
| 11. LEVEL
| 12. -
| 00 - 02 | OFF, LPF, HPF
| 00 - 10 | 200,250,315,400,500,630,800,1000,1250,1600,
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|
| 2000,2500,3150,4000,5000,6300,8000 [Hz]
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 5A | 0 - 180
| 00 - 62 | -98 - 98 [%]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 16. STEP-FL
| 1. PRE DELAY
| 2. RATE
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 62 | -98 - 98 [%]
| 00 - 73 | 0.05 - 10.0 [Hz]
| 00 - 5A | 0 - 180
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| 3. DEPTH
| 4. FEEDBACK
|# 5. STEP RATE
| 6. PHASE
| 7. LOW GAIN
| 8. HIGH GAIN
| 9. BALANCE
| 10. LEVEL
| 11. -
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 17. STEREO-DELAY
| 1. FB MODE
| 2. DELAY LEFT
| 3. DELAY RIGHT
| 4. PHASE LEFT
| 5. PHASE RIGHT
|# 6. FEEDBACK
| 7. HF DAMP
|
| 00 - 01 | Normal, Cross
|
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|
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 01 | Normal, Invert
| 00 - 01 | Normal, Invert
| 00 - 62 | -98 - 98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 8. LOW GAIN
| 9. HIGH GAIN
| 10. BALANCE
| 11. LEVEL
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
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| 12. -
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 18. MOD-DELAY
| 1. FB MODE
| 00 - 01 | Normal, Cross
|
1 1 4
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Ch a p te r 1 1 Ap p e n d ice s
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| 2. DELAY LEFT
| 3. DELAY RIGHT
| 4. FEEDBACK
| 5. HF DAMP
|
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - 98 [%]
|
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| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
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|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
|# 6. RATE
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 5A | 0 - 180
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
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| 7. DEPTH
| 8. PHASE
| 9. LOW GAIN
| 10. HIGH GAIN
| 11. BALANCE
| 12. LEVEL
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 19. 3-TAP-DELAY
| 1. DELAY LEFT
| 2. DELAY RIGHT
| 3. DELAY CENTER
|# 4. FEEDBACK
| 5. HF DAMP
|
| 6. LEFT LEVEL
| 7. RIGHT LEVEL
| 8. CENTER LEVEL
| 9. LOW GAIN
| 10. HIGH GAIN
| 11. BALANCE
| 12. LEVEL
| 00 - 73 | 200 - 1000 [msec]
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| 00 - 73 | 200 - 1000 [msec]
| 00 - 73 | 200 - 1000 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
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|
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 20. 4-TAP-DELAY
| 1. DELAY1
| 2. DELAY2
| 3. DELAY3
| 4. DELAY4
| 5. LEVEL1
| 6. LEVEL2
| 7. LEVEL3
| 8. LEVEL4
|# 9. FEEDBACK
| 10. HF DAMP
|
| 00 - 73 | 200 - 1000 [msec]
| 00 - 73 | 200 - 1000 [msec]
| 00 - 73 | 200 - 1000 [msec]
| 00 - 73 | 200 - 1000 [msec]
| 00 - 7F | 0 - 127
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| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 62 | -98 - 98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 11. BALANCE
| 12. LEVEL
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
|
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 21. TIMECTRL-DLY
|# 1. DELAY
| 2. FEEDBACK
| 3. ACCELERATION
| 4. HF DAMP
|
| 00 - 78 | 200 - 1000 [msec]
| 00 - 62 | -98 - 98 [%]
|
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| 00 - 0F | 0 - 15
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 5. PAN
| 00 - 7F | L64 - R63
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
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| 6. LOW GAIN
| 7. HIGH GAIN
| 8. BALANCE
| 9. LEVEL
| 10. -
| -
| -
| -
| -
| -
| -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 22. 2VOICE-P.SFT
| 1. MODE
| 00 - 04 | 1 - 5
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|# 2. COARSE A
| 3. COARSE B
| 4. FINE A
| 00 - 24 | -24 - +12
| 00 - 24 | -24 - +12
| 00 - 64 | -100 - +100
| 00 - 64 | -100 - +100
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 7F | L64 - R63
| 5. FINE B
| 6. PRE DELAY A
| 7. PRE DELAY B
| 8. PAN A
| 9. PAN B
| 00 - 7F | L64 - R63
| 10. LVL BALANCE
| 11. BALANCE
| 12. LEVEL
| 00 - 64 | A100:0B - A0:100B
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 23. FB-P.SFT
| 1. MODE
|# 2. COARSE
| 3. FINE
| 4. PRE DELAY
| 5. FEEDBACK
| 6. PAN
| 00 - 04 | 1 - 5
| 00 - 24 | -24 - +12
| 00 - 64 | -100 - +100
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 7F | L64 - R63
|
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| 7. LOW GAIN
| 8. HIGH GAIN
| 9. BALANCE
| 10. LEVEL
| 11. -
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 24. REVERB
| 1. TYPE
| 2. PRE DELAY
|# 3. TIME
| 4. HF DAMP
|
| 00 - 05 | Room1, Room2, Stage1, Stage2, Hall1, Hall2
| 00 - 7D | 0.0 - 100 [msec]
|
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| 00 - 7F | 0 - 127
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 5. LOW GAIN
| 6. HIGH GAIN
| 7. BALANCE
| 8. LEVEL
| 9. -
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
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| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 25. GATE-REVERB
