Roland GI-20 User Manual
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Owner’s Manual
Thank you, and congratulations on your choice of the Roland GI-20 GK-MIDI Interface.
Before using this unit, carefully read the sections entitled:
“USING THE UNIT SAFELY” (page 2–3) and “IMPORTANT NOTES” (page 4).
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.
Main Features
The GI-20 is a multifunction GK-MIDI interface.
It takes the signals from the individual strings of the guitar or bass equipped with a divided
pickup, analyzes each string’s pitch and volume, and outputs the information as MIDI data.
You can combine the GI-20 with a MIDI sound module and use the setup as a guitar synthesizer,
or connect it to a computer and use it as an input tool for sequencers or similar applications.
Compatible with guitars and basses.
Features internal patch memory, allowing you to store a variety of different settings.
You can connect an expression pedal (the optional EV-5) or foot switch to (the optional
FS-5U) adjust volume and pitch, hold notes, and control other aspects of performances.
The GI-20 comes equipped with a USB connector. Using a single cable, you can connect
the unit to a computer to easily input data and play performances.
* USB, short for Universal Serial Bus, is a type of interface for connecting computers to a wide variety of peripheral
devices.
The GI-20 also features a built-in chromatic tuner for fast, accurate tuning.
The unit supports the use of a variety of playing techniques, including finger picking
and tapping. And it gives you the most natural expression, matching your playing
technique.
Copyright © 2003 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written
permission of ROLAND CORPORATION.
USING THE UNIT SAFELY
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* 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.
001
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
..........................................................................................................
002c
• Do not open (or modify in any way) the unit or its
AC adaptor.
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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
• Never use or store the unit in places that are:
• 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
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
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.
..........................................................................................................
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 symbol alerts the user to important instructions
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.
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.
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 powercord plug must be unplugged from the outlet.
009
• 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!
..........................................................................................................
011
• Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
012c
• 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:
• The AC adaptor or the power-supply cord has
been damaged; or
• If smoke or unusual odor occurs
• 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
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
013
• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
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2
3
015
• Do not force the unit’s power-supply cord to share
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.
..........................................................................................................
016
• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
023
• DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
101b
• The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
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102d
• Always grasp only the output plug or the body of
the AC adaptor when plugging into, or
unplugging from, this unit or an outlet.
..........................................................................................................
103b
• Any accumulation of dust between the AC
adaptor and the power outlet can result in poor
insulation and lead to fire. Periodically wipe away
such dust with a dry cloth. Also, disconnect the
power plug from the power outlet whenever the
unit is to remain unused for an extended period of
time.
..........................................................................................................
104
• 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
the unit.
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107d
• Never handle the AC adaptor body, or its output
plugs, with wet hands when plugging into, or
unplugging from, an outlet or this unit.
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108b
• Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
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109b
• Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet.
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110b
• Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
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118
• Should you remove the rubber feet, make sure to
put them in a safe place out of children’s reach, so
there is no chance of them being swallowed
accidentally.
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For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
NEUTRAL
LIVE
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Power Supply
301
• Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
302
• The AC adaptor will begin to 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.
Placement
351
• Using the unit near power amplifiers (or other equipment
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 interference.
352a
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
352b
• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
355b
• When moved from one location to another where the
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
has completely evaporated.
Maintenance
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
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.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
Additional Precautions
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
• Never strike or apply strong pressure to the display.
556
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
558b
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels (especially when it is late at
night).
559a
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
• Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
Handling CD-ROMs
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
204
* Microsoft and Windows are registered trademarks of Microsoft
Corporation.
206c
* Windows® 98 is known officially as: “Microsoft® Windows® 98
operating system.”
206e
* Screen shots in this documents are reprinted with permission
from Microsoft Corporation.
206f
* Windows® 2000 is known officially as: “Microsoft® Windows®
2000 operating system.”
206g
* Windows® Me is known officially as: “Microsoft® Windows®
Millennium Edition operating system.”
206h
* Windows® XP is known officially as: “Microsoft® Windows® XP
operating system.”
207
* Apple and Macintosh are registered trademark of Apple
Computer, Inc.
209
* MacOS is a trademark of Apple Computer, Inc.
220
* All product names mentioned in this document are trademarks or
registered trademarks of their respective owners.
231
* OMS is a registered trademark of Opcode Systems, Inc.
232
* FreeMIDI is a trademark of Mark of the Unicorn, Inc.
