Roland GR-33 User Manual

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Owner’s Manual

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.

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.

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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.

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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.

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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.

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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.

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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!

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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.

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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.

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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:

• The AC adaptor, the power-supply cord, or the

plug has been damaged; or

• 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.

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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.

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014

●

Protect the unit from strong impact. (Do not drop it!)

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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.

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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.

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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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102c

●

Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.

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103b

●

Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor.

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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.

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106

●

Never climb on top of, nor place heavy objects on the unit.

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107c

●

Never handle the AC adaptor or its 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 (p. 12).

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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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Contents

Getting Started........................................................................................8

About the Guitar Synthesizer.........................................................................................................8

What You Can Do with the GR-33.................................................................................................8

IMPORTANT NOTES ...............................................................................9

Panel Descriptions................................................................................10

Chapter 1 Producing Sounds ..............................................................13

What You Need................................................................................................................................13

Installing the GK-2A.....................................................................................................................13

Making Connections ...................................................................................................................... 14

Necessary Steps—From Powering Up to Performance............................................................15

About Play Mode ..........................................................................................................................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

Setting Input Sensitivity (PICKUP SENS).................................................................................17

Matching Pitches of Other Instruments.....................................................................................18

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

Chapter 2 Selecting and Playing Sounds (Patches)..........................21

What Is a Patch?...............................................................................................................................21

Rewritable Patches (User Patches)..............................................................................................21

Read-only Patches (Preset Patches)............................................................................................ 21

Selecting a Patch..............................................................................................................................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

Selecting Patches with an External MIDI Foot Controller ......................................................24

Changing the Patch Order............................................................................................................. 25

Chapter 3 Controlling Functions and Effects with the Base Module Pedals

“Pedal Effect Mode”: What It Is, and How to Call It Up.........................................................26

Getting the Same Effect While in Play Mode............................................................................26

Turning Arpeggiator and Harmonist On/Off............................................................................27

Changing Effects with the Pedals................................................................................................28

Getting a Pedal Wah Effect (Wah)..............................................................................................28

Changing Pitch Dynamically (Pitch Glide)............................................................................... 28

Holding a Synth Tone After the String is Stopped (Hold)...................................................... 28

Calling Up the Tuner Function with a Pedal.............................................................................29

.....26

Chapter 4 Five Basic Modes ................................................................30

Play Mode......................................................................................................................................... 30

Pedal Effect Mode...........................................................................................................................31

Patch Edit Mode: What It Means, How It Works......................................................................32

System Mode....................................................................................................................................33

Procedures in Tuner Mode............................................................................................................33

Getting Into and Out of Each Mode............................................................................................ 34

Chapter 5 Setting/Changing Sounds (Patches) .................................35

Details of Putting a Patch Together.............................................................................................35

What is a “Tone”? ......................................................................................................................... 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

Contents

Saving Patches .................................................................................................................................36

Cautions When Saving................................................................................................................. 36

Saving Patches From the GR-33 to Sequencers or Other MIDI Devices (Bulk Dump).......37

Receiving previously saved system or patch data (Bulk Load) .............................................37

Naming the Patches (PATCH NAME) ........................................................................................38

Setting the Volume Level of Each Patch (PATCH LEVEL)..................................................... 38

Changing the Feel of a Performance (PLAY FEEL)................................................................... 39

Following the Guitar Sound Shape (Envelope Follow)...........................................................40

Increasing the Speed of Expression (Acceleration)..................................................................40

Changing Sound Placement (PAN) .............................................................................................41

Dividing Continuous Pitch Changes into Semitones (CHROMATIC)................................ 42

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 CTRL Pedal....................................................................................................................46

Using the Expression Pedal...........................................................................................................47

To Add Effects...............................................................................................................................47

To Switch Effects (EXP PEDAL) ................................................................................................. 47

Creating Synth Sounds ..................................................................................................................49

Selecting the basic ingredient (tone) of a sound (SELECT)..................................................... 49

Increasing/Decreasing Attack Time (ATTACK)......................................................................49

Changing Tone Release (RELEASE)........................................................................................... 50

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

Contents

Chapter 6 Using the Built-in Effects....................................................53

About the Effects Processors and Available Effects.................................................................53

Making Multi-effects Settings...................................................................................................... 53

Turning multi-effects on/off (MULTI-FX SW)......................................................................... 53

Selecting a Type (MULTI-FX TYPE)........................................................................................... 54

About Multi-Effects Parameters..................................................................................................55

Making Chorus Settings................................................................................................................ 74

Making Reverb Settings ................................................................................................................74

Temporarily Turning Off Effects (EFFECT BYPASS)..............................................................75

When the Onboard Effects Don’t Work......................................................................................75

Chapter 7 The Arpeggiator Function ..................................................76

About the Arpeggiator Function..................................................................................................76

About “Arpeggio Patterns”......................................................................................................... 76

Effective Use of the Hold Function During Arpeggios ...........................................................76

Changing the Sounding of Arpeggios ........................................................................................77

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

Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) ....80

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

Operation.......................................................................................................................................... 81

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)

Switching Between Major and Minor During a Performance................................................ 85

........84

Chapter 9 Connecting to External Sound Generators and Sequencers

About MIDI......................................................................................................................................86

Controlling an External MIDI Sound Device............................................................................86

Connecting to an External MIDI Sound Device ....................................................................... 86

Setting MIDI Channel/Bend Range (BASIC CHANNEL, BEND RANGE).........................86

Changing Patch and Other Parameters by Transmitting MIDI Messages from the GR-33 (MIDI [PC])

Selecting Separate Sounds Programmed for Different Strings...............................................89

Selecting More Than 128 Tones (MIDI [CC0], MIDI [CC32])................................................. 89

Applying the Arpeggiator or Harmonist Using an External Sound Device ........................90

The Relationship Between Envelope Follow Function and MIDI Message .........................91

Controlling External MIDI Devices with the Pedal .................................................................91

......86

...88

Contents

Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE])

What to do if an External Module Doesn’t Produce Sound as Expected..............................92

Using the GR-33 as an External Sequencer Input Tool ........................................................... 93

Connecting to a Sequencer...........................................................................................................93

Input Procedures and Settings for Each Device .......................................................................93

About “Local Control Off” .......................................................................................................... 94

Creating Realistic Plucked String Instrument Sounds (Data) ................................................94

Recording Arpeggiator and Harmonist Performances............................................................94

Reducing the Size of a MIDI Pitch Bend Message....................................................................95

Practical Use of MIDI Channels..................................................................................................96

What to do When You Have Difficulty Sequencing................................................................96

.....92

Chapter 10 Other Convenient Functions............................................97

Re-assigning Program Change Numbers in the Order of Patches ........................................97

Terminating Transmission of the MIDI Controller No. 7 (Volume)....................................97

Terminating Transmission of the Bend Range Request Message......................................... 98

Chapter 11 Appendices........................................................................99

Troubleshooting.............................................................................................................................. 99

Error Messages...............................................................................................................................102

Roland Exclusive Messages.........................................................................................................103

MIDI Implementation..................................................................................................................105

MIDI Implementation Chart.......................................................................................................119

Specifications.................................................................................................................................120

Index.....................................................................................................121

Tone List..............................................................................................122

Patch List.............................................................................................124

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Getting Started

About the Guitar Synthesizer

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The GR-33 guitar synthesizer, though small and compact, is big on functions and high-quality sounds.

Say “synthesizer,” and people generally think of the typical kind with a keyboard controller. However, since the keys on a keyboard synthesizer are in essence simply advanced versions of basic on/off switches, synthesizers cannot really offer a faithful expression of strings or wind instruments.

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.

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.

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.

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.

What You Can Do with the GR-33

While enjoying the experience of playing an ordinary guitar, you can choose from a huge palette of synthesizer sounds—384 in all.

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.

When playing chords, you can enjoy the rich, full ensemble sounds that a synthesizer provides.

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.

When properly installed, the GK-2A divided pickup (sold separately) can also be used with an acoustic guitar strung with metal strings.

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).

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 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).

With the four tone-switching pedals, you can get various effects, such as wah-wah and whammy (p. 28–

29). You can use the supplied expression pedal to control

various aspects of the sound, such as volume and tone, while you play (p. 47). No additional equipment is required.

You can also convert a guitar performance into MIDI messages that allow you to play external MIDI sound generators (p. 86).

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). Tuning is a snap when you use the guitar tuner

function (p. 18).

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).

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❍

IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following:

Power Supply

301

Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

302

The AC adaptor will begin to 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.

352

This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

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.

355

To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.

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.

Repairs and Data

452

Please be aware that all data contained in the unit’s 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.

Memory Backup

501b

This unit contains a battery which powers the unit’s 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.

“Battery Low!”

Additional Precautions

551

Please be aware that the contents of memory can be 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).

552

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.

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.

558a

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).

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.

562

Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

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 information on cable specifications, contact the manufacturer of the cable.

Panel Descriptions

fig.0-01

13 14

2 3 4 5

6 7 8 9

1 VOLUME Knob

The VOLUME knob adjusts the signal volume output from the MIX OUT jack. The center mark provides an easy reference setting when connecting the GR-33 to an instrument amp or mixer.

* The output level from the GUITAR OUT jack is controlled

separately.

1615

6 COMMON Button

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.

Press this button to enter Patch Edit mode and adjust settings such as the patch name and patch pedal functions.

2 PLAY Button

This button selects Play mode. To play sounds, press this button to enter Play mode.

(The GR-33 is in Play mode at start-up.)

3 SYSTEM Button

This button selects System mode. 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.

4 TUNER Button

This button selects Tuner mode. When you press this button, the Tuner function will be

turned on, and you can tune your instrument.

5 WRITE Button

Use this button to write a patch (Patch Write). This button also confirms the Factory Reset and Bulk

Dump operations.

7 TONE Button

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.

8 EFFECTS Button

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.

9 STRING SELECT Button

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.

10 OUTPUT SELECT Button

This button selects the output device connected to MIX OUT jacks.

11 BANK/PARAMETER Button

Press these buttons in Play mode to switch patch banks. In System mode and Patch Edit mode, these buttons

select the parameter to be adjusted.

12 PATCH/VALUE Dial

In Play mode, turn this dial to scroll through the different patches or tones in order.

In System mode and Patch Edit mode, use this knob to adjust parameter values.

13 Three-digit Display

In Play mode, the three-digit display shows the currently selected patch’s number.

In System mode, Patch Edit mode, and Pedal Effect mode, 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.

Panel Descriptions

14 Display

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.

15 Foot Pedal

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.

16 Expression Pedal

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 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.

Panel Descriptions

fig.0-02

17 18 19 20 21 22 23 24

MIX OUT Jacks L(PHONES)/R(MONO)

The output of the synthesizer is sent out, or “output,” from here. Ordinarily, two cables are plugged into the L and R jacks, and the signal is then sent to a stereo amplifier.

You can use the L (PHONES) jack as a headphone jack for stereo headphones that have a standard 1/4” stereo plug—leave the R (MONO) jack unplugged.

You cannot simultaneously use the R (MONO) jack as a mono output while using the L (PHONES) jack as a headphone jack.

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.

21 GK IN Connector

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.

22 MIDI Connectors (MIDI IN/OUT)

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.

23 Power Switch

This is the switch that turns power to the GR-33 on and off.

18 GUITAR RETURN Jack L/R(MONO)

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.

19 GUITAR OUT Jack

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.

20 BANK SHIFT Jack

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.

24 AC Adapter Jack/Cord Hook

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.

* Use ONLY the AC adapter included with this guitar

synthesizer.

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.

Chapter 1 Producing Sounds

What You Need

The following items are necessary for getting sounds from your GR-33:

●

GR-33 base module, with included accessories (AC adapter, 13-pin cable)

●

Amplifier, speakers, and cables—a completely stereophonic system is preferable—or stereo headphones

● GK-2A divided pickup

● Metal-stringed 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)

Installing the GK-2A

Before you can use your guitar with the GR-33, the GK-2A must first be properly installed on the guitar.

Following the procedure outlined in the GK-2A owner’s manual, attach the GK-2A’s pickup as shown in the picture.

fig.1-20

Guitars That Cannot Be Used with the GK-2A

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:

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.

Chap. 1

* Be sure the Divided Pickup is correctly oriented: the cord from

the Pickup should emerge from under the sixth string.

* 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:

● 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.

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.

* 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.

Chapter 1 Producing Sounds

Making Connections

After setting up the guitar part of your system, connect your other equipment following the examples shown in the connection diagram below.

fig.1-01

Stereo set, radio-cassette player, etc.

To AUX, LINE IN

Synthesizer amp (keyboard amplifier, PA system, etc.)

Guitar with GK-2A/ other GR-compatible guitar

Guitar amp/ guitar effects processors

D O W N

S Y

N T H

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.

* Raise the volume of the amplifier only after you turn on the

power to all connected devices.

* 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

See p. 23See p. 15

AC adaptor

(BRC series)

* If you are outputting a mono signal from the GR-33, connect

the cable to the R (MONO) jack of the MIX OUT jacks.

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.

Chapter 1 Producing Sounds

Currently Selected Patch

(A11)

Patch Name

Harmonist (HAR)

Arpeggiator (ARP)

Outputting the guitar sound and synth sound separately

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.

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.

Applying an external effect only to the guitar sound and outputting it along with the synth sound

Make the following connections.

Necessary Steps—From Powering Up to Performance

* Once your connections have been completed (p. 14), turn on

power to your various devices in the order specified. By turning on the devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

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.)

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.

About Play Mode

Chap. 1

GR-33 GUITAR OUT Jack

↓

External Effect Input

External Effect Output

↓

GR-33 GUITAR RETURN Jack

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.

* 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.

For settings appropriate to your output device, refer to “Specifying the output device (OUTPUT SELECT)” (p. 19).

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 performance. (→ For details, see p. 21.)

fig.1-03

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.

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.)

Chapter 1 Producing Sounds

Reset to Default Factory Settings (Factory Reset)

■ Performing a Factory Reset

1. Press [SYSTEM] to enter System mode.

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 patches, as well as the GR-33’s system settings— including pickup sensitivity and the MIDI channels used for sending and receiving MIDI data—can be returned to their original factory-fresh 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.

2. Press [PARAMETER] to select “FACTORY RESET.”

fig.1-04

3. Turn [VALUE] to select the parameter—or group of

parameters—you wish to reset.

• All:

Restores all settings to their original state.

• System:

The System settings will be restored to their factory settings.

• User Patch:

Patch settings will be restored to their original state.

• 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.

Chapter 1 Producing Sounds

Overall Settings for the GR-33 (SYSTEM)

Adjusting the Brightness of the Display (LCD Contrast)

■ Adjusting the Brightness of the Display

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “LCD CONTRAST.”

fig.1-06

3. Turn [VALUE] to adjust the contrast.

4. When you have finished adjusting the display, press

[PLAY] to return to Play mode.

Setting Input Sensitivity (PICKUP SENS)

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.

■ Procedure for Setting Input Sensitivity

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “PICKUP SENS.”

Sensitivity-setting is activated, and the following appears in the display window:

fig.1-07

fig.1-21

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.

5. Adjust Strings 5 to 1 using the same technique.

6. When you have finished, press [PLAY] to return to Play

mode.

In any of the following situations, please be sure to readjust the sensitivity settings!

• 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

• When you replace a string with one of a different gauge

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.

Chap. 1

Sensitivity: lo

Sensitivity: hi

String Number

Input Sensitivity

3. When String 6 of the guitar is played, the string

number in the display automatically switches to “6.”

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.

4. Use [VALUE] to adjust the sensitivity so that the square

indicator lights when you play most strongly in actual performance.

Level Meter

Using Multiple Guitars (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.

■ Calling Up the Different Sensitivity Settings

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “GUITAR SELECT.”

fig.1-08

Chapter 1 Producing Sounds

String Numbers 1 to 6

Pitch name (“D#” – The marking in the third place denotes sharp)

3. Turn [VALUE] to select Gtr1–Gtr4.

The setting you select will be loaded.

* With the factory settings, this is set to “Gtr1.”

If you wish to create a new input-sensitivity setup, press [PARAMETER] to select “PICKUP SENS,” and then adjust the sensitivity settings for the current guitar’s six strings.

4. After setting each string’s sensitivity, press [PLAY] to

return to Play mode.

Create four different input-sensitivity setups for Gtr1– Gtr4 to store the sensitivity settings for four different guitars.

* The last-selected sensitivity setup is the one currently in effect.

Matching Pitches of Other Instruments

The master tuning (basic pitch) set at the factory for the GR33’s sounds and internal tuner is A = 440.0 Hz.

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.

■ Changing the Master Tune Setting

Adjusting the Guitar Tuning (Tuner Function)

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.

■ Tuning the Guitar

1. While pressing [S1] on the GK-2A, step on the first foot

pedal—[1] (TUNER) —or press [TUNER].

The Tuner function is called up, and the following appears in the display.

fig.1-09

2. Play String 6 on the guitar.

The string number automatically switches to “6.” 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.)

fig.1-10

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “MASTER TUNE.”

fig.1-13

3. Turn [VALUE] to select the desired pitch. The pitch can

be changed to any frequency from 427.4 to 452.6 Hz.

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.

3. Turn the string’s tuning peg while playing String 6

until the screen shows the name of the note to which you want to tune the string.

fig.1-11

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.”

Chapter 1 Producing Sounds

fig.1-12

too high

Just Tuned

too low

5. Tune each of the other strings, 5 to 1, to A, D, G, B, and

E, respectively.