| 1. TYPE
| 2. PRE DELAY
| 3. GATE TIME
| 4. LOW GAIN
| 5. HIGH GAIN
|# 6. BALANCE
| 7. LEVEL
| 8. -
| 00 - 03 | Normal, Reverse, Sweep1, Sweep2
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 63 | 5 - 500 [msec]
| 00 - 1E | -15 - +15 [dB]
| 00 - 1E | -15 - +15 [dB]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
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| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 26. OD->CHO
|# 1. OD DRIVE
| 2. OD PAN
| 00 - 7F | 0 - 127
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| 00 - 7F | L64 - R63
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 3. CHO PRE DLY
| 4. CHO RATE
| 5. CHO DEPTH
| 6. -
| -
| -
| 7. CHO BALANCE
| 00 - 64 | D100:0E - D0:100E
1 1 5
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Ch a p te r 1 1 Ap p e n d ice s
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| 8. LEVEL
| 9. -
| 00 - 7F | 0 - 127
|
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| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 27. OD->FL
|# 1. OD DRIVE
| 2. OD PAN
| 3. FL PRE DLY
| 4. FL RATE
| 5. FL DEPTH
| 6. FL FEEDBACK
| 7. FL BALANCE
| 8. LEVEL
| 9. -
| 00 - 7F | 0 - 127
| 00 - 7F | L64 - R63
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 62 | -98 - 98 [%]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
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| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 28. OD->DLY
|# 1. OD DRIVE
| 2. OD PAN
| 3. DLY TIME
| 4. DLY FEEDBACK
| 5. DLY HF DAMP
|
| 00 - 7F | 0 - 127
| 00 - 7F | L64 - R63
|
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| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - 98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 6. DLY BALANCE
| 7. LEVEL
| 8. -
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
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| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 29. DS->CHO
|# 1. DS DRIVE
| 2. DS PAN
| 3. CHO PRE DLY
| 4. CHO RATE
| 5. CHO DEPTH
| 6. -
| 00 - 7F | 0 - 127
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| 00 - 7F | L64 - R63
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| -
| -
| 7. CHO BALANCE
| 8. LEVEL
| 9. -
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 30. DS->FL
|# 1. DS DRIVE
| 2. DS PAN
| 3. FL PRE DLY
| 4. FL RATE
| 5. FL DEPTH
| 6. FL FEEDBACK
| 7. FL BALANCE
| 8. LEVEL
| 9. -
| 00 - 7F | 0 - 127
| 00 - 7F | L64 - R63
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7E | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 62 | -98 - +98 [%]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
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| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 31. DS->DLY
|# 1. DS DRIVE
| 2. DS PAN
| 3. DLY TIME
| 4. DLY FEEDBACK
| 5. DLY HF DAMP
|
| 00 - 7F | 0 - 127
| 00 - 7F | L64 - R63
|
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| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 6. DLY BALANCE
| 7. LEVEL
| 8. -
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
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| -
| -
| -
| -
| -
| -
| -
| -
| -
| -
| 9. -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 32. EH->CHO
| 1. EH SENS
| 2. EH MIX
| 3. CHO PRE DLY
|# 4. CHO RATE
| 5. CHO DEPTH
| 6. -
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
|
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| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| -
| -
| 7. CHO BALANCE
| 8. LEVEL
| 9. -
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 33. EH->FL
| 1. EH SENS
| 2. EH MIX
| 3. FL PRE DLY
|# 4. FL RATE
| 5. FL DEPTH
| 6. FL FEEDBACK
| 7. FL BALANCE
| 8. LEVEL
| 9. -
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 62 | -98 - +98 [%]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
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| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 34. EH->DLY
| 1. EH SENS
| 2. EH MIX
| 3. DLY TIME
|# 4. DLY FEEDBACK
| 5. DLY HF DAMP
|
| 00 - 7F | 0 - 127
| 00 - 7F | 0 - 127
|
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|
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 6. -
| -
| -
|
|
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|
|
|
|
| 7. DLY BALANCE
| 8. LEVEL
| 9. -
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| -
| -
| -
| -
| -
| -
| -
| -
| 10. -
| 11. -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 35. CHO->DLY
|
| 1. CHO PRE DLY
|# 2. CHO RATE
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
|
|
1 1 6
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Ch a p te r 1 1 Ap p e n d ice s
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| 3. CHO DEPTH
| 4. -
| 5. CHO BALANCE
| 6. DLY TIME
| 7. DLY FEEDBACK
| 8. DLY HF DAMP
|
| 00 - 7F | 0 - 127
| - | -
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| 00 - 64 | D100:0E - D0:100E
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 9. DLY BALANCE
| 10. LEVEL
| 11. -
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
|
|
|
| -
| -
| -
| -
| 12. -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 36. FL->DLY
| 1. FL PRE DLY
|# 2. FL RATE