4
Contents
●
●
USING THE UNIT SAFELY ...................2
IMPORTANT NOTES .......................... 4
Panel Descriptions............................ 6
Front Panel....................................................................................6
Rear Panel.....................................................................................7
Signal Flow...................................................................................8
Preparations to Make Before Performing
Items to Have On Hand..............................................................9
Installing the Divided Pickup on the Guitar or Bass...........9
About MIDI..................................................................................9
Connection Examples...............................................................10
Selecting the Guitar or Bass....................................................10
Chapter 1
Playing Sounds from a Sound Module.................................11
Connections...........................................................................11
Turning On the Power.........................................................11
Adjusting the Input Sensitivity (SENSITIVITY)..............11
Selecting Patches ..................................................................12
Setting the MIDI Channel (MIDI CHANNEL)................14
Setting the Control Channel (CTL CH).............................15
Performing on the Guitar....................................................16
Connecting to a Computer.......................................................17
Setting the MIDI Port...........................................................17
Setting the MIDI Data Path (MIDI PLAYBACK) ............17
Try Playing Some Sounds
...9
.....11
Chapter 2
Creating Your Own Settings (Patches)
Calling Up the Input Sensitivity Settings............................18
Setting the Feeling of the Performance (PLAY FEEL)........18
Setting the Pedal and Switch Functions (ASSIGN) ...........19
Shifting the Pitch of the Sound (TRANSPOSE) .................23
Setting the Range in Which Pitches Are Changed
(BEND RANGE) ........................................................................23
Switching Sounds on External Devices
(PRG CHANGE)........................................................................25
Muting Specific Strings (STRING MUTE)..........................26
Storing the Settings (WRITE) .................................................26
Copying Patches ........................................................................27
...18
Chapter 3
Convenient Functions Featured by the GI-20
Tuning (TUNER).......................................................................28
Preventing Transmission of Program Change Messages
(PC MASK)
Saving the Patches and System Parameters
to an External Device (BULK DUMP) ...................................29
Receiving Saved Data Using MIDI
(BULK LOAD (MIDI)).........................................................30
Receive Saved Data Through USB
(BULK LOAD (USB))...........................................................31
Reducing the Size of a MIDI Pitch Bend Message
(BEND DATA THIN) ...............................................................31
Reducing the Amount of Control Change Data Transmitted
(RECEIVE CONTROL CHANGE DATA THIN)
Limiting the Extent of the Bend Range
(BEND RANGE MAX)..............................................................32
Selecting the Type of USB Driver..........................................33
...................................................................................29
.........................32
.... 28
Chapter 4 Other Functions.............. 34
Reset to Default Factory Settings (Factory Reset)...............34
Installing the Rack Mount Adaptor.......................................34
Attaching the Rubber Feet.......................................................34
Chapter 5 Appendices .................... 35
Troubleshooting........................................................................35
Error Messages...........................................................................37
Roland Exclusive Messages.....................................................38
MIDI Implementation..............................................................40
MIDI Implementation Chart...................................................43
Specifications.............................................................................44
Installing & Setup the Driver........... 45
Installing & Setting Up the Driver (Windows).......46
Installing & Setting Up the Driver (Macintosh).....59
Troubleshooting......................................................65
Index............................................. 69
Conversions Used in This Manual
Words in square brackets [ ] indicate panel buttons or knobs.
(Example)
[WRITE] : WRITE button
(p. **) indicates a reference page.
5
Panel Descriptions
Front Panel
fig.00-01
1 3 4 86 7
2 5 9
1. GK IN connector
Connect to the divided pickup using the GK cable
included with the GI-20.
* Any questions you have regarding connections to the various
GK-compatible guitars available on the market should be
directed to the relevant guitar manufacturer or dealer.
2. LED display
This displays patch numbers, parameter values, and
other information.
3. Tuner indicator
This indicates the tuning when the GI-20 is in Tuner
mode.
When setting the sensitivity, this indicates the level.
4. WRITE button
Use this for writing patches (Write procedure; p. 26).
This is also used as the button to execute Factory Reset
(p. 34) and Bulk Dump (p. 29).
8. TUNER (STRING SEL) button
Press this when using the tuner function. Use this to
select the strings when determining the parameter to set
for each individual string.
9. POWER switch
This turns the GI-20’s power on and off.
5. SELECT (EXIT) button
Use this button to undo the Write procedure (p. 26) and
select functions and parameters.
6. PARAMETER knob
This is used to select the parameter to be set.
7. PATCH/VALUE buttons
Use this to switch patches and change parameter values.
6
Rear Panel
fig.00-02
Panel Descriptions
10 11 12 13 14 15 16 17
10. Cord Hook
Anchor the AC adaptor power cord here to prevent the
adaptor from being disconnected accidentally.
fig.00-03
* To prevent the inadvertent disruption of power to your unit
(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the
power cord using the cord hook, as shown in the illustration.
11.
AC Adaptor jack
The AC adaptor is connected here.
Never use any AC adaptor other than the one provided.
Connecting any other adaptor may result in damage to
the equipment.
12.
GUITAR/BASS switch
Switch this according to the instrument you are using.
Switch to GUITAR if you are using a guitar; if using a
bass, switch this to BASS.
14.
EXP PDL (expression pedal) jack
Connect an optional expression pedal (such as the EV-5)
here.
15.
GUITAR OUT jack
This outputs the sound from the guitar or bass’s normal
pickup.
Connect this to a guitar amp or bass amp, or to an effects
processor.
16.
MIDI connector (IN/OUT)
This connector is used to connect an external MIDI
device, allowing MIDI data to be transmitted and
received.
17.
USB connector
This connector is for connecting to a computer using a
USB cable.
No USB cable is included with the GI-20. You will need to
purchase a third-party USB cable separately.
* Note that the GI-20 may not operate properly if this setting is
not correct.