6. When you are finished tuning, press any foot pedal,

[S1] or [S2] on the GK-2A, or [PLAY], to return to Play mode.

Selecting the output device (OUTPUT SELECT)

In order for the GR-33 to produce the correct output levels, you must select the type of device to which its outputs are connected (MIX OUT).

fig.1-14

Turning off the guitar amp simulator (G.AMP SIM)

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.

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.

Chap. 1

1. Press [OUTPUT SELECT] and select the appropriate

setting.

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.

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.

* Changing the OUTPUT SELECT setting will not affect the

settings that are stored in each patch.

■ Turning the Amp Simulator Off

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “G.AMP SIM”

fig.1-15

3. Turn [VALUE] to select “Off.”

• Off:

The amp simulator will not be used.

• 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.

Chapter 1 Producing Sounds

Playing the Internal Synth Sounds with the Guitar

After checking the connections to the amplifier you are using, completing the sensitivity setup and tuning your guitar, try playing some sounds.

■ How to Play the GR-33’s Sounds with the

Guitar

1. Make sure that the display indicates Play mode (p. 15).

2. Set the GK-2A’s selector switch to “SYNTH.”

3. Turn SYNTH VOL on the GK-2A counterclockwise to

raise the volume to a suitable level.

4. Set the VOLUME knob on the GR-33 to its center

position.

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.

❍ To Hear the Normal Guitar Sound...

Set the GK-2A’s selector switch to “MIX.” If you then switch to “GUITAR,” the synthesizer sound generator will be muted, and only the sound of the guitar will remain.

To Change the Volume of the Synth Sound Generator...

❍

Adjust the volume using either the SYNTH VOL knob on the GK-2A or the GR-33’s VOLUME knob.

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.)

What To Do if There is No Sound When the Guitar is Played

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).

Chapter 2 Selecting and Playing Sounds (Patches)

What Is a Patch?

“Patch” is the term for the GR-33’s tones that can be called up at any time with a foot switch or other device. There are 256 patches stored in the GR-33. As an example, the “A11” that appears in the display when the power is switched on indicates that patch number A11 has been called up, and that the unit is ready to be played.

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) 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.

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).”

(Example: A83, d24, F61, etc.)

fig.2-01

Rewritable Patches (User Patches)

Patches in Groups A through d

(A11 to A84, b11 to b84, C11 to C84, and d11 to d84) Here you can create patches to fit a song, or for other

purposes, and then store those patches in memory. (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 conditions, please carry out the Factory Reset operation explained on p. 16.)

Read-only Patches (Preset Patches)

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.

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.

Chap. 2

Numerals 1 to 4 (Pedal Numbers) Numerals 1 to 8 (Banks) Letters A, b, C, d, E, F, G, H (Groups)

Consecutive numerals 001 to 256 can also be substituted (p. 24).

Selecting a Patch

Using the Guitar (GK-2A) to Select Patches

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.)

■ How to Select a Patch Using the Guitar

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “S1/S2 FUNCTION.”

fig.2-02

Chapter 2 Selecting and Playing Sounds (Patches)

3. Use [VALUE] to select “Patch Select.”

• Patch Select:

You can continuously switch patches with [S1] and [S2] on the GK-2A.

• Normal:

Normal status. You cannot switch patches on the GK-2A.

4. Press [PLAY] to return to Play mode.

5. Pressing the GK-2A [UP/S2] once brings you to the next

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 similarly return you to previous patches.

fig.2-03

(Patch Number Down)

Using the Base Module to Select Patches

Selecting Patches Using the Pedal

You can select patches using the pedal only when “S1/S2 FUNCTION” is set to “Normal.”

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.

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

(Patch Number Up)

Now, using the GK-2A buttons to switch patches, try playing the guitar to listen to the patches in sequence.

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 threedigit display, showing the patches and their corresponding numbers.

fig.2-04

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.

❍ To Use the Pedal for Calling Up Patches from a

Different Group or Bank

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 ▲]

(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.

Chapter 2 Selecting and Playing Sounds (Patches)

fig.2-06

While holding down S1

3. While pressing [S1] on the GK-2A, step on [BANK ▲] (pedal 4) or [BANK ▼] (pedal 3).

As long as the [S1] button is held down, pedal 4 works as a [BANK ▲] (BANK UP), and pedal 3 as a [BANK ▼] (BANK DOWN). The display starts to flash, and when you step on pedal 3 or 4, numbers for the bank digit (the middle number in the display) go down or up.

fig.2-07

Selecting with the Dial

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

3. Use [VALUE] to select “PATCH&VALUE.”

• PATCH&VALUE:

The dial can be used both for selecting the patch number and for modifying values while editing.

• VALUE Only:

The dial can be used only for modifying values while editing.

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.

Chap. 2

While holding down S1

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 the sound will change.

fig.2-08

Using the Base Module plus an External Foot Switch to Select Patches

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.

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 only your feet.

fig.2-10

PCS-31

Red

BANK

DOWN

White

BANK

Chapter 2 Selecting and Playing Sounds (Patches)

* Sometimes when pressing and releasing the foot switch to

switch banks, you may find that while the bank does change, the patch number may not (light will flash); however, this does not indicate any malfunction. You can also make the setting with the FS-5U polarity switch, as shown in the figure below.

fig.2-11

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).

Selecting Patches with an External MIDI Foot Controller

While the base module’s four pedals are being used as designated pedals (p. 26) for such effects as hold and wah, 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).

Make the settings, using the following procedure.

1. Connect equipment as shown in the figure below.

fig.2-12

MIDI IN

MIDI OUT

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.

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:

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.”

For details, refer to “Selecting a Patch/Using the Guitar (GK2A) to Select Patches.”

7. Press [PLAY] to return to Play mode.

The patch number displayed will be “001,” rather than “A11.”

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).

9. Use the MIDI foot controller to switch patches

externally, operating the controller according to the instructions in the owner’s manual.

* 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.

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 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.

88)

3. Press [PARAMETER] to select “DISPLAY TYPE.”

fig.2-13

Chapter 2 Selecting and Playing Sounds (Patches)

Changing the Patch Order

When sequencing patches while performing a piece, or while you are on stage, if the patches are from the same group/ bank (for example A11 to A14), you can switch patches very smoothly by using the pedals on the base module.

To change the order of the patches, perform the patch write (p. 36) operation. This designates the patch number (address) where the patch data from the present selection (or change) will be written.

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.)

After that, by writing B62 → A21, then temporary placeholder → B62, the order of A21 and B62 can be swapped.

1. Select the “A21” patch.

2. Press [WRITE].

You enter Write mode, and the screen like the one below appears.

fig.2-14

3. Use [VALUE] to select the patch you want to write to.

fig.2-15

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

Chap. 2

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.)

Chapter 3 Controlling Functions and Effects

with the Base Module Pedals

“Pedal Effect Mode”: What It Is, and How to Call It Up

Getting the Same Effect While in Play Mode

About Pedal Effect Mode

By using the four pedals on the GR-33, you can turn on and off the Arpeggiator (and Harmonist) function, and get effects such as synth sound hold and wah pedal.

This is called “Pedal Effect mode,” and along with the Play mode, is often used in performance.

■ How to Switch to Pedal Effect Mode

1. Press [SYSTEM] to enter System mode, and set the “S1/

S2 FUNCTION” to “Normal.”

For more detailed information and instructions for this procedure, refer to “Selecting a Patch/Using the Guitar (GK2A) to Select Patches” (p. 21).

If you have set “S1/S2 FUNCTION” in System mode to “Patch Select” in order to use the buttons of the GK-2A for selecting patches, you can use pedal effects in Play mode. The four pedals will act as they do in Pedal Effect mode instead of selecting patches as they normally would in Play mode. (“PdL” will appear once every four seconds or so in the 3-digit display, indicating that pedal effects are available.)

For more detailed information and instructions about this type of setup, refer to “Selecting a Patch/Using the Guitar (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.

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).

Chapter 3 Controlling Functions and Effects with the Base Module Pedals

Turning Arpeggiator and Harmonist On/Off

■ Using the pedals for on/off switching

1. Enter Pedal Effect mode (p. 26). (As an alternative, set

About MULTI-FX

These are effects for the synthesizer sound.

For details, refer to p. 53.

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.

For details, refer to p. 76.

System mode “S1/S2 ACTION” to “Patch Select” and return to Play mode.)

2. Press Pedal 4 (CTRL).

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).

<Some Notes About the Display> MULTI FX BYPASS On/Off

“bYP” or “oFF” appears for approximateryone second in the three-digit display.

Chap. 3

About Harmonist

This creates harmonies in designated keys using either guitar and synthesizer sounds, or two synthesizer sounds together.

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.

* 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.

* You may hear a noise when MULTI-FX BYPASS is switched

on/off, but this does not indicate a malfunction.

Arpeggiator On/Off

“Arp” or “oFF” appears for approximateryone second in the three-digit display.

The display responds as shown below when the Arpeggiator is being turned on.

fig.3-10

Harmonist On/Off

“HAr” or “oFF” appears for approximatery one second in the three-digit display.

The display responds as shown below when the Harmonist is being turned on.

fig.3-02

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.

Chapter 3 Controlling Functions and Effects with the Base Module Pedals

Changing Effects with the Pedals

In Pedal Effect mode (p. 26), you can get different effects by pressing Pedals 1 to 4 in the follow way.

Getting a Pedal Wah Effect (Wah)

You can get several of the most commonly used wah effects by pressing Pedal 1 (WAH). Repeatedly pressing 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.

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 naturalsounding vibrato using your guitar fingering.

For more detailed information and instructions for this procedure, refer to “Selecting Wah Types (WAH TYPE)” (p.

43).

* 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.

Changing Pitch Dynamically (Pitch Glide)

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.

Holding a Synth Tone After the String is Stopped (Hold)

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.

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 “Effective Use of the Hold Function During Arpeggios” (p. 76).

<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.

When Pedal 3 (HOLD) is pressed

“HLd” appears in the three-digit display.

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.

Chapter 3 Controlling Functions and Effects with the Base Module Pedals

Calling Up the Tuner Function with a Pedal

1. While pressing [S1] on the GK-2A, step on Pedal 1

(TUNER).

* Perform this operation with “S1/S2 FUNCTION” set to

“Normal.”

The Tuner function is called up, and the following appears in the display.

fig.3-03

Chap. 3

String Number

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.

Note Name

Chapter 4 Five Basic Modes

The three main modes of the GR-33 allow you to:

• Select tones and perform “Play mode”

• Get effects such as wah or hold using the pedal on the

base module “Pedal Effect mode”

• Create and modify patches, and write them into memory

“Patch Edit mode”

Play Mode

In Play mode, the buttons and dials work as follows:

[BANK/PARAMETER] Button

Moves you forward and back through patch banks.

[PLAY] Button

Has no function in this mode.

[SYSTEM] Button

Switches to System mode (settings for the GR-33 itself).

[TUNER] Button

Switches to Tuner mode (p. 18).

[WRITE] Button

Writes the contents of a patch (p. 36).

[COMMON] Button

Switches to Patch Edit mode, COMMON (overall patch settings).

[TONE] Button

Switches to Patch Edit mode, TONE (sound-related patch settings).

[EFFECTS] Button

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).

• Establish settings for the entire GR-33 “System mode”

• Adjusting the tuning “Tuner mode”

How buttons, dials, and knobs work varies depending on the mode you are in.

GK-2A [S1]

While this is held down, pedal workings can be changed (p. 22, 29). (TUNER, GROUP ▲, BANK ▲, BANK ▼)

GK-2A [S2]

Switches to Pedal Effect mode (p. 26).

External Bank Shift Pedal

For switching patch banks. (This does the same thing as BANK ▼ and BANK ▲).

When “S1/S2 FUNCTION” is Set to “Patch Select”

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.

* Buttons and dials not listed here will function the same

way as in normal Play mode.

Pedal 1–4

Function as in Pedal Effect mode (p. 31).

GK-2A [S1]

Advances through patches.

GK-2A [S2]

Goes back through patches.

External Bank Shift Pedal

Goes forward and back through patches.

[PATCH/VALUE] Dial

Moves forward and back through patches (p. 23).

* 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).

When you want to check something by listening to 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.

Pedal Effect Mode

Chapter 4 Five Basic Modes

In Pedal Effect mode, buttons and dials work as follows. Additionally, you can change the nature of the available

effects by pressing Pedals 1 to 4 in each patch. You can also change and re-record effects settings in User Patches A11 to d84.

[BANK/PARAMETER] Button

Goes forward and back through banks.

[PLAY] Button

Returns you to Play mode.

[SYSTEM] Button

Switches to System mode (settings for the GR-33 itself).

[TUNER] Button

Switches to Tuner mode (p. 18).

[WRITE] Button

Writes the contents of a patch (p. 36).

[COMMON] Button

Switches to Patch Edit mode, COMMON (overall patch settings).

[TONE] Button

Switches to Patch Edit mode, TONE (sound-related patch settings).

[EFFECTS] Button

Switches to Patch Edit mode, EFFECTS (effect-related patch settings).

[STRING SELECT] Button

Has no function in this mode.

Pedal 1

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.

Pedal 3

HOLD → Causes synthesizer sounds to continue to play even after the guitar string has stopped vibrating.

Pedal 4

CTRL → Turns the MULTI-FX BYPASS, the arpeggiator (p.

76) and harmonist (p. 80) on and off. Is also used as an

auxiliary pedal for holding arpeggios (p. 76).

Expression Pedal

Changes the value of the selected parameter (p. 47).

GK-2A [S1] and [S2]

Press either of these to return to Play mode.

External Bank Shift Pedal (Bank Up)

This is used for the arpeggiator’s Tap Tempo Teach function (p. 79). Also toggles between major and minor when using harmonist (p. 85).

External Bank Shift Pedal (Bank Down)

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.)

Chap. 4

[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.

Chapter 4 Five Basic Modes

Patch Edit Mode: What It Means, How It Works

In this mode, you can program patches. Patch Edit mode is divided into three sections: COMMON,

TONE, and EFFECTS.

fig.4-01

Patch Edit mode

EFFECTSTONECOMMON

• COMMON

This is where you name a Patch or set up pedal effects.

• TONE

This is where you set up the tones that serve as the basis for synth sounds.

• EFFECTS

This is where you can set up reverb, chorus and multieffects. Arpeggiator and Harmonist settings are also made here.

In Patch Edit mode, the buttons and dials work as follows:

[BANK/PARAMETER] Button

Use these buttons to select the parameter that you wish to adjust.

[PLAY] Button

Returns you to Play mode.

[SYSTEM] Button

Switches to System mode (settings for the GR-33 itself).

[TUNER] Button

Switches to Tuner mode (p. 18).

[EFFECTS] Button

Switches to Patch Edit mode, EFFECTS (effect-related patch settings).

* If you are already viewing EFFECTS settings, pressing

[EFFECTS] will turn the bypass function on/off (p. 75).

[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).

* For parameters that are not set independently for each string,

this button will have no effect.

[OUTPUT SELECT] Button

Changes the output device selection (p. 19).

[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.

Expression Pedal

Used as auxiliary pedal in making any number of settings, and for confirming effects (p. 47).

GK-2A [S1] and [S2]

Changes the value for the selected parameter.

External Bank Shift Pedal

Changes the value for the selected parameter.

[WRITE] Button

Writes the contents of a patch (p. 36).

[COMMON] Button

Switches to Patch Edit mode, COMMON (overall patch settings).

* In the COMMON (concerned with patch settings) Patch

Name Setting screen you can use this to switch between uppercase and lowercase characters (p. 38).

[TONE] Button

Switches to Patch Edit mode, TONE, (sound-related patch settings).

* In TONE (concerned with the sound of patches), pressing

[TONE] will switch you between the 1ST and 2ND settings item.

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 indicate that the patch’s settings have been modified.

fig.4-02

Patch Edit mode

Period

If you wish to save the new settings, perform the Write operation (p. 36).

* If you change patches without performing the Write operation,

your edits will be lost.

System Mode

Chapter 4 Five Basic Modes

In this mode you can make settings for the entire GR-33 — i.e., settings that do not change when you switch patches — such as input sensitivity and display brightness.

In System mode, the buttons and dials work as follows:

[BANK/PARAMETER] Button

Use these buttons to select the parameter that you wish to adjust.

[PLAY] Button

Returns you to Play mode.

[SYSTEM] Button

Has no function in this mode.

[TUNER] Button

Switches to Tuner mode (p. 18).

[WRITE] Button

Writes the contents of a patch. This is disabled during “BULK LOAD” (p. 37). It is used for initiating procedures and for confirmation in “BULK DUMP” and “FACTORY RESET” (p. 37, 16).

[COMMON] Button

Switches to Patch Edit mode, COMMON (overall patch settings).

[TONE] Button

Switches to Patch Edit mode, TONE (sound-related patch settings).

[EFFECTS] Button

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

Changes the value for the selected parameter.

Pedal 1–4

Has no function in this mode.

Expression Pedal

Changes the value of the selected parameter (p. 47).

GK-2A [S1] and [S2]

Changes the value for the selected parameter.

External Bank Shift Pedal

Changes the value for the selected parameter.

Chap. 4

Procedures in Tuner Mode

In Tuner mode, the buttons and dials work as follows.

[BANK/PARAMETER] Button

Has no function in this mode.

[PLAY] Button

Returns you to Play mode.

[SYSTEM] Button

Switches to System mode (settings for the GR-33 itself).