| 3. FL DEPTH
| 4. FL FEEDBACK
| 5. FL BALANCE
| 6. DLY TIME
| 7. DLY FEEDBACK
| 8. DLY HF DAMP
|
| 9. DLY BALANCE
| 10. LEVEL
| 11. -
| 12. -
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
|
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| 00 - 62 | -98 - +98 [%]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
|
|
|
| -
| -
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 37. CHO->FL
| 1. CHO PRE DLY
| 2. CHO RATE
| 3. CHO DEPTH
| 4. CHO BALANCE
| 5. FL PRE DLY
|# 6. FL RATE
| 7. FL DEPTH
| 8. FL FEEDBACK
| 9. FL BALANCE
| 10. LEVEL
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 64 | D100:0E - D0:100E
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 00 - 62 | -98 - +98 [%]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| 11. -
| 12. -
| -
| -
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 38. CHO/DLY
| 1. CHO PRE DLY
|# 2. CHO RATE
| 3. CHO DEPTH
| 4. -
| 5. CHO BALANCE
| 6. DLY TIME
| 7. DLY FEEDBACK
| 8. DLY HF DAMP
|
| 9. DLY BALANCE
| 10. LEVEL
| 11. -
| 12. -
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
| 00 - 64 | D100:0E - D0:100E
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
|
|
|
| -
| -
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 39. FL/DLY
| 1. FL PRE DLY
|# 2. FL RATE
| 3. FL DEPTH
| 4. FL FEEDBACK
| 5. FL BALANCE
| 6. DLY TIME
| 7. DLY FEEDBACK
| 8. DLY HF DAMP
|
| 9. DLY BALANCE
| 10. LEVEL
| 11. -
| 12. -
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 00 - 62 | -98 - +98 [%]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7E | 0.0 - 500 [msec]
| 00 - 62 | -98 - +98 [%]
| 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600,
|
| 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass|
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
|
|
|
|
| -
| -
| -
| -
|——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————|
| 40. CHO/FL
| 1. CHO PRE DLY
| 2. CHO RATE
| 3. CHO DEPTH
| 4. FL BALANCE
| 5. FL PRE DLY
|# 6. FL RATE
| 7. FL DEPTH
| 8. FL FEEDBACK
| 9. FL BALANCE
| 10. LEVEL
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
| 00 - 64 | D100:0E - D0:100E
| 00 - 7D | 0.0 - 100 [msec]
| 00 - 7D | 0.05 - 10.0 [Hz]
| 00 - 7F | 0 - 127
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
| 00 - 62 | -98 - +98 [%]
| 00 - 64 | D100:0E - D0:100E
| 00 - 7F | 0 - 127
| 11. -
| 12. -
| -
| -
| -
| -
+—————————————————————————————————————————————————————————————————————————————————————————————————————————————+
1 1 7
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Ch a p te r 1 1 Ap p e n d ice s
*
4)Arpeggio pattern number corresponds to each Pattern name as follows.
●A-1 Decimal VS Hexadecimal
+——————————————————+
|No.| Pattern Name |
|———+——————————————|
With
a
MIDI System, the data value, the address, or size in an exclusive message is
| 1| Arpeggio 1
| 2| Arpeggio 2
| 3| Arpeggio 3
| 4| Arpeggio 4
| 5| Arpeggio 5
| 6| Arpeggio 6
| 7| Arpeggio 7
| 8| Arpeggio 8
| 9| Arpeggio 9
| 10| Arpeggio10
| 11| Riff 1
| 12| Riff 2
| 13| Riff 3
| 14| Riff 4
| 15| Riff 5
| 16| Riff 6
| 17| Riff 7
| 18| Riff 8
| 19| Riff 9
| 20| Riff 10
| 21| Riff 11
| 22| Riff 12
| 23| Riff 13
| 24| Riff 14
| 25| Waltz
|
|
|
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|
|
|
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|
|
|
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|
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|
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|
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|
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|
|
|
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|
expressed in 7-bit hexadesimal values.The table below shows decimal value and thier
hexadecimal counterparts.
+———————+——————++———————+——————++———————+——————++———————+——————+
|Decimal| Hex ||Decimal| Hex ||Decimal| Hex ||Decimal| Hex |
+———————+——————++———————+——————++———————+——————++———————+——————+
|
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|
|
|
|
|
|
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|
|
|
|
|
|
|
|
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|
|
|
|
0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
| 26| Tango
| 27| Orient 1
| 28| Orient 2
| 29| Orient 3
| 30| Orient 4
| 31| SHAMISEN
| 32| Techno 1
| 33| Techno 2
| 34| Techno 3
| 35| Techno 4
| 36| Drum 1
| 37| Drum 2
| 38| Drum 3
| 39| Bass 1
| 40| Bass 2
| 41| Bass 3
| 42| Bossa 1
| 43| Bossa 2
| 44| Bossa 3
| 45| Pop 1
+———————+——————++———————+——————++———————+——————++———————+——————+
*
*
When expressing a MIDI channel number or a program change number, please notice
that the values are less by one .For example, MIDI channel is expressed as 0 through 15
instead of 1 through 16.
| 46| Pop 2
| 47| Pop 3
| 48| Pop 4
The range of 7 bit can express 128 steps from 0 to 127. To express broader range, use
several data bytes.
| 49| Pop 5
| 50| Finale
+——————————————————+
/ Example using RQ1/
To extract all the data of patch A12, send the following message to the GR-33.
F0 41 10 00 30 11 01 01 00 00 00 00 01 00 7D F7
/ Example using DT1/
If you want to set as the following the chorus parameter of temporary patch, create data as
the following and send it to your GR-33.
