Roland GR-55 User Manual

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USING THE UNIT SAFELY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

IMPORTANT NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Settings 7

Preparations for Using the GR-55 . . . . . . . . . . . . . . . . . . . . 8

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Turning the Power On/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Selecting Guitar or Bass (GUITAR<->BASS). . . . . . . . . . . . . . . . . . . . . . . . . 9

Adjusting the Pickups (GK SETTING). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Adjusting Your Guitar Pickup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Adjusting Your Bass Pickup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Specifying the Output System (OUTPUT SELECT) . . . . . . . . . . . . . . . . . 12

Tuning Your Instrument (the Tuner Function) . . . . . . . . . . . . . . . . . . . . .13

Quick Guide 15

Selecting and Playing Sounds . . . . . . . . . . . . . . . . . . . . . . 16

Adjusting the Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Selecting a Sound (Patch) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Playing Your Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Creating an Original Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Using the EZ EDIT Function to Create a Sound . . . . . . . . . . . . . .18

Saving the Sound You Created . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Reference 19

Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

About the Top Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

About the EDIT Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Side Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

How the GR-55 Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Editing the Tones (TONE) . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Changing the Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Tone Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Editing the Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Editing a Tone (Detailed Settings) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Parameter List (PCM TONE 1/PCM TONE 2) . . . . . . . . . . . . . . . . . . . . . . .25

Parameter List (MODELING TONE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Eect Settings (EFFECT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Switching the Eect Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Editing the Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Eect Editing (Detailed Settings) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Changing the Structure/Specifying the Connection Destination . . 40

Parameter List (EFFECT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

AMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

MFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Patch Settings (MASTER) . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Pedal and GK Control Settings (PEDAL/GK CTL) . . . . . . . . . . . . . . . . . . .54

Controller Settings (ASSIGN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Patch Tempo Setting (PATCH TEMPO) . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

GK Pickup Settings for Each Patch (GK SET) . . . . . . . . . . . . . . . . . . . . . . .54

GUITAR OUT Jack Settings (GUITAR OUT) . . . . . . . . . . . . . . . . . . . . . . . . .54

Changing the Tuning of Each String (ALT-TUNING) . . . . . . . . . . . . . . . .54

V-LINK Settings (V-LINK) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Parameter List (MASTER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

PEDAL/GK CTL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

PATCH TEMPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

GK SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

GUITAR OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

ALT-TUNING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

V-LINK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (p.4) and “IMPORTANT NOTES” (p.5). 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.

Roland and COSM are registered trademarks of Roland Corporation in the United States and/or other countries.

Contents

Saving a Patch (PATCH WRITE) . . . . . . . . . . . . . . . . . . . . . . 60

Saving a Patch (PATCH WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Renaming a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Changing the Order of Patches (PATCH EXCHANGE) . . . . . . . . . . . . . . 60

Initializing the Settings of a Patch (PATCH INITIALIZE) . . . . . . . . . . . . .60

Controller Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Controllers Whose Assignment Can Be Changed . . . . . . . . . . . . . . . . .61

Making a Pedal Have the Same Operation for All Patches . . . 61

Changing the Pedal Assignments for Each Patch . . . . . . . . . . . .61

Specifying the Parameter to be Controlled by the

Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Using Phrase Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Using the GR-55 as an Audio Player . . . . . . . . . . . . . . . . . 65

Copying Audio Files From Your Computer to USB Memory . . . . . . . .65

Inserting the USB Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Playing Back Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Using the Pedal to Control the Audio Player . . . . . . . . . . . . . . . . . . . . . .65

Connecting External Equipment . . . . . . . . . . . . . . . . . . . . 66

Connecting a Computer via USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Connecting the GR-55 to a Computer . . . . . . . . . . . . . . . . . . . . . .66

USB function settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Connecting the GR-55 to MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . .67

About the MIDI Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Connecting the GR-55 to V-LINK Devices (V-LINK) . . . . . . . . . . . . . . . .68

Turning V-LINK On/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

V-LINK Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Parameter List (SYSTEM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

GK SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

PEDAL/GK CTL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

MIDI/USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

BACKUP/INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Appendix 81

GR-55 Patch List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

GUITAR MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

BASS MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . 94

Main Specications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Settings for the Entire GR-55 (SYSTEM) . . . . . . . . . . . . . . 69