13.
FOOT SW jack
Connect an optional foot switch (such as the BOSS FS5U) here.
7
Panel Descriptions
Signal Flow
fig.00-04
Guitar / Bass
Expression Pedal
Foot Switch
8
Preparations to Make Before Performing
Although the GI-20 can be used with both guitars and basses, the descriptions here are based on the assumption you are
using a guitar or six-string bass, and the numerals indicating the “strings” in the descriptions of settings and procedures
correspond to the 1st through 6th strings of a guitar or regular six-string bass. If you are using a four-string or five-string
bass, substitute the following numbers for those discussed in the manual.
1st String → --2nd String → 1st String (G)
3rd String → 2nd String (D)
4th String → 3rd String (A)
5th String → 4th String (E)
6th String → 5th String (B)
Items to Have On Hand
● To use the GI-20, you need a guitar or bass equipped
with a pickup capable of separately outputting the
signals for each individual string (a divided pickup).
● The GI-20 contains no internal sound generator, so you
will need to use a separate MIDI sound module.
● Determine which other gear you will need by referring
to the connection examples (p. 10).
Installing the Divided Pickup on the Guitar or Bass
First, attach the divided pickup to your instrument. Install
the GK-2A if you are using a guitar; if you are playing a bass,
install the GK-2B. Refer to the GK-2A or GK-2B Owner’s
Manual for instructions on installing the pickup.
Guitars That Cannot Be Used with the
GK-2A/GK-2B
While the compact design of the GK-2A/GK-2B allows its
installation on many different guitars, please note the
following types of guitars on which it cannot be used:
• 12-string, pedal steel, and other specially strung guitars.
• Nylon-strung, gut-strung, and similar guitars; bass
guitars.
• Guitars which, due to their physical design, lack the
space for proper mounting of the GK-2A/GK-2B.
About MIDI
MIDI stands for “Musical Instrument Digital Interface,” a
worldwide standard that enables electronic 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.
MIDI Messages Handled by the GI-20
What follows is a list of some of the different types of MIDI
messages that the GI-20 can handle.
• “Note On messages” provide information on what
string was played, and its pitch and force.
• “Note Off messages” provide information on when a
string stops vibrating.
• “Bend messages” provide information for changing
the pitch smoothly, such as when bending, vibrato, or
hammering.
• “Bank Select messages” and “Program Change
messages” transmit commands for switching patches.
• “Control Change messages” provide information on
changes in volume and effects.
• “System Exclusive (SysEx) messages” provide
information for exchanging patch data with external
instruments.
Several guitar manufacturers produce guitars that can be
connected directly to the GR series with a GK cable, without
the use of a GK-2A/GK-2B. For more information, please ask
your dealer or these guitar manufacturers.
9
Preparations to Make Before Performing
Connection Examples
When the guitar or bass is set up, connect the various devices as shown in the connection examples given in the figure.
* The GI-20 connects to sound modules only via MIDI, not USB, even if the sound module is USB equipped.
fig.00-10
When use GI-20 as a Guitar (Bass) Synthesizer
Monitor Speakers
(powered)
MIDI Sound Module MIDI Sound Module
MIDI IN
AC Adaptor
(ACI or ACB)
GK Cable
MIDI Cable
MIDI OUT
When use GI-20 as a tool to input data to sequencer softwere
Monitor Speakers
AC Adaptor
(ACI or ACB)
GK Cable
(powered)
MIDI IN
MIDI Cable
MIDI OUT
Computer
USB Cable
* You will need to purchase a
third-party USB cable separately.
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.
Guitar / Bass
Selecting the Guitar or Bass
Set the GUITAR/BASS switch on the rear panel to match the
instrument you are playing, in accordance with the range in
which you are playing. Switch to GUITAR if you are using a
guitar; if using a bass, switch this to BASS.
* Note that the GI-20 may not operate properly if this setting is
not correct.
fig.00-11
Guitar / Bass
After the power is turned on, “Gt” (guitar) or “bG” (bass)
flashes in the display for several seconds, allowing you to
check the status of the GUITAR/BASS switch.
* This does not appear in the display when the GUITAR/BASS
switch setting is changed at a later point.
fig.00-12
GUITAR BASS
* With the factory settings, all of the GI-20’s patch
settings are optimized for guitar.
If you are using a bass, you can carry out a Factory
Reset (p. 34), and change the settings so that they are
suitable for the bass.
10
Chapter 1 Try Playing Some Sounds
Playing Sounds from a Sound Module
This section explains how to connect the GI-20 to an external
MIDI sound module and use it as a guitar synthesizer.
Connections
fig.01-01
Monitor Speakers
(powered)
MIDI Sound Module
MIDI IN
AC Adaptor
(ACI or ACB)
MIDI Cable
MIDI OUT
* 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.
3. Monitor Speakers
Turning Off the Power
1. Turn the volume down all the way on the MIDI sound
module and monitor speakers or other device.
2. Turn off the power to the power amp or other device.
3. Turn off the power to the MIDI sound module and the
GI-20.