Chorus setting:
CHO SEND LEVEL :
CHORUS RATE :
127
2
CHORUS DEPTH :
CHORUS PRE-DELAY :
35
0
CHORUS FEEDBACK : 49
Transmitte data:
F0 41 10 00 30 12 02 00 00 65 7F 02 23 00 31 44 F7
1 1 8
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Ch a p te r 1 1 Ap p e n d ice s
MIDI Im p le m e n ta tio n Ch a rt
GUITAR SYNTHESIZER
Date : Jul. 21, 2000
Version : 1.01
Model GR-33
MIDI Implementation Chart
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Default
Messages
Altered
Mode 3, 4 (M=6)
X
* 1
Mode 3, 4 (M=6)
X
Mode
**************
Note
Number :
0–127
**************
0–127
True Voice
Note ON
Note OFF
O 9n V=1–127
O 9n V=0
O
X
Velocity
After
Touch
Key's
Ch's
X
X
X
X
Pitch Bend
O
O
0, 32
O (MSB only)
* 2
O
O
O
O
O
O
O
O
O
X
Bank Select
1
O
O
X
* 2
* 2
Modulation
4
Foot Type
6, 38
Data Entry
7
O
O
O
O
O
O
O
O
O
O
O
O
X
* 2
* 2
* 2
* 2
* 2
* 3
* 2
* 2
* 2
* 2
* 2
* 2
* 2
* 2
Volume
10
Panpot
17
General Purpose 2 (Harmony Key)
General Purpose 3 (Envelope1/2)
General Purpose 4 (WAH Pedal)
Hold 1
18
Control
Change
19
64
80
X
General Purpose 5 (Tap Tenpo Teach)
General Purpose 6 (CTRL Pedal)
General Purpose 7 (HOLD Pedal)
General Purpose 8 (Arpeggio Hold)
EFFECT 1 (Reverb)
EFFECT 3 (Chorus)
RPN LSB, MSB (Pitch Bend Sensitivity only)
Assinable (EXP Pedal)
81
O
O
O
O
O
O
O
82
83
91
93
100, 101
1–31, 64–95
O
* 2
Prog
O
O
: True #
0–127
Change
Program Number 1–128
System Exclusive
: Song Pos
O
O
* 4
X
X
X
X
X
X
System
: Song Sel
: Tune
Common
System
Real Time
: Clock
: Command
O
O
X
X
: All sound off
X
X
X
X
O
X
X
:
Reset all controllers
X
: Local ON/ OFF
: All Notes OFF
: Active Sense
: System Reset
X
* 2
O (123–127)
Aux
O
X
Message
* 1 Can be memorized after powering off.
* 2 Can be received only through the Basic channel.
* 3 Can be received only in the POLY MODE reception.
* 4 Can be received when Bulk Load is standby in System mode.
Notes
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
X : No
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
1 1 9
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Ch a p te r 1 1 Ap p e n d ice s
Sp e cifica tio n s
GR-3 3 : GUITAR SYN THESIZER
● So u n d g e n e ra to r
● Po w e r Su p p ly
1 Part (Mono mode M=6/ Poly mode switchable)
AC14V (AC Adaptor)
● Ma x im u m Po ly p h o n y
● Cu rre n t Dra w
48 voices
800 mA
● To n e s
● Dim e n sio n s
384
435 (W) x 280 (D) x 95 (H) mm
17-1/ 8 (W) x 11 (D) x 3-3/ 4 (H) inches
● Pa tch e s
● W e ig h t
User:
128
128
Preset:
2.5 kg
5 lbs 9 oz (excluding the AC Adaptor)
● Disp la y
● Acce sso rie s
16 segments 6 characters backlit LCD
7 segments 3 characters LED
Owner's Manual
AC Adaptor BRC series
GK Connecting Cable (C-13A, 5 m)
● Effe cts
MULTI-FX (40 types)
Chorus
● O p tio n s
Reverb
Divided Pickup: GK-2A
Unit Selector: US-20
● Co n n e cto rs/ Ja ck s
GK Connecting Cable (C-13B, 10 m)
Foot Switch: FS-5U (BOSS) + PCS-31
GK IN
BANK SHIFT
GUITAR OUT
GUITAR RETURN L
GUITAR RETURN R (MONO)
MIX OUT L (PHONES)
MIX OUT R (MONO)
MIDI IN
In the interest of product improvement, the specifications
and/ or appearance of this unit are subject to change without
prior notice.
MIDI OUT
AC IN
1 2 0
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In d e x
A
B
Program Change Number ............................................ 88
C
D
E
Envelope Follow ............................................................ 40
F
S
G
H
HAR/ ARP CONTROL ........................................... 77, 81
HAR/ ARP SELECT ................................................ 78, 82
HARMONY REMOTE .................................................. 84
L
Local Control Off ........................................................... 94
M
1 2 1
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To n e List
No.
Name
No.
Name
No.
Name
No.