[TUNER] Button

Has no function in this mode.

[WRITE] Button

Has no function in this mode.

[COMMON] Button

Switches to Patch Edit mode, COMMON (overall patch settings).

[TONE] Button

Switches to Patch Edit mode, TONE (sound-related patch settings).

[EFFECTS] Button

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

Changes the value for the “MASTER TUNE”.

Pedal 1–4

Exits Tuner mode and returns you to Play mode.

Expression Pedal

Changes the value of the selected parameter (p. 47).

GK-2A [S1] and [S2]

Exits Tuner mode and returns you to Play mode.

External Bank Shift Pedal

Exits Tuner mode and returns you to Play mode.

Chapter 4 Five Basic Modes

Getting Into and Out of Each Mode

Here we will explain how to get into and out of each of the five modes: Play mode, Pedal Effect mode, Patch Edit mode, System mode and Tuner mode.

fig.4-03

Play mode

System mode

Patch Edit mode

COMMON[COMMON

TONE

EFFECTS[EFFECTS

Tuner mode

[

PLAY

[S2]

]

Pedal Effect mode

[

SYSTEM

[

TONE

[

TUNER

]

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.

GK-2A’s

Play mode

Patch Edit mode

COMMON[COMMON

TONE

EFFECTS[EFFECTS

System mode

Tuner mode

[

PLAY

[S2]

][

Pedal Effect mode

]

[

]

TONE

]

[

SYSTEM

[

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.

Chapter 5 Setting/Changing Sounds (Patches)

Details of Putting a Patch Together

Every patch is constructed as shown in the following figure.

fig.5-01

128 Preset Patches

E11 – H84

128 User Patches

A11 – D84

A11

2nd TONE

1st TONE

Tone Selection

#1 – #384

(Piano, Organ, etc.)

Tone Adjustment

•Attack

•Release

•Brightness

•Layer

Layering of 1st and 2nd Tones

•Transpose 1st

•Transpose 2nd

It's possible to make settings

to each string individually.

•1:2BALANCE

1st/2nd Level Balance

What is a “Tone”?

As shown in the above figure, you can select any two of the 384 built-in tones—the raw material for synth sounds—and use them in a patch.

The two tones in a patch 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 (p. 50), and transpose (p. 51). In addition, you can also independently select a transposition (TRANSPOSE) for each string.

In addition to tone selections, tone settings can be saved in patches.

TONE

TONE MIX

•Arpeggio and harmony settings

•Reverb/Chorus settings

•Multi FX settings

EFFECTS

COMMON

•

Patch Name and Level settings, etc.

•Pan settings

•Pedal settings

•MIDI settings

Making separate settings for each string (STRING SELECT)

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.

When you press [STRING SELECT], the three-digit display will indicate the selected string as follows.

fig.5-02

All strings selected

Strings 5 and 6 selected

String 1 selected

String 2 selected

Chap. 5

Recording and Settings of Each Patch

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.

• 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)

For more information about these settings, please consult the reference pages listed above for each item.

String 6 selected

String 5 selected String 4 selected

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 same method.

* If you use the [STRING SELECT] button to select “ALL” or

“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.

String 3 selected

Chapter 5 Setting/Changing Sounds (Patches)

The Relationship Between Arpeggiator/ Harmonist and Patches

When you are playing, you can use the arpeggiator or the harmonist. For each patch, you can select one of these functions (p. 78, 82) and also determine whether or not it will be active (p. 77, 81) when the patch is selected.

Likewise, you can select arpeggio patterns—the sequence of strings that the arpeggiator function creates and plays—for each patch individually from among the available 50 patterns.

For more details about making these settings, refer to “Selecting Arpeggio Patterns (ARP PATTERN)” (p. 79).

Saving Patches

Generally, you create and modify patches by using [PARAMETER] to select parameters in Patch Edit mode, and turning [VALUE] to select the desired values.

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.

■ Performing a Patch Write

1. Press [WRITE]—you enter Write mode, and a screen

like the one shown below appears.

fig.5-04

2. Turn [VALUE] to choose the patch location to which

you want to save the patch.

fig.5-05

4. After making sure that you want to complete this

fig.5-07

* To cancel the operation, press [PLAY].

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.

* If you write without designating a location where the patch is

* As Patch Groups E through H are read-only, you cannot

operation—and that you are ready to write over the patch currently in the selected destination location— press [WRITE] once again.

“Now Writing...” appears in the display. In a moment, the GR-33 automatically returns to Play mode, completing the writing procedure.

to be saved, you will overwrite the original version of the patch, and that version of the patch will be discarded.

overwrite them by saving a patch to their locations.

3. After you have specified the writing destination, press

[WRITE].

The following confirmation screen appears.

fig.5-06

Cautions When Saving

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).

* 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.

Chapter 5 Setting/Changing Sounds (Patches)

Saving Patches From the GR-33 to Sequencers or Other MIDI Devices (Bulk Dump)

Settings for all user patches—as well as all system settings— can be transferred in and out of the GR-33 using MIDI. You can also save patches externally to equipment that can record MIDI data. For this kind of 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.

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.

■ Sending System Settings or Patch Data to

an External MIDI Device

1. Turn off the power to the GR-33.

2. Connect the GR-33’s MIDI OUT to the MIDI IN

connector on the external MIDI device.

3. Turn on the power of the GR-33.

4. Press [SYSTEM] to enter System mode.

5. Press [PARAMETER] to select “BULK DUMP.”

fig.5-08

fig.5-09

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

10.Press [PLAY] to return to Play mode.

Receiving previously saved system or patch data (Bulk Load)

Here’s how you can receive system or patch data from an external device capable of recording MIDI data, or from another GR-33.

* Exclusive messages can be received only in the Bulk Load

screen.

■ Receiving system settings or patch data from an external MIDI device

1. Turn off the power to the GR-33.

2. Connect the external MIDI device MIDI OUT to the

MIDI IN connector on the GR-33.

Chap. 5

6. Turn [VALUE] to select the type of data you wish to

transmit.

All: All user patches and system settings System: System settings 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 Patch A11: Patch A11 only Patch A12: Patch A12 only : : Patch D84: Patch D84 only

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... .”

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. Transmit the data from the external device.

fig.5-41

When reception is finished, the previous display will reappear.

fig.5-40

Chapter 5 Setting/Changing Sounds (Patches)

7. Press [PLAY] to return to Play mode.

* If you send data for a single patch to the GR-33, you will need

to perform the Patch Write operation (p. 36) on the GR-33 to store the patch in a patch memory location. When writing the received patch, you can specify the desired destination, so you are not forced to overwrite the same-numbered patch if it is one you wish to keep.

* Except for the receiving of A11 through D84 as single patches,

* Since data can be lost should unexpected events occur, we

Naming the Patches (PATCH NAME)

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.

■ Assigning a Name to a Patch

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

4. Turn [VALUE] to select the desired character, number

fig.5-11

* You can press [COMMON] to switch between uppercase and

no special conditions apply for storing patch or system parameter data received via SysEx.

strongly recommend regularly using the Bulk Dump feature to back up your GR-33 data.

or symbol.

Space

— —

—

lowercase characters.

5. Repeat Steps 3 and 4 to complete the name.

Cursor

3. Use [PARAMETER] to move the cursor to the character

you wish to modify.

6. 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 wish to save the Patch’s new name, press [PLAY]

to return to Play mode instead of pressing [WRITE].

Setting the Volume Level of Each Patch (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.

■ Determining and Recording Patch Volumes

1. Select the patch whose volume you want to change, and

press [COMMON] to enter Patch Edit mode.

2. Press [PARAMETER] to select “PATCH LEVEL.”

fig.5-12

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.

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.

* 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.)

Chapter 5 Setting/Changing Sounds (Patches)

• When both the first and second tones are present.

• When the Reverb send level or Chorus send level is set to a high level.

• When a high volume level is a characteristic of the tone itself.

• When the brightness setting value is high.

• When wah effects are applied.

Changing the Feel of a Performance (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.”

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.

■ Changing and Recording Play Feel

1. Select the patch whose PLAY FEEL you want to change,

and press [COMMON] to enter Patch Edit mode.

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.

* 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.

Soft (soft picking):

For picking that is a little weaker. Sensitivity is a little higher than with normal picking.

Chap. 5

2. Press [PARAMETER] to select “PLAY FEEL.”

fig.5-13

3. Use [VALUE] to change the value.

* For a detailed explanation, see the subsequent section, “The

PLAY FEEL settings and their 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.

* If you don’t want to save the Patch, press [PLAY] to return to

Play mode.

◆ The PLAY FEEL settings and their effects

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").

These meanings are as follows:

Normal:

General picking, thus the standard setting for play.

Tapping (tapping play):

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.

No Dynamics (no dynamics):

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.

Envelope1 (envelope follow type1):

This is for setting how much the synthesizer volume influences the amplitude of the strings.

For details, see the subsequent section, “Following the Guitar Sound Shape (Envelope Follow).”

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).”

Chapter 5 Setting/Changing Sounds (Patches)

The eight types “Accl Normal,” “Accl Finger,” “Accl Hard,” “Accl Soft,” “Accl Tapping,” “Accl No Dynamics,” “Accl Envelope1,” and “Accl Envelope2” add the Accel function to the previously listed eight types. Notes will sound more quickly than the first eight types.

For 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.

Following the Guitar Sound Shape (Envelope Follow)

When you select the “Envelope1” and “Envelope2” settings in the above PLAY FEEL section, the envelope follow function comes on, giving you that effect.

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.

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.

Envelope2 (envelope follow type2):

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.

■ Getting a Touch Wah Effect with the PLAY

FEEL “Envelope2” Setting

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.”

3. Press [PARAMETER] to select “WAH TYPE.”

4. Use [VALUE] to select “AutoWah1–5.”

For more details on WAH TYPE, refer to “Selecting Wah Types (WAH TYPE)” (p. 43).

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).

* 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).

Increasing the Speed of Expression (Acceleration)

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.

Chapter 5 Setting/Changing Sounds (Patches)

Changing Sound Placement (PAN)

You can pan each of a patch’s two tones to its own stereo location. For example, you can pan one tone to the far left in the stereo field, and the other to the far right.

You can also create complex stereo movement using a variety of pre-programmed stereo effects. This is done using the COMMON “PAN MODE” and “PAN” settings in Patch Edit mode.

■ Setting and Saving Sound Placement

1. Select the patch whose pan position you want to set,

and press [COMMON] to enter Patch Edit mode.

2. Press [PARAMETER] to select “PAN MODE.”

fig.5-14

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.

4. Press [PARAMETER] to select “PAN.”

fig.5-15

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.

1-6, 6-1:

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.

Odd-Even, Even-Odd (Odd, Even):

This setting separates odd- and even-numbered strings, and places them left and right. With Odd-Even, the oddnumbered strings—1, 3, and 5—are panned left, and the even-numbered strings—2, 4, and 6—panned right. “EvenOdd” will produce the same effect as if “Odd-Even” were exchanged left to right.

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.

Chap. 5

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.

* If you don’t want to save the Patch, press [PLAY] to return to

Play mode.

◆ Available values for PAN, and their effects

Normal:

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.

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. “Alternate 1st” and “Alternate 2nd” causes only the corresponding tone to jump back and forth—the other tone is placed in the center.

* Pan settings have no effect on the internal reverb and chorus. * 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.

* The PAN setting made here is ignored if you have a monaural

type of MULTI-FX selected.

Chapter 5 Setting/Changing Sounds (Patches)

Dividing Continuous Pitch Changes into Semitones (CHROMATIC)

The GR-33 faithfully reproduces the slight pitch changes and in-between notes you get from fingering your guitar’s strings.

However, should the need arise, you can also limit this subtle pitch response to semitone changes only. This is called the Chromatic function, and is turned on and off using the COMMON “CHROMATIC” setting in Patch Edit mode.

fig.5-16

Change in Synth sound pitch

Major 3rd

minor 3rd

Major 2nd

minor 2nd

(semitone)

minor 2nd

2nd

Chromatic on Chromatic off

minor 3rd

Actual pitch change when bending

3rd

■ Turning the Chromatic Function On and Off

and Saving It to Patches

1. Select the patch you want to change, and press

[COMMON] to go into Patch Edit mode.

2. Press [PARAMETER] to select “CHROMATIC.”

fig.5-17

◆ Chromatic Settings and Available Effects

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. When you select any setting other than Off, pitch changes are limited to semitones.

Type1:

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.

Type2:

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.

Type3:

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.

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.

* If you don’t want to save the Patch, press [PLAY] to return to

Play mode.

When You Want to Make a Chord Resonate Beautifully

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 naturalsounding resonance.

When You Want to Reproduce Piano-like Pitch Changes

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.)

Chapter 5 Setting/Changing Sounds (Patches)

Selecting Wah Types (WAH TYPE)

There are 35 types, in seven groups, of wah effects you can get by stepping on and releasing pedal 1 in Pedal Effect mode, with differing ranges of tone change and different speeds, and along with one type of modulation (vibrato), there are a total of 36 variations of wah pedal effects.

■ Selecting Wah (or Modulation) Type

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 “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.”

* When making settings, play the guitar with pressing pedal 1

to try the effect.

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.

◆ Wah Pedal Variations that can be selected

in WAH TYPE

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 larger, the speed decreases.

fig.5-19

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.”

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.

For details on setting the “touch wah” effect, refer to “Following the Guitar Sound Shape (Envelope Follow)” (p.

40).

Brightness1–5:

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.

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.

R.Wah1–5 (Reverse Wah 1–5):

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).

Chap. 5

Press Release

Tone Brightness

Examples of Wah1 to Wah5, Brightness1 to Brightness5, etc.

(Changes over time)

Time

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).

Modulation:

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.

The speed and depth of the vibrato you get with this function is predetermined for each tone.

Chapter 5 Setting/Changing Sounds (Patches)

* If you use wah once, the sound from a patch with a muffled

sound may continue, or some other kind of peculiarity may change, even after releasing the wah pedal. If this happens, switch to another patch, and then call up the desired patch again to return to the original sound.

* When the wah is “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.

Selecting Pitch Glide Type (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.

■ Selecting Pitch Glide Type

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 “GLIDE TYPE.”

fig.5-20

◆

Variations that can be selected for 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.”

Up1 (Down1):

When the pedal is pressed, the pitch changes continuously up to a perfect fourth. Release the pedal to return to the original pitch.

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.

3. Use [VALUE] to change the setting.

* 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.

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.

Up3 (Down3):

When the pedal is pressed, the pitch changes continuously up to a perfect fifth. Release the pedal to return to the original pitch.

Up4 (Down4):

When the pedal is pressed, the pitch changes continuously by one octave. Release the pedal to return to the original pitch.

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)).

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.

Chapter 5 Setting/Changing Sounds (Patches)

Selecting Hold Type (HOLD TYPE)

With the Hold function on pedal 3 in Pedal Effect mode, for the qualities such as the sustaining of a tone’s sounding, there are fifteen ready-made variations that can be selected according to the particular purpose, and saved to patches.

■ Selecting Hold Type

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

3. Use [VALUE] to change the setting.

* For a detailed explanation, see the subsequent section,

“Variations that can be selected for HOLD TYPE.”

* 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).

* 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.

◆ Variations that can be selected for HOLD

TYPE

There are three types of hold effects you can select: damper; sostenuto; and string.

❍ Damper Hold/Damper:

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.

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.

* 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.

❍ 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.

❍ 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. 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.

Releasing the pedal stops the held sound. Here are the fifteen types, which can be selected by using

[VALUE], as they actually appear (when Arpeggiator is off).

Damper All:

This damper hold works on all internal and external MIDI sound generators.

Damper 1st:

This damper hold works only on the first internal sound generator.

Damper 2nd:

This damper hold works only on the second internal sound generator.

Damper 1&2:

This damper hold works on both the first and second internal sound generators. (Not effective on external sound generators.)

Damper Ext:

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.

Chap. 5

Damper Ext&2:

This damper hold works on the second internal sound generator and on external MIDI sound generators.

Chapter 5 Setting/Changing Sounds (Patches)

Sostenuto All:

This sostenuto hold works on all internal and external MIDI sound generators.

Sostenuto 1st:

This sostenuto hold works only on the first internal sound generator.

Sostenuto 2nd:

This sostenuto hold works only on the second internal sound generator.

Sostenuto 1&2:

This sostenuto hold 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.

Using the CTRL Pedal

Sostenuto Ext&1:

This sostenuto hold works on the first internal sound generator and on external MIDI sound generators.

Sostenuto Ext&2:

This sostenuto hold works on the second internal sound generator and on external MIDI sound generators.

String:

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.

For details, refer to “Effective Use of the Hold Function During Arpeggios” (p. 76).

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.

■ Specifying the function of the CTRL pedal

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 “MULTI-FX SW” (p. 53) parameter has been stored as being “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.

Using the Expression Pedal

Chapter 5 Setting/Changing Sounds (Patches)

By using the expression pedal (EXP pedal) attached to the GR-33, you can add various effects to synth sounds. You can choose from among eighteen effects that can be controlled with the EXP pedal, including pitch, volume, arpeggiator tempo and the like.

You can also use the EXP pedal for sending MIDI data for the selected control change number. All of the above settings can be saved in patches.

To Add Effects

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. 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.

To Switch Effects (EXP PEDAL)

■ Selecting the Expression Pedal Effect Type

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 “EXP PEDAL.”

fig.5-22

◆

Variations that can be selected for 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):

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:

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.