Adjusting the Input Sensitivity (SENSITIVITY)
For best performance, it is important to adjust the input
sensitivity for each individual string.
* You can store up to four sets of sensitivity settings (G1–G4),
which means there is no need to readjust the settings from
scratch each time you switch guitars and basses.
GK Cable
Guitar / Bass
Connect the GI-20 and the external MIDI sound module as
shown in the connection example in the figure.
Turning On the Power
Once your connections have been completed, 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.
1. MIDI Sound Module
2. GI-20
fig.01-02
1. Turn the PARAMETER knob to “GUITAR SEL.”
fig.01-03
2. Press [PATCH/VALUE] to select the save destination
for the sensitivity settings (G1–G4).
fig.01-04
When G1 is selected
3. Press [SELECT] to switch to the Sensitivity settings
screen.
The left numeral indicates the string number, and the
right numeral indicates the value of the sensitivity
setting.
The level is indicated by the five indicators at the top of
the display.
11
Chapter 1 Try Playing Some Sounds
fig.01-05
Level
String number Sensitivity value
4. Play each string individually with the maximum force
to be used during the actual performance, and as you
play the string, adjust the sensitivity with [PATCH/
VALUE] until all five indicators light up momentarily.
fig.01-05a
Too low
Selecting Patches
Switching the GI-20’s patches allows you to change the
values of settings instantly and perform using a wide variety
of sounds.
What is a Patch?
The various information used in performing with the GI-20 is
stored in sets called “patches.” In each patch you can store
the settings values for the parameters described below, and
switching these patches allows you to reproduce their
settings instantly.
fig.01-06
Patch 50
• BEND RANGE
• TRANSPOSE
• STRING MUTE
• BEND RANGE
• MONO/POLY
• TRANSPOSE
• STRING MUTE
• MONO/POLY
• GUITAR SEL
• PLAY FEEL
Patch 01
• GUITAR SEL
• ASSIGN
• PLAY FEEL
• GUITAR SEL
• PRG CHANGE
• ASSIGN
• PLAY FEEL
• PRG CHANGE
• ASSIGN
• PRG CHANGE
• GUITAR SEL
• PLAY FEEL
Patch 03
• ASSIGN
Patch 02
• PRG CHANGE
• BEND RANGE
• TRANSPOSE
• BEND RANGE
• STRING MUTE
• TRANSPOSE
• MONO/POLY
• STRING MUTE
• MONO/POLY
All five indicators
light up momentarily
5. When you have finished making the settings, turn the
PARAMETER to return to “PLAY MODE.”
* Sensitivity is a system parameter. The settings are saved
automatically when the memories (G1–G4) is changed or the
PARAMETER knob is turned, even without the Write
procedure being carried out. The settings in each of the
memories (G1–G4) are applied to all patches. However,
whichever of the sets G1–G4 to be used by each patch (Calling
Up Input Sensitivity Settings” p. 18) is a patch parameter.
Use the Write procedure to save these settings.
System Parameters and Patch
Parameters
In contrast to the “patch parameters,” whose settings can be
stored to each patch individually, parameters that are used
by the GI-20 overall are called “system parameters.”
The following describes the different types of patch
parameters and system parameters.
* Patch parameters are indicated in blue on the front panel.
System Parameters
• SENSITIVITY (p. 11)
• MIDI BASIC CH (p. 14)
• MIDI CTL CH (p. 15)
• PC MASK (p. 29)
• MASTER TUNE (p. 28)
System parameters are stored in the GI-20 when you turn the
PARAMETER knob after making changes to the settings.
* The MIDI BASIC CH and MIDI CTL CH parameters are also
stored in the GI-20 when you press [SELECT] after making
changes to the settings.
12
• MIDI PLAYBACK (p. 17)
Chapter 1 Try Playing Some Sounds
• BEND DATA THIN (p. 31)
• RECEIVE CONTROL CHANGE DATA THIN (p. 32)
• BEND RANGE MAX (p. 32)
• USB DRIVER TYPE (p. 33)
These parameters are saved to the GI-20 the moment you
change the settings values.
Patch Parameters
• GUITAR SEL (p. 18)
• PLAY FEEL (p. 18)
• ASSIGN (p. 19)
• PRG CHANGE (p. 25)
• BEND RANGE (p. 23)
• TRANSPOSE (p. 23)
• STRING MUTE (p. 26)
• MONO/POLY (p. 14)
With patch parameters, the Write procedure (p. 26) is used to
save the settings values to individual patches after changes
are made to the settings.
How to Switch Patches
Switch patches by pressing [PATCH/VALUE] in “Play
mode” (p. 16).
GM (General MIDI) is a set of recommended standards
covering the way sounds are played by MIDI sound module,
the arrangement of internal sound lists, and other aspects
involving production of sound with sound generators. GMcompatible MIDI sound generating devices are called GM
sound modules, and these devices are capable of
reproducing essentially the same musical performance,
regardless of the manufacturer or type of device.
About the Display
The following information is displayed when the GI-20 is in
Play mode.
fig.01-07
Patch Number
Dot
Lights up when the settings are changed.
Flashes while data is being stored.