Name
96
97
Mandolin
Trem Mandlin
<PIANO>
<ETHNIC>
<WIND>
143 Oboe
1
2
3
4
5
6
GR Piano
49
50
51
52
53
54
55
Kalimba
Cool Piano
Dark Piano
Old Upright
Piano&String
Piano&Choir
Steel Drum
Asian Gong
Jublag
Kajar
Angklung
Bendir
144 Clarinet
145 Flt&Clarinet
146 Shanai
147 Mizmar
148 Ocarina
149 Tin Whistle
150 Blow Pipe
151 Sicu Pipe
152 Zampona
153 Shakuhachi
<PLUCKED>
98
99
100 Shamisen
101 Shamisen Ens
102 Harp
Koto
Kayakeum
<E.PIANO>
103 Harp Trem
<
PERCUSSION SOLO
>
7
SA Rhodes
8
9
StageRhd Sft
StageRhd Hrd
StageRhd Vsw
PopE.Pno Sft
PopE.Pno Hrd
PopE.Pno Vsw
BritePop EP
Detuned EP
E.P.&Strings
E.P.&SynVox
56 Timpani
<AC.BASS>
104 Ac.Upr.Bass
105 Upright Bass
106 Guitarron Bs
107 FingeredBass
108 Funky Bs Vsw
109 Slap Bass
110 Mute/Pick Bs
111 Muted Bass
112 Picked Bass
113 FretlessBass
114 Fat Fretless
115 Beat Bass
<AC.GUITAR>
10
11
12
13
14
15
16
17
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
Nylon Gtr mp
<SAX>
Nylon Gtr mf
NylonGtr Vsw
Super Nylon
Nylon & Str
Nylon & Chr
Acoustic6 mp
Acoustic6 mf
Ac.Harmonix
Acoustic6Vsw
Steel Away
AcGtr & Str
AcGtr & Chr
Acoustic-12
18str Gtr
154 Soprano Sax
155 Sop Sax Ens.
156 AltoSaxSoft
157 AltoSaxHard
158 Breathy Alto
159 Alto Sax Vsw
160 AltoLead Sax
161 Blow Sax
162 Breathy Tnr
163 TenorSax Hrd
164 TenorSax Vsw
165 T.Sax Sect
166 Baritone Sax
167 Bari Sax Ens
168 Sax Sect x4
<ORGAN>
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
E.Org w/Pdl
Bee3 slw/fst
Bee3 Organ
Mad Organ
Rock Organ 1
Rock Organ 2
R-Organ Full
R&R Org&Gtr
Jazz Organ 1
Jazz Organ 2
60's Organ
CathedralOrg
Pipe Organ 1
Pipe Organ 2
P.Org&Choir
Shine On...
<SYN.BASS>
116 SH-101 Bs 1
117 SH-101 Bs 2
118 Bassic 101
119 Oct Bass 101
120 ResoBass 101
121 SH101 Zap Bs
122 TB-303 Bass
123 TB-303 Bs x2
124 TB Solid Bs
125 FunkySynBass
126 SinewaveBass
127 JP-4 Bass
128 FM SynthBass
129 Pedal Bass 1
130 Pedal Bass 2
131 Sys 700 Bs 1
132 Sys 700 Bs 2
133 ResoSynBass
134 TB-303 RezBs
135 Saw Yer Bass
<E.GUITAR>
72
73
74
75
76
77
78
79
80
81
Pedal Steel
BPF Guitar
Slow Gtr
Clean Tele1
Clean Tele2
Dual Guitars
Clean Strat1
Clean Strat2
Muted Gt.
<HARMONICA>
169 Harmonica 1
170 Harmonica 2
<ACCORDION>
171 Accord Fr.
172 Squeeze Box
<BRASS>
173 Trumpet
Sweep Organ
Scat Guitar
174 Trumpet Ens.
175 Attack Trump
176 MutedTrumpet
177 Lo-Fi RoomTp
178 Trombone
179 Tbone Sect.
180 Tbones&Saxes
181 Flugel Atk
182 Flugel Horn
183 Flugel Ens.
184 Solo F.Horn
185 F.Horn Ens.
186 GR Horns
187 Octave Brass
188 R&R Horn Ens
189 BrassSect GR
190 St.BrassSect
191 BrassSect x3
<BELL>
<DIST.GUITAR>
35
36
37
38
39
40
41
42
43
44
45
Organ Bell
82
83
84
85
86
87
88
Dist Solo Gt
Lead Gtr +FB
Bowed Guitar
TrPan D.Gtr
Heavy Duty
Dist Gtr Chd
Gtr Feedback
NewAge Bells
Fantasia GR
Digiwave
Frog wave
JUNO AnaBell
Bell Pad
<FLUTE>
136 Attack Flute
137 GR Flute
138 India Flute
139 MellowFlutes
140 Sing Flute
141 Scat Flute
142 Breathy
Bell Vox
<FRETTED>
SwellBellPad
Glockenspiel
Vibraphone
89
90
91
92
93
94
95
Drone Split
Tambura
Sitar
<MALLET>
E.Sitar
46
47
48
Xylophone
Marimba
Balaphone
Bouzouki
Bouzouki Ens
Banjo
1 2 2
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To n e List
No.
Name
No.
Name
No.
Name
No.