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):

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 multieffect type.

* After selecting “Multi-FX Pparam,” you may notice a slight

noise as you move the EXP pedal---this is not a mulfunction.

Brightness:

Creates a continuous change to the brightness of the synth sound.

Wah (Wah Pedal):

Creates a guitar wah-wah-like effect, adding that characteristic sound to the patch’s tones.

Chap. 5

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.

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.

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.

For the “GLIDE TYPE” settings, refer to “Selecting Pitch Glide Type (GLIDE TYPE)” (p. 44).

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.)

Chapter 5 Setting/Changing Sounds (Patches)

Pan (Normal) (Normal Pan):

“PAN” (p. 41) settings in the patch are ignored, and stereo placement is controlled by the EXP pedal. Both of the patch’s tones are panned together. Both tones are panned right when the pedal is pressed forward, and left when the pedal is brought back.

Pan (Cross Tones) (cross tone pan):

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.

Cho Send Level (chorus send level):

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.

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.

CC1 to 31, CC64 to 95 (MIDI Control Change):

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.

* 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.

* Use the “Arp Tempo1,” “Arp Tempo2,” “Arp Tempo3,” and

“Tempo&Pitch” settings when the arpeggiator is on.

* “Volume 1st,” “Volume 2nd,” and “Balance,” are most

effective if both the 1st and 2nd tones are selected with “LAYER” (p. 51), and “1:2 BALANCE” (p. 49) is not assigned to only one of the tones.

* When “Pitch” or “Tempo&Pitch” is selected, depending on

the tone and pitch range, the width of the pitch’s rise may be limited.

* 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).

Chapter 5 Setting/Changing Sounds (Patches)

Creating Synth Sounds

You can select from among the 384 built-in sounds that provide the foundation for the GR-33’s patches, choosing a “1st tone” (first tone) and a “2nd tone” (second tone).

Following the steps below, let’s actually select some tones and assemble a patch.

Selecting the basic ingredient (tone) of a sound (SELECT)

The 384 tones of the GR-33 are broadly divided by their sound into categories such as “PIANO” and “E.GUITAR."

For details refer to “Tone List” (p. 122).

■ How to Select a Tone

1. Select the patch you want to start with, and press

[TONE] to enter Patch Edit mode.

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

ATTACK” and “2ND ATTACK.”

fig.5-24

3. Turn [VALUE] to select the desired tone.

* Only those tones in the category chosen in Step 3 will be

displayed.

For details on the types of tone, refer to “Tone List” (p. 122).

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.

* 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 “Determing which tone will be sounded by each string (LAYER)” (p. 51).

Increasing/Decreasing Attack Time (ATTACK)

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.

■ Changing the ATTACK TIME

1. Select the patch whose ATTACK you wish to change,

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.”

* By pressing [TONE] you can switch between “1ST

ATTACK” and “2ND ATTACK.”

fig.5-25

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.)

* 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.

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.

* 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.

Chap. 5

For details on “LAYER” settings, refer to “Specifying which tone will be sounded by each string (LAYER)” (p. 51).

Chapter 5 Setting/Changing Sounds (Patches)

Changing Tone Release (RELEASE)

With the “RELEASE” setting, you can change the decay of the 1st (or 2nd) tone you selected with 1ST SELECT (or 2ND SELECT). By increasing the release time, the sound fades away more gradually at the end of a note, even after the strings stop vibrating. With a short release, the sound stops at the moment the string stops vibrating, allowing you to play staccato, with real “bite.”

■ Changing the Release

1. Select the patch whose RELEASE you want to change,

and press [TONE] to enter Patch Edit mode.

2. Press [PARAMETER] to select “1ST RELEASE.”

* If you want to change the RELEASE of the 2nd tone, choose

“2ND RELEASE.”

* By pressing [TONE] you can switch between “1ST

RELEASE” and “2ND RELEASE.”

fig.5-26

3. Turn [VALUE] to select a value in the range of -50–50.

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.

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.

* 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).

Changing Tone Brightness (BRIGHTNESS)

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).

(*1) Digital filter:

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.

■ Changing the Brightness

1. Select the patch whose BRIGHTNESS you want to

change, and press [COMMON] to enter Patch Edit mode.

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

BRIGHTNESS” and “2ND BRIGHTNESS.”

fig.5-27

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.)

* 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.

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.

* 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).

Chapter 5 Setting/Changing Sounds (Patches)

Combining/Layering Two Sounds (Tones)

Determining Which Tones Will Be Sounded (LAYER)

You can determine how the 1st and 2nd tones will be combined using the TONE “LAYER” parameter in Patch Edit mode. This parameter allows you to activate only the 1st tone, only the 2nd, or both.

LAYER, 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.

■ Procedure for Changing the Layer Settings

of the 1st and 2nd Tones

1. Select the patch whose LAYER setting you want to

change, and press [TONE] to enter Patch Edit mode.

2. Press [PARAMETER] to select “LAYER.”

fig.5-28

3. Press [STRING SELECT] to select the string you wish

to set up.

For more detailed information about the “STRING SELECT” button, refer to “Making separate settings for each string (STRING SELECT)” (p. 35).

* When you want to 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. 1st Tone: Only the 1st tone will sound. 2nd Tone: Only the 2nd tone will sound. Both Tone: Both the 1st and 2nd tones will sound. Weak Detune: A slight amount of detuning. Strong Detune: A large amount of detuning.

Applying Detune (Subtle Pitch Shift)

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.

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).

Transposing by Semitones (TRANSPOSE)

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.

Also, with the built-in transpose setting, you can create separate transposition settings for the 1st (“1ST 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 used in combination with the “STRING SELECT” button, you can set the transposition for each string individually.

■ Changing the Transposition of the Tone

1. Select the patch whose TRANSPOSE you want to

change, and press [TONE] to enter Patch Edit mode.

Chap. 5

For details on detune, refer to “Applying detune (Subtle Pitch Shift).”

5. If you wish to set up other strings, repeat Steps 3–4.

6. 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.

2. Press [PARAMETER] to select “1ST TRANSPOSE.”

* If you want to change the TRANSPOSE of the 2nd tone,

choose “2ND TRANSPOSE.”

* By pressing [TONE] you can switch between “1ST

TRANSPOSE” and “2ND TRANSPOSE.”

fig.5-29

Chapter 5 Setting/Changing Sounds (Patches)

3. Use [STRING SELECT] to select the string you wish to

set up.

For more detailed information about the “STRING SELECT” button, refer to “Making separate settings for each string (STRING SELECT)” (p. 35).

* When you want to make settings to all of strings together,

choose “ALL.”

4. Turn [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.

5. If you wish to set up other strings, repeat Steps 3–4.

6. 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.

* 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 (p. 51).

Determining the Volume Balance of Two Tones (1:2 BALANCE)

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.

3. Turn [VALUE] to select a value in the range of -50–50.

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.

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.

What to do When a Tone is Supposed to Sound, but Doesn’t

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.

❍ All or one of the strings is set to “1st Tone” (1st tone

only) or “2nd Tone” (2nd tone only), in LAYER (p. 51).

❍ Is the “1:2 BALANCE” setting (p. 52) set to “50” or “-

50”?

❍ When “Cross Tones” is selected as the COMMON “PAN

MODE” setting (p. 41) and the tones are panned left and right (50 and -50), only one channel is being output from your amp.

❍ “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).

* When neither the 1st nor 2nd tones can be heard, please refer

to p. 99 and consult the checklist there.

■ Balancing the Volume of Two Tones

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

Chapter 6 Using the Built-in Effects

About the Effects Processors and Available Effects

The GR-33 has the following three onboard effect processors.

a. MULTI-FX (Multi-effects) b. CHORUS c. REVERB

The overall structure of the EFFECTS as follows.

fig.6-00

REV SEND LEVEL

CHO SEND LEVEL

MULTI-FX

Chorus and Reverb coneects in series.

REVERB

CHORUS

MIX

OUT

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.

Chorus is an effect that gives a wide, open sound, with a special type of wavering, like that of multiple instruments playing together.

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).

The on/off settings of these effects can be stored for each patch.

* 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.

Chap.

Making Multi-effects Settings

Turning multi-effects on/off (MULTI-FX SW)

Use “MULTI-FX SW” to select the tone for which the multieffect will be turned on/off, or to which the multi-effect will be applied.

■ Procedure for Multi-effect On/Off

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 SW.”

fig.6-50

3. Use [VALUE] to select the value.

Off: Turn off the multi-effect. 1st: 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.

4. Press [WRITE] to perform the Patch Write operation (p.

36) and save the data.

* 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.

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. 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 multieffect related setting item is selected.

Chapter 6 Using the Built-in Effects

Selecting a Type (MULTI-FX TYPE)

Multi Effects provides 40 different effects types (MULTI-FX TYPE). For each of these effect types, you can specify parameter values. By changing these parameters, various effects can be applied.

Parameters for each effects type are given on the following pages.

1: STEREO-EQ (→p. 55) 2: OVERDRIVE (→p. 55) 3: DISTORTION (→p. 56) 4: PHASER (→p. 56) 5: SPECTRUM (→p. 56) 6: ENHANCER (→p. 57) 7: AUTO-WAH (→p. 57) 8: ROTARY (→p. 57) 9: COMPRESSOR (→p. 58) 10: LIMITER (→p. 58) 11: HEXA-CHO (→p. 59) 12: TREMOLO-CHORUS (→p. 59) 13: SPACE-D (→p. 60) 14: STEREO-CHO (→p. 60) 15: STEREO-FL (→p. 61) 16: STEP-FL (→p. 61) 17: STEREO-DELAY (→p. 62) 18: MOD-DELAY (→p. 63) 19: 3-TAP-DELAY (→p. 63) 20: 4-TAP-DELAY (→p. 64) 21: TIMECTRL-DLY (→p. 65) 22: 2VOICE-P. SFT (→p. 65) 23: FB-P. SFT (→p. 66) 24: REVERB (→p. 67) 25: GATE-REVERB (→p. 67) 26: OD→CHO (→p. 68) 27: OD→FL (→p. 68) 28: OD→DLY (→p. 69) 29: DS→CHO (→p. 69) 30: DS→FL (→p. 69) 31: DS→DLY (→p. 69) 32: EH→CHO (→p. 70) 33: EH→FL (→p. 70) 34: EH→DLY (→p. 71) 35: CHO→DLY (→p. 71) 36: FL→DLY (→p. 72) 37: CHO→FL (→p. 72) 38: CHO/DLY (→p. 73) 39: FL/DLY (→p. 73) 40: CHO/FL (→p. 73)

■ Making Multi-effects Settings

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

3. Use [VALUE] to select the effect type.

4. Press [PARAMETER] to select the setting item for the

effect type selected in step 3.

For a description of the effect type parameters, see the subsequent section, “About Multi-Effects Parameters.”

5. Use [VALUE] to select the value.

6. Repeat steps 4 to 5 to set all parameters of the selected

effect type.

7. 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.

The value of effect type items (parameters) marked with a “#” symbol can be controlled by the EXP pedal. For details on EXP pedal settings, refer to “Using the expression pedal” (p. 47).

Chapter 6 Using the Built-in Effects

About Multi-Effects Parameters

1: STEREO-EQ (Stereo equalizer)

This is a stereo equalizer which allows you to adjust the tone quality using a low range, two mid-range, and a high range control.

fig.6-05

L in

R in

4-Band EQ

LOW FREQ (Low frequency) 200 Hz/400 Hz

Select the frequency (200 Hz/400 Hz) at which the low frequency range will be adjusted.

LOW GAIN -15–+15 dB

Specify the low frequency gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the low range.

HIGH FREQ (High frequency) 4000 Hz/8000 Hz

Select the frequency (4 kHz/8 kHz) at which the high range will be adjusted.

HIGH GAIN -15–+15 dB

Specify the high frequency gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the high range.

P1 FREQ (Peaking 1 frequency)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz)

Specify the center frequency of the region in which the boost or cut will take place.

P1 Q (Peaking 1 Q) 0.5/1.0/2.0/4.0/8.0

Specify the width of the region centered on the P1 FREQ setting. Higher settings will cause the region affected by P1 GAIN to be narrower.

L out

R out

P2 GAIN (Peaking 2 gain) -15–+15 dB

Specify the gain (amount of boost or cut) that will take place in the region specified by P2 FREQ and P2 Q. Positive (+) settings will emphasize (boost) the region specified by P2 FREQ and P2Q.

LEVEL (Output level) 0–127 #

Specify the output volume.

2: OVERDRIVE

Overdrive produces a natural-sounding distortion similar to that produced by a vacuum tube amplifier.

fig.6-06

L in

R in

Over drive

Amp

Simulator

2-Band

DRIVE 0–127 #

Specify the depth of distortion. The volume will change together with the depth of distortion.

PAN (Output pan) L64–0–R63

Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right.

AMP TYPE (Amp simulator type) Small/Built-In/2-Stack/3-Stack

Select the type of guitar amp.

Small: Small amp Built-In: Built-in type amp 2-Stack: Large two-level stack 3-Stack: Large three-level stack

LOW GAIN -15–+15 dB

Adjust the low frequency gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the low frequency range.

L out

Pan L

Pan R

R out

Chap. 6

P1 GAIN (Peaking 1 gain) -15–+15 dB

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.

P2 FREQ (Peaking 2 frequency)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz)

Specify the center frequency of the region in which the boost or cut will take place.

P2 Q (Peaking 2 Q) 0.5/1.0/2.0/4.0/8.0

Specify the width of the region centered on the P2 FREQ setting. Higher settings will cause the region affected by P2 GAIN to be narrower.

HIGH GAIN -15–+15 dB

Adjust the high frequency gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the high frequency range.

LEVEL (Output level) 0–127

Specify the output volume. You can use the Output Level setting to even out the volume

difference between the sound with and without Overdrive.

Chapter 6 Using the Built-in Effects

Phaser

Resonance

Mix

L in

R in

L out

R out

Pan R

Pan L

3: DISTORTION

Distortion produces a more intense distortion than the Overdrive effect.

fig.6-07

L in

R in

Distortion

Amp

Simulator

2-Band

DRIVE 0–127 #

Adjust the amount of distortion. The volume will change together with the amount of distortion.

PAN (Output pan) L64–0–R63

Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right.

AMP TYPE (Amp simulator type) Small/Built-In/2-Stack/3-Stack

Specify the type of guitar amp.

Small: Small amp Built-In: Built-in type amp 2-Stack: Large two-level stack 3-Stack: Large three-level stack

LOW GAIN -15–+15 dB

Specify the low range gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the low

frequency range.

L out

Pan L

Pan R

R out

4: PHASER

Phaser is an effect that adds a phase-shifted sound to the original sound to create time-varying change, modulating the sound.

fig.6-08

MANUAL 100 Hz–8000 Hz

Specify the center frequency at which the sound is modulated.

RATE 0.05–10.0 Hz #

Specify the frequency of modulation.

DEPTH 0–127

Specify the depth of modulation.

RESONANCE 0–127

Specify the amount of feedback for the phaser. Higher settings will give the sound a stronger character.

MIX (Mix level) 0–127

Adjust the ratio with whitch the phase-shifted sound is combined with the direct sound.

PAN (Output pan) L64–0–R63

Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right.

HIGH GAIN -15–+15 dB

Specify the high range gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the high

frequency range.

LEVEL (Output level) 0–127

Specify the output volume. You can use the Output Level setting to even out the volume

difference between the sound with and without Distortion.

LEVEL (Output level) 0–127

Specify the output volume.

5: SPECTRUM

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 more character, more distinctive sounds can be created.

fig.6-09

L in

Spectrum

R in

Determines the tone quality of Bands 1–8.

BAND1 (Band 1 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 250 Hz.

BAND2 (Band 2 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 500 Hz.

BAND3 (Band 3 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 1000 Hz.

L out

Pan L

Pan R

R out

Chapter 6 Using the Built-in Effects

BAND4 (Band 4 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 1250 Hz.

BAND5 (Band 5 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 2000 Hz.

BAND6 (Band 6 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 3150 Hz.

BAND7 (Band 7 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 4000 Hz.

BAND8 (Band 8 gain) -15–+15 dB

Specify the gain (amount of boost or cut) at 8000 Hz.

Q 0.5/1.0/2.0/4.0/8.0

Specify the range of all bands in which the level will be modified.

PAN (Output pan) L64–0–R63

Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right.

LEVEL (Output level) 0–127 #

Specify the output volume.

7: AUTO-WAH

Auto Wah cyclically moves the frequency of a filter to produce a wah effect (cyclic modulation of the tone).

fig.6-11

FILTER TYPE LPF/BPF

Specify the type of filter.

RATE 0.05–10.0 Hz

Specify the modulation frequency of the wah effect.

DEPTH 0–127

Specify the modulation depth of the wah effect.

SENS (Sensitivity) 0–127

Specify the sensitivity with which the filter will be affected.

L in

Auto Wah

R in

LPF:

The wah effect will be produced over a wide frequency range.

BPF:

The wah effect will be produced over a narrow frequency range.

L out

R out

6: ENHANCER

Enhancer controls the overtone structure of the high frequency range, adding sparkle to the sound and improving the definition.

fig.6-10

L in

R in

Enhancer

Mix

SENS (Sensitivity) 0–127

Specify the depth of the Enhancer effect.

MIX (Mix level) 0–127 #

Specify the proportion by which the overtones generated by the enhancer will be mixed with the original sound.

LOW GAIN -15–+15 dB

Specify the low frequency gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the low

frequency range.