When the content displayed is three or more digits long, the
displayed is scrolled as shown below.
(Ex.) 440.0 Hz
fig.01-08
● Each time you press [PATCH/VALUE ▲], the patch
numbers are switched one at a time in ascending order,
from 01 on up to 50.
● Each time you press [PATCH/VALUE ▼], the patch
numbers are switched one at a time in descending
order, from 50 down to 01.
When Not Switching Patches
With the GI-20, patches can only be switched in Play mode.
When switching patches, turn the PARAMETER knob to
return to Play mode.
Each of the GI-20’s patches at the time the GI-20 is
initially purchased is set for compatibility with GM
sound modules.
Setting the sound module to GM mode when using a
GM-compatible sound module allows you to enjoy a
variety of sounds with the GI-20, just as at the time it
was purchased.
13
Chapter 1 Try Playing Some Sounds
Setting the MIDI Channel (MIDI CHANNEL)
Setting the Transmission Mode (MONO/POLY)
The GI-20 features two kinds of modes to transmit MIDI
messages.
fig.01-09
MIDI Message
Basic Channel
1st
Basic Channel + 1
2nd
Basic Channel + 2
3rd
Basic Channel + 3
4th
Basic Channel + 4
5th
Basic Channel + 5
6th
String
Sound
Module
MONO
* With the factory settings, all patches are set to MONO
MODE.
MONO (MONO MODE)
In this mode, each individual string uses a separate channel,
thus totaling six channels.
Since each string uses a different MIDI channel, you can
select different sounds for each string and continuously
change the pitch data when using string bending and other
special techniques with specific strings. However, this
requires a multitimbral sound module.
POLY (POLY MODE)
In this mode, the information for all six strings is transmitted
over a single channel.
Since the MIDI messages for all six strings are transmitted
over a single channel, it simplifies the settings for the sound
module and reduces the number of MIDI channels used.
However, options are more limited, for example, the same
sound must be selected for all of the strings.
* In POLY mode, the Pitch Bend/Glide and Vibrato set in
Assign (p. 19) function as follows.
When chords are played, Pitch Bend and Glide change in
semitone steps and Vibrato does not function. These function
normally when you play notes individually.
MIDI Message
1st
2nd
3rd
4th
5th
6th
String
Basic
Channel
POLY
Sound
Module
1. Turn the PARAMETER knob to “MIDI CHANNEL.”
fig.01-10
2. Press [SELECT] to select MONO/POLY.
When MONO/POLY is selected, only the leftmost
indicator lights up.
fig.01-11
Lit
3. Press [PATCH/VALUE] to select either MONO or
POLY.
fig.01-12
MONO POLY
4. To save the setting, carry out the Write procedure (p.
26).
* If you do not want to save the setting, turn the PARAMETER
knob to return to “PLAY MODE.”
5. When you have finished making the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
Setting the MIDI Transmit Channel
(BASIC CH)
This sets the GI-20’s MIDI Transmit channel (here called the
“basic channel”). Set the MIDI channels as shown below
according to whether the GI-20 is in POLY or MONO MODE.
When in POLY MODE
The performance data for all of the strings is transmitted over
the Basic channel.
14
When in MONO MODE
1st String: Transmitted over the Basic channel.
2nd String: Transmitted over the Basic channel + 1.
3rd String: Transmitted over the Basic channel + 2.
:
6th String: Transmitted over the Basic channel + 5.
* With the factory settings, all patches are set to MONO
MODE, and the Basic channel is set to Channel 1.
Chapter 1 Try Playing Some Sounds
1. Turn the PARAMETER knob to “MIDI CHANNEL.”
fig.01-10
2. Press [SELECT] to select BASIC CHANNEL (BASIC
CH).
When BASIC CHANNEL is selected, the two indicators
at the left light up.
fig.01-13
Lit
3. Press [PATCH/VALUE] to select the Basic channel
number.
fig.01-14
Setting the Control Channel (CTL CH)
You can connect a foot controller or other such device to the
MIDI IN connector to switch patches and perform other
operations. In this case, you will need to set the “control
channel” for reception of MIDI messages.
The control channel is a dedicated channel used only for
receiving MIDI messages transmitted over the channel set to
the same number. MIDI messages transmitted over other
channels are disregarded.
* However, when the control channel is set to “OMNI mode”
(Omni), MIDI messages are received regardless of the channel.
* With the factory settings, the control channel is set to
“OMNI.”
The GI-20’s MIDI IN/OUT cannot be used under the
following conditions.
• When MIDI IN and OUT are connected directly
• When the Soft Thru for the sequencer connected to
MIDI IN/OUT is set to ON
In either case, the error message “E3” (p. 37) appears,
and the GI-20 stops functioning normally.
* Since the six channels used in MONO MODE are
consecutive, selecting Channel 12–16 as the Basic channel
results in the MIDI channel number for the sixth string to
exceed the allowable range of 1–16. In this case, the display
flashes, and the performance data is sent by Channel 11–16.
4. When you have finished making the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
* The Basic channel is a system parameter. It is saved
automatically when the PARAMETER knob is turned, even
without the Write procedure being carried out, and the
settings values are applied to all patches.