Name
192 Horn Sect
193 Big Brass
194 BrassSect x4
195 BrassFalloff
290 VowVowVox
291 London Choir
292 GregorianChr
293 Slow Choir
294 Hybrid Chr
295 Breathy Vox
296 Syn Vox
297 Voice Oohs
298 SweepVox Pad
299 Sweep SynVox
300 JX-8P Vox 1
301 JX-8P Vox 2
302 Machine Vox
341 SawsSweep1
342 Sweep Pad
343 LFOSweepSaw
344 SawsSweep2
<HARD LEAD>
241 Digi Lead 1
242 Digi Lead 2
243 RezBrassLead
244 DigiwaveLead
245 WAVE Table
246 Sync Sweep
<SYN.BRASS>
196 Mellow Horn
197 OBXP Brass
198 MG Brass
199 Saws Brass
200 Brassy Saw
201 Synth Brass1
202 Synth Brass2
203 Solo SynBrs
<PALSATING>
345 JUNO Polaris
346 Filter Dance
347 Flying GR
348 Strobe Mode
349 LFO VOX
350 Slicer
<SYNTH>
247 JUNO Clavi
248 JUNOClaviRez
249 JUNOFunkClav
250 Simple Synth
251 JP Pluck 1
252 JP Pluck 2
253 Lo-Fi Keys
254 Nasty Keys 1
255 Nasty Keys 2
256 Pulse Key
257 JP PulseKey1
258 JP PulseKey2
259 Air Keys
260 Digital Gtr
261 Analog Gtr
262 WireString
263 VectorGuitar
264 Metro Pad
265 "VH" Synth
266 MG Det.Saw
267 Fat JP-6
351 IndustrialLp
<SYNTH FX>
<STRINGS>
<SOFT LEAD>
204 OB Lead 1
205 OB Lead 2
206 Sqr Lead 1
207 P5 Pipe
208 JP-8 Square
209 Sqr Lead 2
210 Synth Square
211 JP Det. Sqr
212 70's Lead
213 Cold Lead
214 Hollow Lead
215 FM Lead
216 700 Saw Ld
217 KG800 Ld
218 2Pole SawLd
219 GR300 Saw1
220 GR300 Saw2
221 JP-4 Lead
222 Puls Reso Ld
223 Alpha Lead
224 MG Saw 1
225 MG Saw 2
226 MG Saw 3
227 SH-5 Saw
228 SH-101 Saw
229 D-50 Saw 1
230 D-50 Saw 2
231 OB Saw
232 Synth Pulse1
233 JP-8 Pulse 1
234 JP-8 Pulse 2
235 JP-8 Pulse 3
236 Pulse Lead
237 JP Det.Pls
238 Detuned Pls
239 MG Triangle
240 2600 Sine
352 Random White
353 Cold Wind
354 Wind & Waves
355 Pink Bomb
356 Noise Fall
357 Air Noise
303 St.Strings
304 Mono Strings
305 GR33 Strings
306 Orch Strings
307 Fat Orc Str
308 Somber Str
309 BriteStrings
310 Slow Strings
311 TremoloStrng
312 Marcato Str.
313 Full Orch
314 Violin Solo
315 GR Cello
316 GR Fiddle
317 Erhu Vsw
318 Pizz
358 Icy
359 Vox Noise
360 VoxNz Key
361 Atmospheric
362 Feedbackwave
363 Volcano EFX
364 Vocal Phrase
365 Oxygen-Jar
366 Motion Synth
367 Tempered2000
368 ComputerRoom
369 Emergency
370 Toy Gun
268 Detuned Saw
269 JP Hollo
270 Fairies
319 JP-8 Strings
320 JUNO Strings
321 OB Strings
322 OBXP Strings
371 Rattle Efx
<TECHNO>
271 Blaster
272 Daft wave
273 TB Reso Sqr
274 AuhVox Rave
<COMBINATION>
372 Salsa Split
373 Tabla&Sitar
374 Didgeri Flt
375 Didgeri Pipe
<SOFT PAD>
323 JP-8Haunting
324 Hollow Pad
325 JP Synth Vox
326 Air Prologue
327 Fine Wine
328 Bowed PnoPad
329 DigiSaw Pad
330 Soft Pad
331 Warm Pad
332 SoundtrackGR
333 Vintage Pad
334 JUNO OrgPad
335 SynHarmonica
<HIT>
275 Orch. Hit
276 Philly Hit
277 BrassVox Hit
278 FX TomHit
279 Drill Hit
280 Pcm Press
281 PC-2 Machine
282 Tape Stop
283 Perc Heaven
284 Analog Snare
<BEAT&GROOVE>
376 Salsa Phrase
377 DidgeridooPh
378 TablaBayaPhs
<DRUM KIT>
379 Drum Kit 1
380 Drum Kit 2
<PERCUSSION KIT>
381 HandPerc.Kit
382 Vox Perc.Kit
383 Gamelan Kit
384 Indus. Kit
<BRIGHT PAD>
336 OB Synthy
337 Fat Pad
338 Prologue
339 Cosmos Pad
340 Saws Pad
<VOX/CHOIR>
285 ScatVox Vsw
286 JzVoice Doos
287 St.Vox Doos
288 Voice Bahs
289 JzVoice Bop
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Pa tch List
Gro u p A (E)
Gro u p B (F)
Gro u p C (G)
Gro u p D (H)
No.
PatchName
No.
PatchName
No.
PatchName
No.