HIGH GAIN -15–+15 dB

Specify the high frequency gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the high

frequency range.

LEVEL (Output level) 0–127

Specify the output volume.

2-Band

L out

R out

MANUAL 0–127 #

Specify the center frequency at which the wah effect will be produced.

PEAK 0–127

Specify how the wah effect will affect the region around the center frequency.

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.

LEVEL (Output level) 0–127

Specify the output volume.

8: ROTARY

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 most effective on organ-type Patches.

fig.6-12

HIGH SLOW (High frequency slow rate) 0.05–10.0 Hz

Specify the low-speed (SLOW) rotational speed of the highrange rotor.

L in

R in

L out

Rotary

R out

Chap. 6

Chapter 6 Using the Built-in Effects

LOW SLOW (Low frequency slow rate) 0.05–10.0 Hz

Specify the low-speed (SLOW) rotational speed of the lowrange rotor.

HIGH FAST (High frequency fast rate) 0.05–10.0 Hz

Specify the high-speed (FAST) rotational speed of the highrange rotor.

LOW FAST (Low frequency fast rate) 0.05–10.0 Hz

Specify the high-speed (FAST) rotational speed of the lowrange rotor.

SPEED Slow/Fast #

Select the rotational speed of the low-range rotor and highrange rotor.

Slow:

The specified rotational speeds (the LOW SLOW RATE/ HI SLOW RATE values) will take effect.

Fast:

The specified rotational speeds (the LOW FAST RATE/ HI FAST RATE values) will take effect.

HIGH ACCL (High frequency acceleration) 0–15

Specify the time required for the rotational speed of the highrange 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.

LOW ACCL (Low frequency acceleration) 0–15

Specify the time required for the rotational speed of the lowrange 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.

9: COMPRESSOR

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

Compressor

R in

2-Band

SUSTAIN 0–127

Specify the time over which low-level sounds are boosted to a constant volume level.

ATTACK 0–127

Specify the attack time of the input sound.

PAN (Output pan) L64–0–R63

Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right.

POST GAIN 0/+6/+12/+18 dB

Specify the output level.

LOW GAIN -15–+15 dB

Specify the low frequency range gain (amount of boost or cut). Positive (+) settings will emphasize (boost) the low

frequency range.

HIGH GAIN -15–+15 dB

Specify the high frequency range gain (amount of boost or cut).

Positive (+) settings will emphasize (boost) the high frequency range.

LEVEL (Output level) 0–127 #

Specify the output volume.

L out

Pan L

Pan R

R out

HIGH LEVEL (High frequency level) 0–127

Specify the volume of the high-range rotor.

LOW LEVEL (Low frequency level) 0–127

Specify the volume of the low-range rotor.

SEPARATION 0–127

Specify the spaciousness of the sound.

LEVEL (Output level) 0–127

Specify the output volume.

10: LIMITER

Limiter is an effect which compresses sounds that are louder than a specified volume level, preventing distortion from occurring.

fig.6-14

L in

Limiter

R in

2-Band

THRESHOLD (Threshold level) 0–127

Specify the volume level at which compression will begin.

RELEASE (Release time) 0–127

Specify the time from when the volume falls below the threshold level until the limiter effect no longer applies.

RATIO (Compression ratio) 1.5:1/2:1/4:1/100:1

Specify the compression ratio.

L out

Pan L

Pan R

R out

Chapter 6 Using the Built-in Effects

PAN (Output pan) L64–0–R63

Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right.

POST GAIN 0/+6/+12/+18 dB

Specify the level of the output sound.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range.

Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range.

Positive (+) settings will emphasize (boost) the high frequency range.

LEVEL (Output level) 0–127 #

Specify the output volume.

11: HEXA-CHORUS

Hexa-chorus is a six-stage chorus which adds depth and spaciousness to the sound. (Six chorus sounds with different delay times are overlaid.)

fig.6-15

L in

R in

Balance D

Hexa Chorus

Balance D

L out

Balance E

R out

PAN DEV (Pan deviation) 0–20

Specify the difference in stereo position between each of the chorus sounds.

With a setting of 0, all of the chorus sounds will be panned to the center. Setting this to 20 provides the greatest breadth.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and 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 chorus sound will be output.

LEVEL (Output level) 0–127

Specify the output volume.

12: TREMOLO-CHO (Tremolo Chorus)

Tremolo-chorus is a chorus with a tremolo effect (cyclic modulation of volume).

fig.6-16

L in

Tremolo Chorus

R in

Balance D

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the delay time from the original sound until when the chorus sound is heard.

CHORUS RATE 0.05–10.0 Hz

Specify the modulation frequency of the chorus sound.

L out

Balance E

R out

Chap. 6

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the delay time from the original sound until when the chorus sound is heard.

RATE 0.05–10.0 Hz #

Specify the modulation frequency of the chorus sound.

DEPTH 0–127

Specify the modulation depth of the chorus sound.

PRE DLY DEV (Pre delay deviation) 0–20

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.

DEPTH DEV (Depth deviation) -20–+20

Specify the difference in modulation depth between each of the chorus sounds.

CHORUS DEPTH 0–127

Specify the modulation depth of the chorus sound.

TREM RATE (Tremolo rate) 0.05–10.0 Hz #

Specify the modulation frequency of the tremolo effect.

TREM SEP (Tremolo separation) 0–127

Specify the spaciousness of the tremolo effect.

TREM PHASE (Tremolo phase) 0–180

Adjusts the phase of the tremolo effect.

BALANCE (Effect balance) D100:0E–D0:100E

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 tremolochorus sound will be output.

LEVEL (Output level) 0–127

Specify the output volume.

Chapter 6 Using the Built-in Effects

13: SPACE-D

Space-D is a multiple chorus that applies two-stage modulation in stereo. It does not produce a sense of modulation, but creates a transparent chorus effect.

fig.6-17

L in

R in

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the delay time from the original sound until the chorus sound is heard.

RATE 0.05–10.0 Hz #

Specify the modulation frequency of the chorus sound.

DEPTH 0–127

Specify the modulation depth of the chorus sound.

PHASE 0–180

Specify the spaciousness of the chorus sound.

Space D Space D

Balance D

2-Band

Balance E

2-Band

L out

R out

FILTER TYPE Off/LPF/HPF

Select the type of filter.

Off:

A filter will not be used.

LPF:

The frequency region above the Cutoff Freq setting will be cut.

HPF:

The frequency region below the Cutoff Freq setting will be cut.

CUTOFF FREQ (Cutoff frequency)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz)

Specify the frequency at which the filter will begin cutting.

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the chorus sound is heard.

RATE 0.05–10.0 Hz #

Specify the modulation frequency of the chorus sound.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range. Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and 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 chorus sound will be output.

LEVEL (Output level) 0–127

Specify the output volume.

14: STEREO-CHO (Stereo Chorus)

This is a stereo chorus. A filter allows you to adjust the tone of the chorus sound.

fig.6-18

L in

R in

Chorus Chorus

Balance D

2-Band

Balance E

2-Band

L out

R out

DEPTH 0–127

Specify the modulation depth of the chorus sound.

PHASE 0–180

Specify the spaciousness of the chorus sound.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range.

Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range.

Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and 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 chorus sound will be output.

LEVEL (Output level) 0–127

Specify the output volume.

Chapter 6 Using the Built-in Effects

15: STEREO-FL (Stereo Flanger)

This is a stereo flanger (the LFO has the same phase for left and right). This produces a metallic resonance reminiscent of a jet airplane taking off and landing. A filter is provided so that you can adjust the tone of the flanger sound.

fig.6-19

L in L out

R in R out

FILTER TYPE Off/LPF/HPF

Specify the type of filter.

Off:

A filter will not be used.

LPF:

Cut the frequency region above the Cutoff Freq setting.

HPF:

Cut the frequency region below the Cutoff Freq setting.

CUTOFF FREQ (Cutoff frequency)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz)

Specify the frequency at which the filter will begin cutting.

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the flanger sound is heard.

Flanger

Feedback Feedback

Flanger

Balance D

2-Band

Balance E

2-Band

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range. Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the flanger 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.

LEVEL (Output level) 0–127

Specify the output volume.

16: STEP-FL (Step Flanger)

Step flanger is a flanger in which the pitch of the flanger sound changes in steps. The frequency of the pitch change can be specified as a note length of a specific tempo.

fig.6-20

L in L out

Step Flanger

R in R out

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the flanger sound is heard.

Feedback Feedback

Balance D

2-Band

Balance E

2-Band

Chap. 6

RATE (LFO rate) 0.05–10.0 Hz #

Specify the modulation frequency of the flanger sound.

DEPTH (LFO depth) 0–127

Specify the modulation depth of the flanger sound.

PHASE 0–180

Specify the spaciousness of the flanger sound.

FEEDBACK -98–+98 %

Specify the proportion (%) of the flanger sound that is to be returned to the input. Positive (+) settings will return the signal to the input with the original phase, while negative (-) settings produce an inverted phase. Higher settings will produce a more distinctive sound.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range.

RATE 0.05–10.0 Hz

Specify the modulation frequency of the flanger sound.

DEPTH 0–127

Specify the modulation depth of the flanger sound.

FEEDBACK -98–+98 %

STEP RATE 0.05–10.0 Hz #

Specify the frequency of pitch change.

PHASE 0–180

Specify the spaciousness of the flanger sound.

Chapter 6 Using the Built-in Effects

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range. Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

LEVEL (Output level) 0–127

Specify the output volume.

17: STEREO-DELAY

This is a stereo delay.

fig.6-21

When Feedback Mode parameter is Normal:

L in L out

Balance D

Delay

Feedback Feedback

Delay

R in R out

Balance D

When Feedback Mode parameter is Cross:

Balance D

L in L out

Delay

Feedback Feedback

Delay

R in R out

Balance D

FB MODE (Feedback mode) Normal/Cross

Specify the input destination to which the delay sound will be returned.

Normal:

The left delay sound will be returned to the left input, and the right delay sound to the right input.

Cross:

The left delay sound will be returned to the right input, and the right delay sound to the left input.

2-Band

Balance E

2-Band

Balance E

2-Band

DELAY LEFT (Delay time left) 0.0–500 ms

Specify the delay time from the original sound until the left delay sound is heard.

DELAY RIGHT (Delay time right) 0.0–500 ms

Specify the delay time from the original sound until the right delay sound is heard.

PHASE LEFT (Feedback phase left) Normal/Invert

Specify the phase of the left delay sound.

Normal: The phase will not change. Invert: The phase will be inverted.

PHASE RIGHT (Feedback phase right) Normal/Invert

Specify the phase of the right delay sound.

Normal: The phase will not change. Invert: The phase will be inverted.

FEEDBACK (Feedback level) -98–+98 % #

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.

HF DAMP

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range.

Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range.

Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the delay sound.

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.

LEVEL (Output level) 0–127

Specify the output volume.

Chapter 6 Using the Built-in Effects

L in

R in

L out

R out

Left Tap

Right Tap

Triple Tap Delay

2-Band

Balance E

Balance D

Balance E

Balance D

Feedback

Center Tap

18: MOD-DELAY (Modulation Delay)

Modulation-delay is an effect which adds modulation to the delay sound. It produces a flanger-like effect.

fig.6-22

When Feedback Mode parameter is Normal:

L in L out

Delay

Feedback Feedback

Delay

R in R out

When Feedback Mode parameter is Cross:

L in L out

Delay

Feedback Feedback

Delay

R in R out

Balance D

Modulation

Balance D

Modulation

Balance D

FB MODE (Feedback mode) Normal/Cross

Specify the input destination to which the delay sound will be returned.

Normal:

The left delay sound will be returned to the left input, and the right delay sound to the right input.

Cross:

The left delay sound will be returned to the right input, and the right delay sound to the left input.

DELAY LEFT (Delay time left) 0.0–500 ms

Specify the delay time from the original sound until the left delay sound is heard.

2-Band

Balance E

2-Band

Balance E

2-Band

RATE 0.05–10.0 Hz #

Specify the modulation frequency of the modulation effect.

DEPTH 0–127

Specify the modulation depth of the modulation effect.

PHASE 0–180

Specify the spaciousness of the modulation sound.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the low frequency range.

Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the high frequency range.

Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the modulation-delay sound.

With a setting of D100:0E only the original sound will be output, and with a setting of D0:100E only the modulationdelay sound will be output.

LEVEL (Output level) 0–127

Specify the output volume.

19: 3-TAP-DELAY (Triple Tap Delay)

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

Chap. 6

DELAY RIGHT (Delay time right) 0.0–500 ms

Specify the delay time from the original sound until the right delay sound is heard.

FEEDBACK (Feedback level) -98–+98 %

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.

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 delay sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

DELAY LEFT (Delay time left) 200–1000 ms

Specify the delay time from the original sound until the left delay sound is heard.

DELAY RIGHT (Delay time right)

Specify the delay time from the original sound until the right delay sound is heard.

* The setting values are the same as for DELAY LEFT.

Chapter 6 Using the Built-in Effects

DELAY CENTER (Delay time center)

Specify the delay time from the original sound until the center delay sound is heard.

* The setting values are the same as for DELAY LEFT.

FEEDBACK (Feedback level) -98%–+98% #

Specify the proportion (%) of the delay sound that is to be returned to the input.

Positive (+) settings will return the sound to the input with the original phase, while negative (-) settings produce an inverted phase.

HF DAMP

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

LEFT LEVEL 0–127

Specify the volume of the left delay sound.

RIGHT LEVEL 0–127

Specify the volume of the right delay sound.

CENTER LEVEL 0–127

Specify the volume of the center delay sound.

20:

4-TAP-DELAY (Quadruple Tap Delay)

Quadruple-tap-delay provides four delays. The delay time for each delay can be specified as a note length relative to a specific tempo.

fig.6-24

Balance D

L in

R in

Feedback

Quadruple Tap Delay

Delay 1

Delay 4

Delay 2

Delay 3

Balance D

L out

Balance E

R out

DELAY1 (Delay time 1) 200–1000 ms

Specify the delay time from the original sound until the delay 1 sound is heard.

* The setting values for Delay Time 2 to Delay time 4 are the

same.

DELAY2 (Delay time 2)

Specify the delay time from the original sound until the delay 2 sound is heard.

DELAY3 (Delay time 3)

Specify the delay time from the original sound until the delay 3 sound is heard.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range.

Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range.

Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the delay sound.

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.

LEVEL (Output level) 0–127

Specify the output volume.

DELAY4 (Delay time 4)

Specify the delay time from the original sound until the delay 4 sound is heard.

LEVEL1 0–127

Specify the volume level of delay 1.

LEVEL2 0–127

Specify the volume level of delay 2.

LEVEL3 0–127

Specify the volume level of delay 3.

LEVEL4 0–127

Specify the volume level of delay 4.

FEEDBACK (Feedback level) -98%–+98% #

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.

Chapter 6 Using the Built-in Effects

L in

R in

L out

R out

2Voice Pitch Shifter

Level Balance A

Balance E

Balance D

Balance E

Balance D

Level Balance B

PanB R

PanA L

PanA R PanB L

HF DAMP

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the delay sound.

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.

LEVEL (Output level) 0–127

Specify the output volume.

21: TIMECTRL-DLY (Time Control Delay)

This lets you control a delay time in real time. 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

L in

Time Control Delay

R in

Balance D

Feedback

Balance D

DELAY (Delay time) 200–1000 ms #

Specify the time delay from the original sound until the delay sound is heard.

2-Band

Balance E

2-Band

L out

R out

PAN (Output pan) L64–0–R63

Specify the stereo position of the delay sound. A setting of L64 is far left, 0 is center, and R63 is far right.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the low frequency range.

Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) for the high frequency range.

Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the delay sound.

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.

LEVEL (Output level) 0–127

Specify the output volume.

22:

2VOICE-P.SFT (2 Voice Pitch Shifter)

Pitch Shifter is an effect that shifts the pitch of the original sound. 2-voice-pitch-shifter has two pitch shifters, and is able to add two pitch-shifted sounds to the original sound.

fig.6-25

Chap. 6

FEEDBACK (Feedback level) -98–+98 %

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.

ACCELERATION 0–15

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.

HF DAMP

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

MODE (Pitch shifter mode) 1–5

Higher settings will cause the response to be slower, but the pitch will be steadier.

COARSE A (Coarse pitch A) -24–+12 #

Specify the pitch shift amount in semitones for pitch shift A. (-2–+1 octave)

COARSE B (Coarse pitch B) -24–+12

Specify the pitch shift amount in semitones for pitch shift B. (-2—+1 octave)

FINE A (Fine pitch A) -100–+100

Adjust the pitch shift amount in 2-cent units (1 cent = 1/ 100th of a semitone) for pitch shift A.

Chapter 6 Using the Built-in Effects

FINE B (Fine pitch B) -100–+100

Adjust the pitch shift amount in 2-cent units (1 cent = 1/ 100th of a semitone) for pitch shift B.

PRE DELAY A (Pre delay time A) 0.0–500 ms

Specify the time delay from the original sound until the pitch shift A sound is heard.

PRE DELAY B (Pre delay time B) 0.0–500 ms

Specify the time delay from the original sound until the pitch shift B sound is heard.

PAN A (Output pan A) L64–0–R63

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.

PAN B (Output pan B) L64–0–R63

Specify the stereo location of the pitch shift B sound. A setting of L64 is far left, 0 is center, and R63 is far right.

LVL BALANCE (Level balance) A100:0B–A0:100B

Adjust the volume balance between the pitch shift A and pitch shift B sounds.