The GI-20 can receive the following types of MIDI messages
over the control channel.
Control Change
Control Change messages received over the control channel
are transmitted over the basic channel (in MONO mode, all
of the transmission channels for the strings).
Additionally, you can control the functions set in Assign (p.
19) by assigning Control Changes to the general (assignable)
controllers 3–8.
General Purpose Controller 3 (CC #18): Expression Pedal
General Purpose Controller 4 (CC #19): Foot Switch 1
General Purpose Controller 5 (CC #80): Foot Switch 2
General Purpose Controller 6 (CC #81): GK Volume
General Purpose Controller 7 (CC #82): S1 Switch
General Purpose Controller 8 (CC #83): S2 Switch
* These Control Change messages are not transmitted externally
to other devices.
* For data corresponding to the Foot Switches 1/2 and S1/S2
Switches, 00h–3Fh are output as 00h (OFF), and 40h–7fh are
output as 7fh (ON).
15
Chapter 1 Try Playing Some Sounds
Program Change
These messages switch the GI-20’s patches.
Program Changes 0–49 correspond to Patches 1–50 on the GI-
20.
* Program Changes 50–127 are disregarded.
fig.01-15
Basic
Channel
Control
MIDI
Foot Controller
Channel
Patch
1. Turn the PARAMETER knob to “MIDI CHANNEL.”
fig.01-10
Sound
Module
Performing on the Guitar
When you have finished making the settings, try playing the
guitar or bass to play sounds from the MIDI sound module.
1. Turn the PARAMETER knob to “PLAY MODE.”
2. Play the guitar or bass.
2. Press [SELECT] to select CONTROL CHANNEL (CTL
CH).
When CONTROL CHANNEL is selected, the three
indicators at the left light up.
fig.01-16
Lit
3. Press [PATCH/VALUE] to select the Control channel
number.
If you want to set the omni mode, select “oM.”
fig.01-17
4. When you have finished making the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
* The Control channel is a system parameter. It is saved
automatically when the PARAMETER knob is turned, even
without the Write procedure being carried out, and the
settings values are applied to all patches.
16
Chapter 1 Try Playing Some Sounds
Connecting to a Computer
This section explains how to connect the GI-20 to your
computer with a USB cable and use it as a tool to input data
to sequencers and other devices.
No USB cable is included with the GI-20. You will need to
purchase a third-party USB cable separately.
Do not press [SELECT] or connect (or disconnect) any device
or cable to (or from) the USB connector during performances
or while operating sequencers or other devices with the
computer. This may cause malfunctioning of the computer or
MIDI sound module.
* First, follow the instructions in “Installing & Setup the
Driver” (p. 45) to install the GI-20 driver on your computer.
Setting the MIDI Port
This setting determines which MIDI data from the GI-20 is
used by the applications on your computer.
In the application’s MIDI device selection screen, select
“Roland GI-20 MIDI IN” as the input device and “Roland GI20 MIDI OUT” as the output device.
* For instructions on selecting the input device, refer to the
owner’s manual for the application you are using.
fi
Roland GI-20 MIDI IN
This is the port used for inputting performance data to the
GI-20 from your computer.
Input here is performance data from guitars and basses
equipped with GK connectors.
Setting the MIDI Data Path (MIDI PLAYBACK)
You can switch the MIDI messages that are output from
MIDI OUT. Set MIDI PLAYBACK to “Off” when you want to
output performance data input from the GK input directly
from the MIDI OUT connector. When you want to output
your computer’s MIDI performance data from the GI-20’s
MIDI OUT connector, for example, if you want to play the
computer’s MIDI data through an external MIDI sound
module, set this to “On.”
1. Turn the PARAMETER knob to “PLAY MODE.”
fig.01-19
2. Press [SELECT] to set MIDI PLAYBACK to “On” or “Off.”
[SELECT] is lit when this is set to “On”; when set to
“Off,” [SELECT] is unlit.
* MIDI PLAYBACK cannot be set to “On” unless the computer
and the GI-20 are connected with a USB cable.
Signal Paths That Can Be Selected With
MIDI PLAYBACK
When MIDI PLAYBACK is On: [SELECT] is lit
fig.01-20
PC
Roland GI-20 MIDI OUT
This is the port used for outputting performance data to your
computer from the GI-20.
When MIDI PLAYBACK is set to ON, the performance data
the GI-20 receives from the computer is output as is from the
GI-20’s MIDI OUT connector (refer to “Setting the MIDI Data
Path (MIDI PLAYBACK)” p. 17).
USB MIDI
Sound
Module
When MIDI PLAYBACK is Off: [SELECT] is unlit
fig.01-21
PC
USB MIDI
Sound
Module
17
Chapter 2 Creating Your Own Settings (Patches)
Calling Up the Input Sensitivity Settings
Select input sensitivity settings appropriate for the guitar or
bass you are using.
1. Turn the PARAMETER knob to “GUITAR SEL.”
fig.02-01
2. Press [PATCH/VALUE] to select a setting from G1 to
G4.