PatchName
A11
A12
A13
A14
JAZZ SCAT
B11
B12
B13
B14
BLOW PIPE
MIZMAR
C11
SITAR DRONE
D11
D12
D13
D14
CHOIR
DIDGERI FLT
JANGLE PAD
GR-300 LEAD
C12 ★ SHAMISEN
C13 ★ OrientExpres
C14 ● PLANET Am
GREGORIAN CH
LFO VOX
HARMONICA
SOPRANO SAX
SOUNDTRACK
A21 ★ 12ST GUITAR
B21
B22
B23
B24
ALTO SAX
BreathyT.SAX
TRUMPET
MUTE Tp
C21
C22
C23
C24
TUBALAR BELL
ANGEL BELLS
ASIAN BELLS
STEEL DRUM
D21
D22
D23
D24
TotalEclipse
A22 ★ 303 TEKNO
SWEEPING SAW
DEEP SWEEP
HOLLOW PAD
A23
A24
GR STRINGS
E.ORGAN/PDL
A31
A32
A33
ROMANTIC PAD
FRETLESS BS
DAFT WAVE
B31
B32
B33
B34
F.HRN SECT
T.SAX SECT
Tp&Tb SECT
Tb&Sax SECT
C31
C32
C33
C34
SoftDigi Swp
D31
D32
D33
D34
HYBRID PAD
WICHITA PIPE
70s SAW LEAD
BRITE SAW LD
JP SOFT PAD
FLG PROLOGUE
CONQUEROR
A34 ● Cmaj-STRINGS
A41 ★ NYLON STR GT
B41
B42
B43
B44
OKTOBERFEST
BIG BRASS
C41
C42
C43
C44
DETUNED SAWS
SYNC LEAD
D41
DIGI CHOIR
A42
MIDI PIANO
D42 ★ PULSATER
A43 ● DIST. GUITAR
HUGE SAW BRS
SAW BRASS
OD SYN LEAD
BELL PAD
D43 ★ ORBIT SHUFFL
A44
E.SITAR
D44
STEP FLANGER
A51
A52
A53
A54
TABLA&SITAR
DIDGERI PIPE
TABLA+VoxKit
SALSA SPLIT
B51
B52
B53
B54
AC.BASS
C51
C52
C53
C54
AIR BELL PAD
WIRE STRINGS
NASTY KEYS
DIGI GUITAR
D51
D52
D53
STROBE MODE
FLYING GR
FINGERED BS
SLAP BASS
DEEP FRETLES
OXGEN-JAR
D54 ★ DYNO SPACE
A61
GRAND PIANO
B61
B62
B63
B64
GUITARRON BS
TB-303 BASS
C61
C62
C63
C64
DIGI SAWS
BLASTER OCT.
150 BPM
D61
MOLTEN LAVA
A62 ★ OD PIANO
D62 ★ NIGHTMARE
A63
A64
MIDI KEYS
PEDAL BASS
D63
D64
FILTER DANCE
COSMOS
PANNING RHDS
TEKNO TAURUS
TAPE STOP
A71
A72
A73
A74
BS/RHODES
ROCK ORGAN
PurpleORGAN
GOTHIC
B71
SAW YER BS
C71
C72
C73
C74
PHILLY HIT
ULTIMATE HIT
ORCH HIT
FIDDLE
D71
D72
D73
D74
SPACESHIP
B72 ● PICK WAH
ALL WOUND UP
HUMAN DRUMS
PERC KIT
B73
B74
ROCK LEAD
CLEAN TELE
A81 ★ ACCORDION
B81
JC STRAT
C81
C82
C83
C84
HYB STRINGS
JP8 STRINGS
PHASER STR1
PHASER STR2
D81
D82
GAMELAN KIT
INDUS. KIT
A82
A83
A84
BAMBOO FLUTE
VOX FLUTE
B82 ★ STEEL STR GT
B83 ● PEDAL STEEL
D83 ★ TRIBAL DRUMS
TIN WHISTLE
B84
FLAMENCO
D84 ★ DRUM KIT
★: Indicates a Patch for which Arpeggiator is On.
● : Indicates a Patch for which Harmonist is On.
* Group A–D are user patches which can be overwritten. Their contents are identical to the read-only Group E–H above (preset patches).
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MEMO
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MEMO
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In fo rm a tio n
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
PAN AMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City,
REP. DE PANAMA
TEL: (507) 315-0101
TAIW AN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
ITALY
JO RDAN
AFRICA
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
AMMAN Trading Agency
Prince Mohammed St. P.O. Box
825 Amman 11118 JORDAN
TEL: (06) 4641200
EGYPT
Al Fanny Trading Office
P.O. Box 2904,
El Horrieh Heliopolos, Cairo,
EGYPT
TEL: (02) 4185531
N O RW AY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: (02) 2561 3339
KUW AIT
Easa Husain Al-Yousifi
Abdullah Salem Street,
Safat KUWAIT
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Edeficio, El Dorado Planta Baja
Asuncion PARAGUAY
THAILAN D
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
TEL: 5719499
REUN IO N
Maison FO - YAM Marcel
25 Rue Jules Merman, ZL
Chaudron - BP79 97491
Ste Clotilde REUNION
TEL: 28 29 16
TEL: 273 0074
LEBAN O N
A. Chahine & Fils
P.O. Box 16-5857 Gergi Zeidan St.