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.

BALANCE (Effect balance) D100:0E–D0:100E

Adjust 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 (Output level) 0–127

Specify the output volume.

23: FB-P.SFT (Feedback pitch shifter)

This is a pitch shifter that is able to return the pitch shifted sound back to the input.

fig.6-26

L in

Pitch Shifter

R in

Balance D

Feedback

Balance D

MODE (Pitch shifter mode) 1–5

Higher settings will cause the response to be slower, but the pitch will be steadier.

COARSE (Coarse pitch) -24–+12 #

Specify the pitch shift amount in semitone steps. (-2–+1 octave)

FINE (Fine pitch) -100–+100

Adjust the pitch shift amount in 2-cent steps (1 cent = 1/ 100th of a semitone).

PRE DELAY (Pre delay time) 0.0–500 ms

Specify the time delay from the original sound until the pitch shift sound is heard.

FEEDBACK -98–+98 %

Specify the proportion (%) of the pitch shift 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.

PAN (Output pan) L64–0–R63

Specify the stereo location of the pitch shift sound. A setting of L64 is far left, 0 is center, and R63 is far right.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range.

2-Band

Balance E

2-Band

L out

R out

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the high frequency range. Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

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 (Output level) 0–127

Specify the output volume.

Chapter 6 Using the Built-in Effects

24: REVERB

Reverb adds reverberation to the original sound, simulating an acoustic space.

fig.6-27

L in

R in

Balance D

Reverb

Balance D

TYPE (Reverb type) Room1/Room2/Stage1/Stage2/Hall1/Hall2

Specify the type of reverb.

Room1: Short reverberation with high density Room2: Short reverberation with low density Stage1:

Reverberation with heavy subsequent reverberation

Stage2: Reverberation with strong early reflections Hall1: Clear reverberation Hall2: Rich reverberation

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the reverb is heard.

TIME (Reverb time) 0–127 #

Specify the length of reverberation.

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 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.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the high frequency range. Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the reverb sound. With a setting of D100:0E only the original sound will be output, and with a setting of D0:100E only the reverb sound will be output.

2-Band

Balance E

2-Band

L out

R out

25: GATE-REVERB

Gate reverb is a type of reverb effect which cuts the reverb sound during its decay.

fig.6-28

L in

R in

Balance D

Gate Reverb

Balance D

TYPE (Gatereverb type) Normal/Reverse/Sweep1/Sweep2

Specify the type of reverb.

Normal: Conventional gated reverb. Reverse: Reverse reverb. Sweep1: The reverb sound moves from right to left. Sweep2: The reverb sound moves from left to right.

PRE DELAY (Pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the reverb is heard.

GATE TIME 5–500 ms

Specify the length of the reverb sound.

LOW GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the low frequency range.

Positive (+) settings will emphasize (boost) the low frequency range.

HIGH GAIN -15–+15 dB

Specify the gain (amount of boost or cut) of the high frequency range. Positive (+) settings will emphasize (boost) the high frequency range.

BALANCE (Effect balance) D100:0E–D0:100E #

LEVEL (Output level) 0–127

Specify the output volume.

2-Band

Balance E

2-Band

L out

R out

Chap. 6

LEVEL (Output level) 0–127

Specify the output volume.

Chapter 6 Using the Built-in Effects

26: OD ➔ CHO (Overdrive ➔ Chorus)

This effect connects an overdrive and chorus in series.

fig.6-29

L in

Overdrive

R in

Balance D

Chorus

Balance D

OD DRIVE 0–127 #

Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion.

OD PAN (Overdrive pan) L64–0–R63

Specify the stereo location of the overdrive sound. A setting of L64 is far left, 0 is center, and R63 is far right.

CHO PRE DLY (Chorus pre delay time) 0.0–100 ms

This sets the interval from the time when the original sound is played until the time when the chorus sound is played.

CHO RATE (Chorus rate) 0.05–10.0 Hz

Specify the modulation frequency of the chorus sound.

L out

Balance E

R out

27: OD ➔ FL (Overdrive ➔ Flanger)

This effect connects an overdrive and a flanger in series.

fig.6-30

L in

Overdrive

R in

OD DRIVE 0–127 #

Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion.

OD PAN (Overdrive pan) L64–0–R63

Specify the stereo location of the overdrive sound. A setting of L64 is far left, 0 is center, and R63 is far right.

FL PRE DLY (Flanger pre delay time) 0.0–100ms

Specify the time delay from the original sound until the flanger sound is heard.

FL RATE (Flanger rate) 0.05–10.0 Hz

Specify the modulation frequency of the flanger sound.

Balance D

Feedback

Flanger

Balance D

L out

Balance E

R out

CHO DEPTH (Chorus depth) 0–127

Specify the modulation depth of the chorus sound.

CHO BALANCE (Chorus balance) D100:0E–D0:100E

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.

LEVEL (Output level) 0–127

Specify the output volume.

FL DEPTH (Flanger depth) 0–127

Specify the modulation depth of the flanger sound.

FL FEEDBACK (Flanger feedback level) -98–+98 %

Specify the proportion (%) of the flanger sound that is to be returned to the input. Positive (+) settings will return the sound to the input with the original phase, while negative (-) settings produce an inverted phase. You can set a value from -98% to +98%, in steps of 2%. There is no feedback when the value is zero.

FL BALANCE (Flanger balance) D100:0E–D0:100E

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 (Output level) 0–127

Specify the output volume.

Chapter 6 Using the Built-in Effects

28: OD ➔ DLY (Overdrive ➔ Delay)

This effect connects an overdrive and a delay in series.

fig.6-31

L in

Overdrive

R in

Balance D

Delay

Feedback

Balance D

OD DRIVE 0–127 #

Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion.

OD PAN (Overdrive pan) L64–0–R63

Specify the stereo location of the overdrive sound. A setting of L64 is far left, 0 is center, and R63 is far right.

DLY TIME (Delay time) 0.0–500 ms

Specify the time delay from the original sound until the delay sound is heard.

DLY FEEDBACK (Delay feedback level) -98–+98 %

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. 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 (Delay HF damp)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

DLY BALANCE (Delay balance) D100:0E–D0:100E

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.

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.

LEVEL (Output level) 0–127

Specify the output volume.

L out

Balance E

R out

29: DS ➔ CHO (Distortion ➔ Chorus)

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.

OD DRIVE ➔ DS DRIVE #

(Specify the amount of distortion.)

OD PAN ➔ DS PAN

(Specify the stereo location of the distortion sound.)

fig.6-32

L in

R in

Distortion

Balance D

Chorus

Balance D

L out

Balance E

R out

30: DS ➔ FL (Distortion ➔ Flanger)

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.

OD DRIVE ➔ DS DRIVE #

(Specify the amount of distortion.)

OD PAN ➔ DS PAN

(Specify the stereo location of the distortion sound.)

fig.6-33

L in

R in

Distortion

Balance D

Feedback

Flanger

Balance D

L out

Balance E

R out

31: DS ➔ DLY (Distortion ➔ 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.

OD DRIVE ➔ DS DRIVE #

(Specify the amount of distortion.)

OD PAN ➔ DS PAN

(Specify the stereo location of the distortion sound.)

fig.6-34

L in

R in

Distortion

Balance D

Delay

Feedback

Balance D

L out

Balance E

R out

Chap. 6

Chapter 6 Using the Built-in Effects

32: EH ➔ CHO (Enhancer ➔ Chorus)

This effect connects an enhancer and a chorus in series.

fig.6-35

L in

R in

Enhancer

Mix

Balance D

Chorus

Balance D

EH SENS (Enhancer sensitivity) 0–127

Specify the sensitivity of the enhancer.

EH MIX (Enhancer mix level) 0–127

Specify the volume of the overtones generated by the enhancer, relative to the original sound.

CHO PRE DLY (Chorus pre delay time)

0.0–100 ms

Specify the time delay from the original sound until the chorus sound is heard.

CHO RATE (Chorus rate) 0.05–10.0 Hz #

Specify the modulation frequency of the chorus sound.

CHO DEPTH (Chorus depth) 0–127

Specify the modulation depth of the chorus sound.

CHO BALANCE (Chorus balance) D100:0E–D0:100E

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.

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.

LEVEL (Output level) 0–127

Specify the output volume.

L out

Balance E

R out

33: EH ➔ FL (Enhancer ➔ Flanger)

This effect connects an enhancer and a flanger in series.

fig.6-36

Balance D

L in

R in

Enhancer

Mix

Feedback

Flanger

Balance D

EH SENS (Enhancer sensitivity) 0–127

Specify the sensitivity of the enhancer.

EH MIX (Enhancer mix level) 0–127

Specify the volume of the overtones generated by the enhancer, relative to the original sound.

FL PRE DLY (Flanger pre delay time)

0.0–100 ms

Specify the time delay from the original sound until the flanger sound is heard.

FL RATE (Flanger rate) 0.05–10.0 Hz #

Specify the modulation frequency of the flanger sound.

FL DEPTH (Flanger depth) 0–127

Specify the modulation depth of the flanger sound.

FL FEEDBACK (Flanger feedback level) -98–+98 %

Specify the proportion (%) of the flanger sound which will be returned to the input.

FL BALANCE (Flanger balance) D100:0E–D0:100E

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.

L out

Balance E

R out

LEVEL (Output level) 0–127

Specify the output volume.

Chapter 6 Using the Built-in Effects

34: EH ➔ DLY (Enhancer ➔ Delay)

This effect connects an enhancer and delay in series.

fig.6-37

L in

R in

Enhancer

Mix

Balance D

Delay

Feedback

Balance D

EH SENS (Enhancer sensitivity) 0–127

Specify the sensitivity of the enhancer.

EH MIX (Enhancer mix level) 0–127

Specify the volume of the overtones generated by the enhancer, relative to the original sound.

DLY TIME (Delay time) 0.0–500 ms

Specify the time delay from the original sound until the delay sound is heard.

DLY FEEDBACK (Delay feedback level) -98–+98 %

Specify the proportion (%) of the delay sound that is to be returned to the input.

DLY HF DAMP (Delay HF damp)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

DLY BALANCE (Delay balance) D100:0E–D0:100E

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.

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.

LEVEL (Output level) 0–127

Specify the output volume.

L out

Balance E

R out

35: CHO ➔ DLY (Chorus ➔ Delay)

This effect connects a chorus and a delay in series.

fig.6-38

L in

R in

CHO PRE DELAY (Chorus pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the chorus sound is heard.

CHO RATE (Chorus rate) 0.05–10.0 Hz #

Specify the modulation frequency of the chorus sound.

CHO DEPTH (Chorus depth) 0–127

Specify the modulation depth of the chorus sound.

CHO BALANCE (Chorus balance) D100:0E–D0:100E

Specify the volume balance between the original sound and 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 chorus sound will be output.

DLY TIME (Delay time) 0.0–500 ms

Specify the time delay from the original sound until the delay sound is heard.

DLY FEEDBACK (Delay feedback level) -98–+98 %

Specify the proportion (%) of the delay sound that is to be returned to the input.

DLY HF DAMP (Delay HF damp)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

DLY BALANCE (Delay balance) D100:0E–D0:100E

Specify the volume balance between the chorus sound that passes through the delay and the chorus sound which does not pass through the delay.

With a setting of D100:0E only the chorus sound will be output, and with a setting of D0:100E only the chorus sound that passes through the delay will be output.

Balance D

Balance E

Chorus

Balance E

Balance D

Delay

Feedback

Balance D

L out

Balance E

R out

Chap. 6

Chapter 6 Using the Built-in Effects

LEVEL (Output level) 0–127

Specify the output volume.

36: FL ➔ DLY (Flanger ➔ Delay)

This effect connects a flanger and a delay in series.

fig.6-39

Balance D

L in

R in

Feedback

Flanger

Balance D

Balance E

Balance D

Delay

Feedback

Balance D

FL PRE DLY (Flanger pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the flanger sound is heard.

FL RATE (Flanger rate) 0.05–10.0 Hz #

Specify the modulation frequency of the flanger sound.

FL DEPTH (Flanger depth) 0–127

Specify the modulation depth of the flanger sound.

FL FEEDBACK (Flanger feedback level) -98–+98 %

Specify the proportion (%) of the flanger sound that is to be returned to the input.

L out

Balance E

R out

DLY HF DAMP (Delay HF damp)

200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass

Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut.

If you do not want the sound to be cut, select Bypass.

DLY BALANCE (Delay balance) D100:0E–D0:100E

Specify the volume balance of the flanger sound that passes through the delay and the flanger sound which does not pass through the delay.

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.

LEVEL (Output level) 0–127

Specify the output volume.

37: CHO ➔ FL (Chorus ➔ Flanger)

This effect connects a chorus and flanger in series.

fig.6-40

L in

R in

Balance D

Balance E

Chorus

Balance E

Balance D

CHO PRE DLY (Chorus pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the chorus sound is heard.

Balance D

Feedback

Flanger

Balance D

L out

Balance E

R out

FL BALANCE (Flanger balance) D100:0E–D0:100E

Specify the volume balance between the original sound and the flanger 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.

DLY TIME (Delay time) 0.0–500 ms

Specify the time delay from the original sound until the delay sound is heard.

DLY FEEDBACK (Delay feedback level) -98–+98 %

Specify the proportion (%) of the delay sound that is to be returned to the input.

CHO RATE (Chorus rate) 0.05–10.0 Hz

Specify the modulation frequency of the chorus sound.

CHO DEPTH (Chorus depth) 0–127

Specify the modulation depth of the chorus sound.

CHO BALANCE (Chorus balance) D100:0E–D0:100E

Specify the volume balance between the original sound and 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 chorus sound will be output.

FL PRE DLY (Flanger pre delay time) 0.0–100 ms

Specify the time delay from the original sound until the flanger sound is heard.

FL RATE (Flanger rate) 0.05–10.0 Hz #

Specify the modulation frequency of the flanger sound.

FL DEPTH (Flanger depth) 0–127

Specify the modulation depth of the flanger sound.

Chapter 6 Using the Built-in Effects

FL FEEDBACK (Flanger feedback level) -98–+98 %

Specify the proportion (%) of the flanger sound that is to be returned to the input.

FL BALANCE (Flanger Balance) D100:0E–D0:100E

Specify the volume balance between the chorus sound that passes through the flanger and the chorus sound that does not pass through the flanger.

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 (Output level) 0–127

Specify the output volume.

38: CHO/DLY (Chorus/Delay)

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

Chorus

Feedback

Balance D

Balance E

L in L out

40: CHO/FL (Chorus/Flanger)

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 between the original sound and the flanger sound.

fig.6-43

Chorus

Feedback

Flanger

Balance D

Balance E

Balance D

L in L out

R in R out

Chap. 6

Delay

R in R out

Balance D

Balance E

39: FL/DLY (Flanger/Delay)

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

Flanger

Feedback Feedback

Delay

Balance D

Balance E

Balance D

L in L out

R in R out

Chapter 6 Using the Built-in Effects

Making Chorus Settings

Here’s how to adjust parameters such as modulation depth and speed for the chorus sound.

■ Procedure for Setting Chorus

1. Select the patch for which Chorus is to be set, and press

[EFFECTS] to go into Patch Edit mode.

2. Use [PARAMETER] to select the CHORUS-related

parameter.

For a description of the chorus parameter types, “Chorus parameters and their significance.”

fig.6-02

3. Use [VALUE] to choose the setting value.

For the setting values, see the subsequent section, “Chorus parameters and their significance.”

4. Repeat steps 2 to 3 to set all chorus parameters.

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.

◆ Chorus parameters and their significance

CHO SEND LEVEL (Chorus Send Level)

Specifies the volume of the chorus. Increasing this setting will raise the volume.

CHORUS RATE

Specifies the modulation frequency of the chorus effect. Higher values result in a faster modulation (cycle).

CHORUS DEPTH

Specifies the modulation depth of the chorus effect. As this setting is increased, the modulation will become

deeper.

CHORUS PRE-DELAY

Specifies the delay between when the original sound is heard and when chorusing begins.

Higher settings will make the sound more spacious.

CHORUS FEEDBACK

Adjusts the amount of chorus sound that is returned (fed back) to the input of the chorus.

Higher settings create more complex chorusing.

Making Reverb Settings

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.

■ Procedure for Setting Reverb

1. Select the patch for which Reverb is to be set, and press

[EFFECTS] to go into Patch Edit mode.

2. Press [PARAMETER] to select “REVERB TYPE.”

fig.6-01

3. Use [VALUE] to select the reverb type.

For the setting values, see the subsequent section, “Reverb parameters and their significance.”

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.

6. Repeat steps 4 to 5 to set all reverb parameters.

7. 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.

◆ Reverb parameters and their significance

REVERB TYPE (Reverb/Delay Type)

Selects a type of reverb or delay.

Room1: Short reverb with high density Room2: Short reverb with low density. Stage1: Reverb with much subsequent reverberation Stage2: Reverb with strong early reflections

Chapter 6 Using the Built-in Effects

Hall1: Reverb with clear reverberation. Hall2: Reverb with rich reverberation. Delay: Standard delay Pan Delay:

REV SEND LEVEL (Reverb/Delay Send Level)

Specifies the volume of the reverb (or delay). Increasing this setting will raise the volume.

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.

A delay effect with echoes that pan left and right.

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. If you do not want to damp the high frequencies, set this parameter to BYPASS.

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.

Temporarily Turning Off Effects (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.