You can make the input sensitivity settings for each of
the sets G1–G4 (p. 11).
fig.02-02
Setting the Feeling of the Performance (PLAY FEEL)
With guitars, in contrast to keyboards and similar
instruments, the vibrating strings are touched directly,
giving the player the ability to exert subtle control over the
dynamics. To realize most faithfully this aspect of the guitar,
you need to set a “performance response” for each patch that
is appropriate both for the way the instrument is being
played, as well as the sounds that are used.
These parameters are controlled by “PLAY FEEL.” For
example, you can get more natural dynamic expression by
changing PLAY FEEL according to whether you are playing
the strings with your fingers or using a pick.
1. Turn the PARAMETER knob to “PLAY FEEL.”
fig.02-03
When G1 is selected
3. If you want to save the settings, carry out the Write
procedure (p. 26).
* If you do not want to save the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
4. When you have finished making the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
2. Press [PATCH/VALUE] to change the value.
3. If you want to save the settings, carry out the Write
procedure (p. 26).
* If you do not want to save the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
4. When you have finished making the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
18
Chapter 2 Creating Your Own Settings (Patches)
The PLAY FEEL settings and their effects
nr: Normal
General picking, thus the standard setting for play.
Fi: Finger picking
The setting for when you want to perform with the feeling finger picking
provides. Sensitivity is a little higher
than Normal.
Hd: Hard picking
This setting is for those who pick rather hard, and the sensitivity is a little
lower than Normal.
* When there is a problem with the guitar’s arrangement, and
the only places GK-2A/GK-2B’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.
SF: Soft picking
For picking that is a little weaker. Sensitivity is a little higher than Normal.
Setting the Pedal and Switch Functions (ASSIGN)
You can assign various functions to an expression pedal (the
optional EV-5) or foot switch (the optional FS-5U) connected
to the GI-20, or to the GK-2A/GK-2B’s S1, S2, and GK VOL.
* When connecting a foot switch (the optional BOSS FS-5U) to
the FOOT SW jack, you can use the optional PCS-31
connection cable to connect two foot switches. Only FOOT
SWITCH 1 is operational when just one FS-5U is connected to
the FOOT SW jack.
fig.02-10
PCS-31
white red
FOOT SW 2FOOT SW 1 FOOT SW 1
Expression
Pedal
tP:Tapping play
nd: No dynamics
When making use of many kinds of
picking techniques, such as tapping
play (or “right-hand play”), pullingoff, or hammering-on, this setting provides very stable sound expression.
The range of power that can be expressed is a bit narrow.
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.
FOOT SW 1
FOOT SW 2
* Use only the specified expression pedal (EV-5; optional).
By connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
Always make sure that the power to the GI-20 is turned off
when connecting or disconnecting any foot switch or
expression pedal. Connecting or disconnecting these devices
while the GI-20’s power is on may cause malfunction in the
GI-20 or MIDI sound module.
Set the polarity switch
as shown below.
19
Chapter 2 Creating Your Own Settings (Patches)
1. Turn the PARAMETER knob to “ASSIGN.”
fig.02-11
2. Press [SELECT] to select the parameter whose settings
you want to change.
The display indicators light up as shown below
according to the parameter being set.
fig.02-12
Lit
When the expression pedal is selected
Lit
Functions That Can Be Selected With
ASSIGN
The following describes the functions that can be assigned to
the controllers.
Controller function
Expression Pedal CC#1–31, 64–95, Pitch Bend 1–6,
Vibrato 1–4
Foot Switch 1/2 CC#1–31, 64–95, Patch Up, Patch Down,
Octave Up, Octave Down, GR Hold1–3,
Glide Up 1–8, Glide Down 1–8,
Vibrato 1–4
GK Volume CC#1–31, 64–95
S1/S2 Switch Patch Up/Down, Octave Up/Down
* When “POLY” is selected as the transmission mode, the Pitch
Bend/Glide and Vibrato function as follows.
When BEND RANGE (p. 23) is set to anything other than
Chromatic, Pitch Bend/Glide changes in semitone steps when
chords are played, and Vibrato does not function. These
function normally when you play notes individually.
When FOOT SWITCH 1 is selected
Lit
When FOOT SWITCH 2 is selected
Lit
When GK VOLUME is selected
Lit
When the S1/S2 switch is selected
3. Press [PATCH/VALUE] to change the value.
* For more on the settings values that can be selected, refer to
the following section “Functions That Can Be Selected With
Assign (ASSIGN).”
4. If you want to save the settings, carry out the Write
procedure (p. 26).
* If you do not want to save the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
5. When you have finished making the settings, turn the
PARAMETER knob to return to “PLAY MODE.”
When patches are switched, no signal is transmitted to
restore the Control Change value transmitted with the
previous patch. Therefore, if the same assign settings are
used for both of the patches prior to and following the
switch, the status of the controllers is carried over. However,
if the assign settings are different for the patch you are
switching to, you cannot restore the value for the Control
Change transmitted with the earlier patch, so you will need
to be aware of the following.
(Example)
The volume of a patch with CC 7 (Volume) assigned to the
expression pedal is lowered to the minimum level. After this,
if you switch to a patch with a different assign setting, since
CC 7 (Volume) is not controlled in that patch, no sound is
output, even when you press the expression pedal.