Chahine Building, Achrafieh
Beirut, LEBANON
TEL: 595-21-492147
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PERU
VIDEO Broadcast S.A.
Portinari 199 (ESQ. HALS),
San Borja, Lima 41,
REP. OF PERU
TEL: 51-14-758226
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
TEL: (01) 335799
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle Street (Cnr Melle and
Juta Street)
Braamfontein, 2001,
Republic of SOUTH AFRICA
TEL: (011) 403 4105
Q ATAR
Badie Studio & Stores
P.O. Box 62,
DOHA QATAR
TEL: 423554
PO RTUGAL
Tecnologias Musica e Audio,
Roland Portugal, S.A.
RUA DE SANTA CARARINA
131/ 133, 4000-450 PORTO
PORTUGAL
URUGUAY
Todo Musica S.A.
Cuareim 1844, Montevideo,
URUGUAY
AUSTRALIA/
N EW ZEALAN D
TEL: 5982-924-2335
SAUDI ARABIA
aDawliah Universal
Electronics APL
P.O. Box 2154 ALKHOBAR 31952,
SAUDI ARABIA
TEL: (022) 208 4456
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre Claremont
7700
VEN EZUELA
RO MAN IA
FBS LINES
Plata Libertatii 1.
RO-4200 Cheorgheni
TEL: (066) 164-609
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
AUSTRALIA
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
Republic of SOUTH AFRICA
TEL: (03) 898 2081
P.O. Box 23032
VENEZUELA
TEL: (02) 285 9218
Claremont, Cape Town
SOUTH AFRICA, 7735
TEL: (021) 64 4030
SYRIA
Technical Light & Sound
Center
Khaled Ibn Al Walid St.
P.O. Box 13520
Damascus - SYRIA
TEL: (011) 2235 384
RUSSIA
TEL: (02) 9982 8266
Slami Music Company
Sadojava-Triumfalnaja st., 16
103006 Moscow, RUSSIA
TEL: 095 209 2193
EURO PE
N EW ZEALAN D
Roland Corporation (NZ) Ltd.
97 Mt. Eden Road, Mt. Eden,
Auckland 3, NEW ZEALAND
TEL: (09) 3098 715
ASIA
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
CHIN A
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler cad.Guney is hani 84-
86/ 6, Taksim. Istanbul. TURKEY
TEL: (0212) 2499324
TEL: (0512) 26 44 260
CEN TRAL/ LATIN
AMERICA
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
TEL: (93) 308 1000
SW EDEN
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
ARGEN TIN A
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor DUBAI
U.A.E.
Instrumentos Musicales S.A.
Florida 656 2nd Floor
Office Number 206A
Buenos Aires
ARGENTINA, CP1005
TEL: (54-11) 4- 393-6057
DEN MARK
TEL: 2415 0911
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
SW ITZERLAN D
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, CH-4410 Liestal,
SWITZERLAND
TEL: (04) 3360715
IN DIA
BRAZIL
Roland Brasil Ltda.
R. Coronel Octaviano da Silveira
203 05522-010
Sao Paulo BRAZIL
TEL: (011) 3743 9377
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
TEL: (039)16 6200
N O RTH AMERICA
TEL: (061) 921 1615
FRAN CE
Roland France SA
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
TEL: (022) 498 3079
UKRAIN E
TIC-TAC
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: (506)258-0211
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
Mira Str. 19/ 108
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
FIN LAN D
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
Roland Canada Music Ltd.
(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
UN ITED KIN GDO M
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
CHILE
KO REA
Comercial Fancy S.A.
Avenida Rancagua #0330
Providencia Santiago, CHILE
TEL: 56-2-373-9100
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
UNITED KINGDOM
TEL: (01792) 700139
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
EL SALVADO R
OMNI MUSIC
75 Avenida Notre YY Alameda,
Juan Pablo 2, No. 4010
San Salvador, EL SALVADOR
TEL: (503) 262-0788
MALAYSIA
MIDDLE EAST
Bentley Music SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2443333
TEL: (040) 52 60090
TEL: (323) 890 3700
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
26422 Patras, GREECE
TEL: 061-435400
BAHRAIN
Moon Stores
Bab Al Bahrain Road,
P.O. Box 20077
State of BAHRAIN
TEL: 211 005
MEXICO
PHILIPPIN ES
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
HUN GARY
CYPRUS
Radex Sound Equipment Ltd.
17 Diagorou St., P.O. Box 2046,
Nicosia CYPRUS
TEL: (525) 668 04 80
TEL: (02) 899 9801
Intermusica Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
SIN GAPO RE
Swee Lee Company
150 Sims Drive,
SINGAPORE 387381
TEL: 748-1669
La Casa Wagner de
Guadalajara s.a. de c.v.
Av. Corona No. 202 S.J.
Guadalajara, Jalisco Mexico
C.P.44100 MEXICO
TEL: (02) 453 426
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
ISRAEL
Halilit P. Greenspoon &
Sons Ltd.
8 Retzif Fa'aliya Hashnya St.
Tel-Aviv-Yaho ISRAEL
TEL: (03) 6823666
TEL: (3) 613 1414
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 243 9555
As of June 1, 2000 (Roland)
02125145
’00-8-C3-21N
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