■ Temporarily Turning Off an Effect

1. In Patch Edit mode EFFECTS (effect-related settings),

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.

* Only the effect being edited will be bypassed by the Bypass

function.

* 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.

The Bypass function will be defeated, and you will return to the state before you selected Bypass.

The three-digit display “Edt” will change from blinking back to steadily lit.

* 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 (p. 53) to “Off,” and store it in the patch.

Chap. 6

When the Onboard Effects Don’t Work

If the onboard reverb, chorus, or Multi-effects is having no effect, double-check reconfirm each of the following:

• Check whether “Edit” is blinking in the three-digit display (the Bypass function is working).

• 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.

• 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.

• Make sure that parameters such as the “LEVEL” of the effect type used by the Multi-effects are set to an appropriate value.

Chapter 7 The Arpeggiator Function

The GR-33 is equipped with an Arpeggiator function that is uniquely suited to guitar performances. When turned on, Arpeggiator takes over when a chord is strummed, and plays the chord’s notes for you in simple or complex ways. The

About the Arpeggiator Function

About “Arpeggio Patterns”

Let’s consider the simplest way to play an arpeggio on an actual acoustic guitar.

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

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.

On the GR-33, the sequence of played strings (“5, 4, 3, 4...”) is called an “arpeggio pattern,” or sometimes simply “pattern.”

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.

* 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.

Effective Use of the Hold Function During Arpeggios

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.

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.

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.

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).

◆ Hold Variations Available When

Arpeggiator Is On

Any of the following hold variations can be selected when Arpeggiator is on.

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.

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.

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.

Chapter 7 The Arpeggiator Function

Latch TypeA (Latch hold type A):

With an ordinary hold function, pressing the pedal starts the hold, and releasing the pedal ends it. With a latch hold, however, pressing the pedal once begins the hold, and pressing the pedal again ends it. On the GR-33, a latch hold is available only when using Arpeggiator.

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.

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.

Latch TypeB (Latch hold type B):

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.

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.”

Changing the Sounding of Arpeggios

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).

Turning Arpeggiator On and Off (HAR/ARP CONTROL)

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.

1. Press [COMMON] to enter Patch Edit mode.

2. Use [PARAMETER] to select “CTRL PEDAL.”

3. Use [VALUE] to select “HAR/ARP Control.”

fig.7-01a

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).

* Alternatively, use the System mode item “S1/S2

FUNCTION” to choose “Patch Select” and return to Play mode.

6. Press pedal 4 (CTRL) to turn the arpeggiator on/off.

Turning the arpeggiator on/off in Patch Edit mode

Here’s how to store the arpeggiator on/off setting in the patch.

1. Press [EFFECTS] to enter Patch Edit mode.

Chap. 7

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.

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] 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.

Chapter 7 The Arpeggiator Function

* Alternatively, when one of the arpeggiator setting items

“HAR/ARP CONTROL,” “HAR/ARP SELECT,” or “ARP PATTERN” are selected, you can use pedal 4 (CTRL) to turn the arpeggiator on/off.

* The arpeggiator on/off setting is independent for each patch.

When you execute the Patch Write operation, the status at that time (on or off) will be reproduced the next time you recall that patch.

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 currently selected.

fig.7-03

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.”

* 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.

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.”

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.

* 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.

◆ Arpeggiator Settings that can be selected

in HAR/ARP SELECT

Arpeggio All:

All tones from the internal sound generator and the external MIDI sound generator are arpeggiated.

Arpeggio 1st:

Only the 1st tone of the internal sound generator is arpeggiated.

Arpeggio 2nd:

Only the 2nd tone of the internal sound generator is arpeggiated.

Selecting Tones to Be Arpeggiated (HAR/ARP SELECT)

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.

■ Selecting Tones to Be Arpeggiated

1. Select the patch for which Arpeggiator settings are to

be modified, and press [EFFECTS] to go into Patch Edit mode.

2. Press [PARAMETER] to select “HAR/ARP SELECT.”

fig.7-04

Arpeggio 1&2:

The 1st and 2nd tones are both arpeggiated. (The external sound generator is not arpeggiated.)

Arpeggio Ext:

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.

* 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.

Chapter 7 The Arpeggiator Function

Selecting Arpeggio Patterns (ARP PATTERN)

The GR-33 contains 50 preset arpeggio patterns. For each patch, you can select any one of the preset arpeggio patterns.

For more detailed information about arpeggio patterns, please refer to “About “Arpeggio Patterns” (p. 76).”

■ Selecting Arpeggio Patterns

1. Select the patch for which the Arpeggio pattern is to be

modified, and press [EFFECTS] to go into Patch Edit mode.

2. Press [PARAMETER] to select “ARP PATTERN.”

fig.7-05

3. Turn [VALUE] to select the desired Arpeggiator

pattern.

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.

* 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).

To move to a different Arpeggiator 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.

* If you don’t want to save the Patch, press [PLAY] to return to

Play mode.

Using the pedal to set the tempo (Tap Tempo Teach function)

You can set the arpeggiator tempo by pressing a pedal rhythmically at the desired tempo. This is called the Tap Tempo Teach function.

When you enter Patch Edit mode and make arpeggiatorrelated 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.

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 “TAP” indicator will disappear.

fig.7-07

Original tempo

Chap. 7

Setting Tempo (ARP TEMPO)

You can freely vary the tempo of an arpeggio, and save the tempo in the patch. This is done using the “ARP TEMPO” (arpeggio tempo) parameter.

■ Setting Arpeggio Tempo

1. Select the patch for which the arpeggio tempo is to be

modified, and press [EFFECTS] to go into Patch Edit mode.

2. Press [PARAMETER] to select “ARP TEMPO.”

fig.7-06

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.

Changed

* The Tap Tempo function can also be activated using the

BANK SHIFT pedal (Up side) in Pedal Effect mode when Arpeggiator is on.

* 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.

* 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.

Chapter 8

Adding Harmonies in a Specific Key

(The Harmonist)

The GR-33 lets you use the TONE “TRANSPOSE” setting (p. p. 51) to shift the pitch of the 1st and 2nd tones relative to the guitar’s pitch, creating an always-parallel harmony.

However, to create harmonies that are more musically useful, the differences in pitch between notes must follow the key of the song and the scale being played.

About the Harmonist

Let’s take a look at how Harmonist is put together, and compare it with the Transpose function.

The sample score shown below compares the effects of the Transpose function and Harmonist when playing the scale in the key of C major.

fig.8-01

Transpose

Transposed note

Normal note

Harmonist

Harmony note

Normal note

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.

The difference in the results of the two methods is shown by the arrows in the figure.

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 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.

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.

What You Can Do with the Harmonist

Adding Synth Sounds to Guitar Sounds

The commercially available device known as “Harmonist” is a type of pitch shifter, and can only make guitar-sound harmonies for guitar sounds.

In contrast, the GR-33 Synth Harmonist lets you take the guitar sounds you normally use and make harmonies using any sounds you like.

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 GR33 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.”

Creating Harmonies with Two Synth 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.”

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.”

Operation

Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)

Turning the Harmonist On and Off (HAR/ARP CONTROL)

Using pedal 4 (CTRL) to turn Harmonist on/off

If you wish to turn Harmonist on/off while you perform, make the following settings.

1. Press [COMMON] to enter Patch Edit mode.

2. Use [PARAMETER] to select “CTRL PEDAL.”

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.

* 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.

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).

* Alternatively, use the System mode setting “S1/S2

FUNCTION” to choose “Patch Select” and return to Play mode.

6. Press pedal 4 (CTRL) to turn the Harmonist on/off.

Turning the Harmonist on/off in Patch Edit mode

If you wish to store the Harmonist on/off setting in the patch, use the following procedure.

1. Press [EFFECTS] to enter Patch Edit mode.

2. Use [PARAMETER] to select “HAR/ARP CONTROL.”

3. Use [VALUE] to turn the Harmonist “On” or “Off.”

fig.7-01b

4. Press [WRITE] to execute the Patch Write operation (p.

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.

* 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.

* 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.

For each patch, either Arpeggiator or Harmonist can be selected, but not both.

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

Chap. 8

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.

Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)

Selecting Harmony Tones (HAR/ ARP SELECT)

The “HAR/ARP SELECT” (Harmony/Arpeggio select) parameter for each patch determines whether the 1st tone, the 2nd tone, or an external sound generator produces the harmony.

■ Setting Harmony Select

1. Select the patch for which Harmonist 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

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.”

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.

* 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.

◆ Harmonist Settings that can be selected in

HAR/ARP SELECT

Harmony All:

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.

Harmony 2nd:

The 2nd tone of the internal sound generator produces harmony.

Harmony 1&2:

Both the 1st and 2nd tones produce harmony.

Harmony Ext:

The external MIDI sound generator produces harmony.

Harmony Ext&1:

The 1st tone and the external MIDI sound generator produce 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.

Setting Harmonic Intervals (HARMONY 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.

■ Setting the Harmony Style

1. Select the patch for which Harmony Style settings are

to be modified, and press [EFFECTS] to go into Patch Edit mode.

2. Press [PARAMETER] to select “HARMONY STYLE.”

fig.8-04

3. Turn [VALUE] to select the desired harmony style

interval.

An interval of -7th, -6th, -5th, -4th, -3rd, -2nd, +2nd, +3rd, +4th, +5th, +6th, +7th, or Diminish can be selected.

“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.

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.

* 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.

Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)

The various settings produce the following intervals between the melody and the harmony.

fig.8-05

Key=C

HARMONY STYLE

dim + 7th + 6th + 5th + 4th

+ 3rd

+ 2nd

- 2nd

- 3rd

- 4th

- 5th

- 6th

- 7th

minor

+ 3rd

tonic b2nd

2nd b3rd 3rd 4th b5th 5th #5th 6th b7th 7th

-10 -10-10 -10-10 -10 -10 -10 -11-10 -10 -11

334

333333333333 9911 1110 10 10 10 1010 9 10 889998988988 667766776767 555655555555 334433433333 222222221221

-3 -3-1 -1-2 -2 -2 -2 -2-2 -3 -2

-4 -4-3 -3-3 -4 -3 -4 -4-3 -4 -4

-6 -6-5 -5-6 -6 -5 -5 -6-5 -6 -5

-7 -7-7 -7-7 -7 -7 -7 -7-7 -7 -7

-9 -9-8 -8-9 -9 -8 -9 -9-9 -9 -9

4334

(Unit: semitone)

* When HARMONY STYLE is “+3,” and HARMONY KEY is

set to “minor,” the harmony is made in a minor scale.

3. Press [TONE], and use [PARAMETER] to select “1ST

TRANSPOSE.”

4. Turn [VALUE] to select “-12” (1 octave down).

fig.8-06

The 1st tone will play one octave lower than the guitar sound.

* 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.”

5. Press [EFFECTS], and then use [PARAMETER] to

choose “HAR/ARP SELECT.”

6. Turn [VALUE] to select “Harmony 2nd.”

fig.8-07

7. Press [PARAMETER] to select “HARMONY STYLE.”

Setting Transpose and “HARMONY 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.

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.” “

On the other hand, you may find it helpful to use Transpose to shift a melody or Harmonist harmony sound by octaves.

An Example: Transposing the Harmony Down an Octave

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).

8. Turn [VALUE] to select “+3rd.”

fig.8-08

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.

* 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.

Chap. 8

Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)

Setting the Key (HARMONY KEY)

The “HARMONY KEY” setting selects the key in which the patch’s melody is to be played, such as C or Gm (G minor).

■ Setting the Harmony Key

1. Select the patch for which the Harmony key setting is

to be modified, and press [EFFECTS] to go into Patch Edit mode.

2. Press [PARAMETER] to select “HARMONY KEY.”

fig.8-09

3. Turn [VALUE] to select the desired value.

For the possible values of HARMONY KEY, see the subsequent section, “Harmonist Setting Values that can be selected in HARMONY KEY.”

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.

* 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.

Changing the Key from an External Pedal or Other Device with MIDI Note Messages (HARMONY REMOTE)

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.

The parameter that determines whether this function is enabled or disabled for each patch is “HARMONY REMOTE” (harmony key remote).

■ Changing the Harmonist Key with an

External MIDI Pedal

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.

2. Set the MIDI send channel of the external device to the

same MIDI channel as the GR-33 (p. 86).

3. Select the patch with which you wish to use the remote

key function, and press [EFFECTS] to enter Patch Edit mode.

4. Press [PARAMETER] to select “HARMONY

REMOTE.”

fig.8-11

◆ Harmonist Setting Values that can be

selected in HARMONY KEY

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 Cm, C#m, Dm, D#m, Em, Fm, F#m, Gm, G#m, Am, A#m, and

* 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.)

◆ About the Key Display

In patches where Harmonist is chosen, you can check the selected key in Play mode without having to enter Patch Edit 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.

The current setting will be shown on the display. “On” signifies that the remote function is on, and “Off” means that it is not.

5. Turn [VALUE] to select “On.”

6. 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.

* 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.

Chapter 8 Adding Harmonies in a Specific Key (The Harmonist)

BANK

(RED)

White

BANK SHIFT

BANK

(RED)

White

BANK SHIFT

7. Refer to the owner’s manual for the external device,

and send MIDI note messages to the GR-33.

If you are using the FC-200, press the “MODE” button on the pedal to switch to the Note mode.

No matter what mode the GR-33 is in, it will receive MIDI Note On messages and switch HARMONY KEY to the corresponding note.

* The Harmonist key remote function has no effect on a patch for

which Harmonist has not been selected in “HAR/ARP SELECT,” even if “HARMONY REMOTE” is set to “On.”

* 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.

* “HARMONY REMOTE” is effective only in “Mono Mode”

(p. 88).

Switching Between Major and Minor During a Performance

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.

(for example, C# → C#m → C# → C#m...)

fig.8-12

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

Chap. 8

* 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.

Chapter 9 Connecting to External Sound

Generators and Sequencers

Connecting an external sound generator to the GR-33 makes it possible to play sounds not included the 384 built-in tones, and to create fatter sounds by combining notes from the GR33 and the external device.

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 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.

Also, as we’ve already seen on p. 37, you can send data such as patch data to other equipment for performance or storage.

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).

What follows is a list of some of the different types of MIDI messages that the GR-33 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, sliding, or hammering.

❍ “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.

Controlling an External MIDI Sound Device

Connecting to an External MIDI Sound Device

Follow the figure below to connect the GR-33 to an external MIDI sound device.

fig.9-01

MIDI OUT

MIDI IN

External MIDI Sound Device

Setting MIDI Channel/Bend Range (BASIC CHANNEL, BEND RANGE)

Once you’ve made the connections, make the required settings on the GR-33.

❍ MIDI CHANNEL (BASIC CHANNEL)

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.

Chapter 9 Connecting to External Sound Generators and Sequencers

* For a detailed explanation of Mono mode and Poly mode, see the

subsequent section, “Transmitting in Mono Mode or Poly Mode.”

* When using the GR-33 in combination with a multitimbral

sound module (a sound generator offering a number of performance parts) or a sequencer system (an automatic performance device), make sure the other instrument parts and channels do not overlap.

❍ BEND RANGE

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.

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.

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.)

About messages that notify the external MIDI instrument of the Bend Range and prompt change

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 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.

■ Setting the Channel (and Sending Mode)

and Bend Range

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “BASIC CHANNEL.”

fig.9-02

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 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).

4. When you finish making the setting for BASIC

CHANNEL, press [PARAMETER] to choose “BEND RANGE.”

fig.9-03

5. Use [VALUE] to select the setting value.

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.

* 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.

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.

* 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 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.”

When Using the Volume Knob and Selector Switch on the GK-2A

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.)

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

Chap. 9

Chapter 9 Connecting to External Sound Generators and Sequencers

“GUITAR,” a value of zero is sent to the external sound generator on the Control Change message No. 7, and sound from the external sound generator also stops. When “MIX” or “SYNTH” is selected, values corresponding to the state of the GK-2A volume or the expression pedal are sent, and sound production is restarted.

Sending of Control Change message No. 7 can be stopped when necessary (p. 97).

Transmitting in Mono Mode or Poly Mode

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.

❍ Transmitting in Mono Mode

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.)

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.

Suitable usage conditions:

Mainly when using a multitimbral sound generator offering six or more parts

❍ Transmitting in Poly Mode

Number of channels used: A single common channel for all strings is used. The sending channel set in the System mode is used as-is.

Features:

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.

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.

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

* In poly mode, individual, string-specific MIDI settings are

disabled. Instead, the settings for a single string are used.

Changing Patch and Other Parameters by Transmitting MIDI Messages from the GR-33

(MIDI [PC])

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.

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.)

■ Changing the Program Change Number

Sent to the External Device During Patch Selection

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

3. Use the [STRING SELECT] to select “ALL” for the

strings you wish to make settings.

If you wish to change settings for individual strings, refer to the following section “Selecting Separate Sounds for Different String.”

fig.9-05

4. Use [VALUE] to choose the value.

The program change number can be selected from a range of Off and 1–128.

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.

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.

Chapter 9 Connecting to External Sound Generators and Sequencers

Conversely, if there is a patch which should be played using only the external sound generator, just set the GR-33 patch “LAYER” setting (p. 51) to “Mute.”

* It’s not possible to alter the correspondences between Program

Change numbers received by the GR-33 and 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.

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.

For more detailed information and instructions for this procedure, refer to “Re-assigning Program Change Numbers in the Order of Patches” (p. 97).