1–31, 64–95 (MIDI Control Change CC#1–31, CC#64–95)
Transmits Control Change messages
(#1–#31, #64–#95) from MIDI OUT.
For more on the functions controlled
with Control Change messages, refer
(Ex.) CC 1
to the “MIDI Implementation” (p. 40)
and owner’s manual for the sound
module you are using.
20
Pu: Patch Up
The patch number increases each time
the switch is pressed.
Chapter 2 Creating Your Own Settings (Patches)
Pd: Patch Down
Pt: Patch Up/Down
ou: Octave Up
od: Octave Down
oC: Octave Up/Down
The patch number decreases each time
the switch is pressed.
The S1 switch is used for the Patch
Down function and the S2 switch for
the Patch Up function.
All notes are raised an octave each time
the switch is pressed. The pitches can
be raised up to a maximum of two octaves.
* The pitches of notes currently being
played are not altered.
All notes are lowered an octave each
time the switch is pressed. The pitches
can be lowered by a maximum of three
octaves.
* The pitches of notes currently being
played are not altered.
The S1 switch is used for the Octave
Down function and the S2 switch for
the Octave Up function.
H2: GR Hold 2
The sound being played is held the
moment you press the foot switch, and
continues to be held while you hold
the pedal down.
The synth sound is not played during
the hold, allowing you to hold chords
played with the synth sound while you
play the melody using the normal guitar sound.
H3: GR Hold 3
The sound being played is held the
moment you press the foot switch, and
continues to be held while you hold
the pedal down.
Since you can still play the strings that
aren’t being held, it means you can
hold chords played with the fifth and
sixth strings using the synth sound,
while you play the melody with the
first through fourth strings, also using
the synth sound.
* If the hold function is assigned to two foot switches, and both
switches are pressed, the hold function for the foot switch
pressed first takes priority, and the hold function for the foot
switch pressed afterwards does not have any effect.
u1: Glide Up 1/d1: Glide Down 1
When the foot switch is pressed, the
pitch changes continuously up (down)
to a semi tone. Release the pedal to return to the original pitch.
* If notes transposed using the Octave Up/Down function are
in registers that are unplayable with MIDI messages, the
MIDI messages in the expressable range above or below that
octave are transmitted.
H1: GR Hold 1
The sound being played are held while
the foot switch is pressed.
By holding down the pedal, you can have the synth sound
play without stopping, even as you change the position (the
point at which the stringed is pressed against the guitar
neck) or play discontinuous notes.
However, you cannot play two different sounds from the
same string simultaneously.
u2: Glide Up 2/d2: Glide Down 2
When the foot switch is pressed, the
pitch changes continuously up (down)
to a whole tone. Release the pedal to
return to the original pitch.
u3: Glide Up 3/d3: Glide Down 3
When the foot switch is pressed, the
pitch changes continuously up (down)
to a perfect fourth. Release the pedal to
return to the original pitch.
21
Chapter 2 Creating Your Own Settings (Patches)
u4: Glide Up 4/d4: Glide Down 4
When the foot switch is pressed, the
pitch changes continuously up (down)
to a perfect fifth. Release the pedal to
return to the original pitch.
u5–u8: Glide Up 5–8/d5–d8: Glide Down 5–8
When the foot switch is pressed, the
pitch changes continuously up (down)
to one octave. Release the pedal to return to the original pitch.
The higher the numeral set, the less
time it takes for the change in pitch to
be completed.
b2: Pitch Bend 3
When the pedal is pressed, the pitch
changes up to one octave (max.).
b4: Pitch Bend 4
When the pedal is pressed, the pitch
changes down to a semi tone (max.).
b5: Pitch Bend 5
When the pedal is pressed, the pitch
changes down to a whole tone (max.).
b6: Pitch Bend 6
When the pedal is pressed, the pitch
changes down to one octave (max.).
V1–V4: Vibrato 1–4
b1: Pitch Bend 1
b2: Pitch Bend 2
Pressing the pedal applies vibrato (an
effect that changes the pitch cyclically).
The effect deepens as the value is increased
* When using the expression pedal for
this effect, the depth of the vibrato
changes with the pedal angle.
When the pedal is pressed, the pitch
changes up to a perfect fourth (max.).
When the pedal is pressed, the pitch
changes up to a perfect fifth (max.).
* When “POLY” (p. 14) is selected as the transmission mode,
the changes in pitch with Glide and Pitch Bend occur in
semitone steps whenever two or more notes are played
together, and Vibrato does not function.
* MIDI Pitch Bend messages are used for Glide and Pitch Bend.
If the change in pitch exceeds the BEND RANGE (p. 23) set
for Glide or Pitch Bend, the Glide or Pitch Bend is cut off and
retriggered.
When using Glide or Pitch Bend, have the bend range set to 24
or Chromatic (C1–C3).
However, if BEND RANGE MAX (p. 32) is set to 12, Glide
and Pitch Bend are retriggered if the pitch rises or falls an
octave or more.
22
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