* Make changes in settings only when a MIDI loop connection

is not being used.

Selecting Separate Sounds Programmed for Different Strings

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.

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.

* 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).

Selecting More Than 128 Tones (MIDI [CC0], MIDI [CC32])

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.

* 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.

The GR-33 also supports this function for sending Bank Select messages.

■ Sending MIDI Bank Select Messages

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

Change number 0).

fig.9-06

3. Press [STRING SELECT] to select “ALL.”

fig.9-07

4. Use [VALUE] to set the value for the tone to be called

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

Chap. 9

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).

Chapter 9 Connecting to External Sound Generators and Sequencers

MIDI

MIDI IN

MIDI OUT

External MIDI Sound Device

MIDI Foot Controller

8. Press [WRITE] to perform the Patch Write operation (p.

36).

* After performing the Patch Write operation, you will

automatically return to Play mode.

* If you don’t want to save the Patch, press [PLAY] to return to

Play mode.

When you call up a patch for which the settings described 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.

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.

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”).

fig.9-10

Performing the operation to sort Program Change numbers (p. 97) returns all Control Change No. 0 and No. 32 values to “0” for user patch Bank Select messages.

Applying the Arpeggiator or Harmonist Using an External Sound Device

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.

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).

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.

A MIDI foot controller such as the FC-200 or Boss FC-50 may be connected (p. 24), using the foot controller to switch 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.

❍ Using Arpeggiator to Arpeggiate an External

MIDI Sound Generator

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/ ARP SELECT”(p. 78) in the Patch Edit mode, the tones of the external MIDI sound generator are arpeggiated.

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.

By setting the Patch Edit mode EFFECTS parameter “HAR/ ARP SELECT” (p. 82) to a setting of “Harmony All,” “Harmony Ext,” “Harmony Ext&1,” or “Harmony Ext&2, you can create a counter-melody using an external MIDI sound generator as well.

Chapter 9 Connecting to External Sound Generators and Sequencers

The Relationship Between Envelope Follow Function and MIDI Message

Patches that use the Envelope Follow function (p. 36)—in other words, patches for which “Envelope1” or “Envelope2” has been selected for the COMMON “PLAY FEEL” setting in the Patch Edit mode—send information on string amplitude (decay) during play to MIDI OUT on MIDI Control Change No. 18 (general control 3).

This is mainly used during recording and playback of performances on the GR-33 itself through a loop connection with a MIDI sequencer (p. 94), and is for recording guitarstring envelopes (decay information) along with the played sounds and playing back the performed sounds without change.

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.

Controlling External MIDI Devices with the Pedal

The GR-33’s built-in pedal effects and some expansion pedal effects can also be applied to an external sound generator.

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 4 (CTRL)

❍

Arpeggiator and Harmonist can be turned on and off in the same was as for the built-in sound generator.

About Expression Pedal Effects

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.

“Volume” “Pitch”: MIDI Pitch Bend messages “Modulation”: Control Change No. 1 “Pan (Normal)”: Control Change No. 10 “Cho Send Level”: Control Change No. 93 “Rev Send Level”: Control Change No. 91 “Tempo&Pitch”: MIDI Pitch Bend messages

In addition to these, when a value from “CC1 to 31” or from “CC64 to 95” has been selected for the “EXP PEDAL” setting (p. 47), the Control Change message of the corresponding 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.

* When the GR-33 receives Control Change No. 4, the synth

: Control Change No. 7

and Control Change No. 4

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 Change message such as the foregoing No. 7, No. 1, or No. 91 has been assigned, No. 4 is ignored.

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.

Chap. 9

Chapter 9 Connecting to External Sound Generators and Sequencers

Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE])

When using an external sound generator, notes in the bass (or treble) range not on the guitar can be sent by changing the COMMON setting “MIDI [TRANSPOSE]” in the Patch Edit mode to transpose the output from MIDI OUT.

■ Procedure for Setting MIDI [TRANSPOSE]

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.

What to do if an External Module Doesn’t Produce Sound as Expected

If the external sound generator doesn’t play as expected, double-check the following items.

• Do the MIDI channels for sending and receiving match? (p. 86)

• 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.

• 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).

* If the pitch sounds out of tune with the guitar, check “BEND

RANGE.” (p. 86)

* If “BEND RANGE” has been set to “0,” the pitch will change

in semitone.

* When transmitting in the Poly mode, pitch changes during

chord performances are in semitone (p. 86).

Chapter 9 Connecting to External Sound Generators and Sequencers

Using the GR-33 as an External Sequencer Input Tool

By connecting the GR-33 to a MIDI sequencer (a performance-recording and playback device), even guitarists who don’t play keyboards can perform real-time recording to the sequencer.

Connecting to a Sequencer

Use MIDI cables to hook up the GR-33, sequencer (or computer running sequencer software) and multitimbral sound generator as shown in the figure.

fig.9-13

MIDI IN

Multi timbral MIDI Sound Device

MIDI OUT

MIDI

MIDI Sequencer

MIDI OUT

Input Procedures and Settings for Each Device

1. Set the sending channel, sending mode, and bend

range on the GR-33 to match the sound generator being used.

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 GR33 during recording is also output through MIDI OUT on the sequencer.)

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 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.

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).

Chap. 9

Chapter 9 Connecting to External Sound Generators and Sequencers

About “Local Control Off”

While the GR-33’s internal sound generator and guitar controller are connected together, it is set to “Local On.” In contrast to this, “Local Off” is when the GR-33’s internal sound generator and guitar controller are separated, and only MIDI message from a sequencer is played. Also, guitar performance message is output only from MIDI OUT.

fig.9-14

Sequencer

Thru function to MIDI OUT: On

GR-33

Generator

MIDI OUT

MIDI IN

Sound

Local Control

OFF

MIDI OUT

PITCH

TO MIDI

MIDI IN

GK IN

D OW

N / S

T 1

O U

L P / S 2

A T I U G

X I M

Y S

Creating Realistic Plucked String Instrument Sounds (Data)

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.

❍ 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.

❍ 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.

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.

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.

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.)

* 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.

* Set MIDI [PC], MIDI [CC0], and MIDI [CC32] only when a

MIDI loop connection is not being used.

Recording Arpeggiator and Harmonist Performances

■

Recording Arpeggiator Effects on a Sequencer

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.

Example 2:

Arpeggiate the GR-33’s first and second tones, and record the results

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).

Chapter 9 Connecting to External Sound Generators and Sequencers

* As in Example 1 above, it is perfectly all right to record the

arpeggios themselves with “Arpeggio Ext,” then return this data unchanged from MIDI OUT on the sequencer (to a patch for which first and second tone arpeggios are off) to re-create the arpeggios. However, this method cannot be used to recreate performance where both tones were played but only the first tone was arpeggiated.

* When using transmission in the Poly mode (p. 88), only the

method described for Example 1 can be used to recording and playback.

■

Recording Harmonist Effects on a Sequencer

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 for Each Device” on p. 93, play the guitar and make sure the 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 Harmony feature is not available for playback in Poly

mode. Use Mono mode.

Reducing the Size of a MIDI Pitch Bend Message

With the guitar, the finger vibrato technique can be used to produce organic vibratos with amplitude and speed that can be freely varied—something that’s very hard to do with a keyboard.

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.

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.

Example 2:

Make the notes from the external MIDI sound generator the melody and the first and second tones the harmony, and record the results

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.

■ Calling Up the Bend Data Thin Function

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “BEND DATA THIN.”

fig.9-15

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.)

Chap. 9

Chapter 9 Connecting to External Sound Generators and Sequencers

Practical Use of MIDI Channels

fig.9-16

Transmitting in Mono Mode

Guitar 1

Mono Mode ch1 Mono Mode ch7

MIDIch

2345678910111213141516

In use

Transmitting in Poly Mode

Poly Mode ch1

MIDIch

2345678910111213141516

In use

Guitar 1

Poly Mode ch2

14 channels remaining available for use

Guitar 2

Only 4 channels

remaining available for use

Guitar 2

A single MIDI system has 16 channels, and ordinarily 16 instrument parts can exist.With a guitar synthesizer, however, each of the six strings takes up one channel.

This means that, for instance, two-part input with the guitar synth to an ensemble from a 16-part external multitimbral sound generator would use up 12 channels.

In cases like this, set the System mode setting “BASIC CHANNEL” (p. 86) to “Poly 1” to “Poly 16” and send input 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.

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.

What to do When You Have Difficulty Sequencing

❍ Double-check the MIDI cable connections (OUT → IN, p.

93) and the setting for local control (on or off—p. 94).

❍ 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 nonmultitimbral sound generator.

❍ 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.

❍ If MIDI Bend Range is set to “1” or “2,” unpleasant

retriggering of sounds may occur frequently during a performance with continuous changes in pitch through bending or the like. When using the same Bend Range setting for both sending and receiving, make the value as large as possible. (p. 86)

❍ 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).

Chapter 10 Other Convenient Functions

Re-assigning Program Change Numbers in the Order of Patches

If you have repeatedly changed the original settings of patches and re-written them to different memory locations, or have otherwise reordered the patches, the Program Change numbers “(MIDI [PC])” assigned to the patches no longer correspond to their actual order.

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.

* Please note that performing this operation causes all prior

“MIDI [PC]” settings for the patches to be lost.

■ Re-assigning Program Change Numbers in

the Order of Patches

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “FACTORY RESET.”

fig.10-01

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

5. To perform 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.

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.)

To cancel the operation, press any button other than [WRITE].

Terminating Transmission of the MIDI Controller No. 7 (Volume)

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.

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.



To synth-sound amp

* Patch Change messages are sent from the GR-33 to the guitar effects processor.

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.



D O W N

/ S 1

U P / S 2

Y N T H V

T I X

N T

MIDIIN＊



Chap. 10

Chapter 10 Other Convenient Functions

■ Terminating Transmission of the MIDI

Controller No. 7

1. Press [SYSTEM] to enter System mode.

2. Press [PARAMETER] to select “VOL SEND SW.”

fig.10-04

3. Turn [VALUE] to select “Off.”

4. Press [PLAY] to return to Play mode.

* This is a system-wide setting, and not a patch setting, so there

is no need to perform a patch write operation. The setting is automatically stored in memory even after the power is switched off.

This stops the transmission of Control Change No. 7 from MIDI OUT, eliminating the problem described above.

* 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).

Terminating Transmission of the Bend Range Request Message

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).

Chapter 11 Appendices

Troubleshooting

During Normal Play with Just the GR-33

No synth sounds are heard when the guitar is played

● If the unit’s volume knob turned down too low?

→ Adjust the volume to an appropriate level.

● Is the volume on the GK-2A turned down too low? Is

the GK-2A’s selector switch set to GUITAR?

→ Set the switch to SYNTH or MIX, and adjust the volume

to an appropriate level.

● Has the expression pedal assigned with the Volume

function been returned to its raised position?

→ Depress the expression pedal.

● 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).

● Is the “PATCH LEVEL” setting too low?

→ Adjust the volume to an appropriate level (p. 38).

The volume fluctuates from one string to another

● Are the “PICKUP SENS” settings correct for each

string?

→ Adjust the settings as required (p. 17).

Pitch doesn’t rise when using Pitch Glide (or the expression pedal Pitch function)

● Functions that vary pitch continuously may experience

a limited range of change during rising pitch due to the tone or register.

→ If a limitation is encountered, use with a narrower width

of change (p. 44).

The sound change produced by an expression pedal varies from one tone to another

● 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.

→ Actually assign the function and check in advance how

the effect is applied (p. 47).

The pitch stays the same even when the Master Tune setting is changed.

● 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 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.

→ 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.

The Layer setting is correct, but one tone is not heard

● Is “1:2 BALANCE” (p. 52) set too much to the first tone

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)?

→ Try operating the expression pedal.

The way modulation is applied varies from one tone to another when using the unit’s pedal effect or expression pedals

● Each tone has an independent setting for the speed of

undulations in pitch when using modulation.

→ Check the undulations in advance and choose a tone

with an undulation speed that matches the song.

● The “Modulation” setting for the pedal effect (WAH)

also has an independent setting in effect (undulation) depth for each tone.

→ Check the depth of the effect choose a tone with a depth

that matches the song.

One tone is not heard when the expression pedal is used to change the tone’s volume balance

● Is the TONE “LAYER” setting set so that only the first

or the second tone (but not both) is played?

→ Change the setting so that the first and second tones are

both played (p. 51).

Chap. 11

Chapter 11 Appendices

● Is the TONE “1:2 BALANCE” setting (p. 52) set to “50”

or “-50”?

→ Change the setting to a value closer to “0” and check

operation.

The built-in effects don’t work

● Is the EFFECTS setting item “REV SEND LEVEL” (p.

75), “CHO SEND LEVEL” (p. 74) set to “0,” or “MULTIFX SW” (p. 53) set to “Off”?

→ Select a type other than “Off.”

● Are the “REV SEND LEVEL,” “CHO SEND LEVEL,”

and volume-related Multi-effect parameters set to appropriate values?

→ Set them to appropriate values.

● 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).

● 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.

→ 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)

● 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.

→ Depress the expression pedal.

The pitch of the synth sounds doesn’t change in the same way as the pitch of the guitar sounds

● Some tones (such as percussion instruments and effect

sounds) show different changes in pitch than with the guitar. This is not a defect.

Pitch doesn’t change smoothly

● Is COMMON “CHROMATIC” set to a value from

“Type1” to “Type3”?

→ Set CHROMATIC to “Off” for patches that require

continuous changes in pitch (p. 42).

● 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.

→ Do not use the Bend Data Thin function when it is not

needed.

“Battery Low!” appears in the display when the power is switched on

● 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 battery is not replaced quickly.

→ Contact servicing by your dealer or qualified Roland

service personnel.

When Changing Patch Settings

The display suddenly starts flashing

● 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.

● During EFFECTS editing, a blinking “Edt” indicates

that the bypass function is ON.

The sound doesn’t vary when the settings are changed

● 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.

● If Harmonist is on, scale changes for synth sounds are

different from the guitar when “HAR/ARP SELECT” (p. 82) is set to “Harmony All” or “Harmony 1&2.”

Noise with subtle undulations is hear in extremely high registers

● 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.

100

● 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?

→ Use the [STRING SELECT] button to set it to “ALL.” (p.

35)

Roland GR-33 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Getting Started

About the Guitar Synthesizer

What You Can Do with the GR-33

IMPORTANT NOTES

Panel Descriptions

Chapter 1 Producing Sounds

What You Need

Installing the GK-2A

Making Connections

Necessary Steps—From Powering Up to Performance

About Play Mode

Reset to Default Factory Settings (Factory Reset)

Overall Settings for the GR-33 (SYSTEM)

Adjusting the Brightness of the Display (LCD Contrast)

Setting Input Sensitivity (PICKUP SENS)

Matching Pitches of Other Instruments

Adjusting the Guitar Tuning (Tuner Function)

Selecting the output device (OUTPUT SELECT)

Turning off the guitar amp simulator (G.AMP SIM)

Playing the Internal Synth Sounds with the Guitar

What To Do if There is No Sound When the Guitar is Played

Chapter 2 Selecting and Playing Sounds (Patches)

What Is a Patch?

Rewritable Patches (User Patches)

Read-only Patches (Preset Patches)

Selecting a Patch

Using the Guitar (GK-2A) to Select Patches

Using the Base Module to Select Patches

Using the Base Module plus an External Foot Switch to Select Patches

Selecting Patches with an External MIDI Foot Controller

Changing the Patch Order

“Pedal Effect Mode”: What It Is, and How to Call It Up

Getting the Same Effect While in Play Mode

Turning Arpeggiator and Harmonist On/Off

Changing Effects with the Pedals

Getting a Pedal Wah Effect (Wah)

Changing Pitch Dynamically (Pitch Glide)

Holding a Synth Tone After the String is Stopped (Hold)

Calling Up the Tuner Function with a Pedal

Chapter 4 Five Basic Modes

Play Mode

Pedal Effect Mode

Patch Edit Mode: What It Means, How It Works

System Mode

Procedures in Tuner Mode

Getting Into and Out of Each Mode

Chapter 5 Setting/Changing Sounds (Patches)

Details of Putting a Patch Together

What is a “Tone”?

Making separate settings for each string (STRING SELECT)

Recording and Settings of Each Patch

The Relationship Between Arpeggiator/ Harmonist and Patches

Saving Patches

Cautions When Saving

Saving Patches From the GR-33 to Sequencers or Other MIDI Devices (Bulk Dump)

Receiving previously saved system or patch data (Bulk Load)

Naming the Patches (PATCH NAME)

Setting the Volume Level of Each Patch (PATCH LEVEL)

Changing the Feel of a Performance (PLAY FEEL)

Following the Guitar Sound Shape (Envelope Follow)

Increasing the Speed of Expression (Acceleration)

Changing Sound Placement (PAN)

Dividing Continuous Pitch Changes into Semitones (CHROMATIC)

When You Want to Make a Chord Resonate Beautifully

When You Want to Reproduce Piano-like Pitch Changes

Selecting Wah Types (WAH TYPE)

Selecting Pitch Glide Type (GLIDE TYPE)

Selecting Hold Type (HOLD TYPE)

Using the CTRL Pedal

Using the Expression Pedal

To Add Effects

To Switch Effects (EXP PEDAL)

Creating Synth Sounds

Selecting the basic ingredient (tone) of a sound (SELECT)

Increasing/Decreasing Attack Time (ATTACK)

Changing Tone Release (RELEASE)