Setting the GK Pickups (GK SETTING) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Switching GK Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Renaming a GK Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Specifying the Output Device (OUTPUT SELECT) . . . . . . . . . . . . . . . . . 70

Pedal and GK Control Settings (PEDAL/GK CTL) . . . . . . . . . . . . . . . . . . . 70

MIDI and USB Settings (MIDI/USB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

GUITAR OUT Jack Settings (GUITAR OUT) . . . . . . . . . . . . . . . . . . . . . . . . .70

Always Outputting the Normal Pickup Sound from the

GUITAR OUT Jack for All Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Always Outputting the Modeling Tone Sound from the

GUITAR OUT Jack for All Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Changing the Output Sound from the GUITAR OUT Jack for

Each Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Tuning Your Guitar (TUNER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the Display Contrast (LCD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Auto Power O Settings (POWER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Switching Between Guitar and Bass (GUITAR<->BASS) . . . . . . . . . . . .71

Saving GR-55 Settings to USB Memory (BACKUP) . . . . . . . . . . . . . . . . .72

Restoring GR-55 Settings from USB Memory (RESTORE) . . . . .72

Adjusting the Pedal Sensitivity (CALIB) . . . . . . . . . . . . . . . . . . . . . . . . . .73

Restoring the Factory Settings (FACTORY RESET) . . . . . . . . . . . . . . . . . 73

USING THE UNIT SAFELY

About WARNING and CAUTION Notices

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.

ALWAYS OBSERVE THE FOLLOWING

WARNING

Do not attempt to repair the unit, or replace parts within it (except when this manual provides specic 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.

Never install the unit in any of the following locations.

• 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 oors); or are

• Exposed to steam or smoke; or are

• Subject to salt exposure; or are

• Humid; or are

• Exposed to rain; or are

• Dusty or sandy; or are

• Subject to high levels of vibration and shakiness.

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.

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 specied on the AC adaptor’s body. Other AC adaptors may use a dierent polarity, or be designed for a dierent voltage, so their use could result in damage, malfunction, or electric shock.

Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device.

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 re and shock hazards!

This unit, either alone or in combination with an amplier 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.

Do not place containers containing liquid on this product. Never allow foreign objects (e.g., ammable objects, coins, wires) or liquids (e.g., water or juice) to enter this product. Doing so may cause short circuits, faulty operation, or other malfunctions.

Immediately turn the power o, 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

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been spilled onto the unit; or

• The unit has been exposed to rain (or otherwise has become wet); or

• The unit does not appear to operate normally or exhibits a marked

change in performance.

About the Symbols

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 power-cord plug must be unplugged from the outlet.

WARNING

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.

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

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.

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.

CAUTION

The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

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

At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to re.

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.

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

Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

Before cleaning the unit, turn o the power and unplug the AC adaptor from the outlet (p.8).

Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

Keep the ground terminal screw and/or USB connector cap you may remove in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

IMPORTANT NOTES

Power Supply

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise lter between this unit and the electrical outlet.

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

• Before connecting this unit to other devices, turn o the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

• Using the unit near power ampliers (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.

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

• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them o.

• 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.

• When moved from one location to another where the temperature and/or humidity is very dierent, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

• Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.

• Do not put anything that contains water on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swiftly wipe away any liquid that spills on the unit using a dry, soft cloth.

Maintenance

• 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.

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Repairs and Data

• 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 on USB memories 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.

Using External Memories

• Carefully insert the USB memories all the way in—until it is rmly in place.

• Never touch the terminals of the USB memories. Also, avoid getting the terminals dirty.

• USB memories are constructed using precision components; handle the cards carefully, paying particular note to the following.

• To prevent damage to the cards from static electricity, be sure to discharge any static electricity from your own body before handling the cards.

• Do not touch or allow metal to come into contact with the contact portion of the cards.

• Do not bend, drop, or subject cards to strong shock or vibration.

• Do not keep cards in direct sunlight, in closed vehicles, or other such locations.

• Do not allow cards to become wet.

• Do not disassemble or modify the cards.

Additional Precautions

• 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 on USB memories.

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory or on USB memories once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

• 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.

• Never strike or apply strong pressure to the display.

• 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.

• When you operate the expression pedal, please be careful not to get your ngers 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.

• 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.

• 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.

• 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.

• Microsoft and Windows are registered trademarks of Microsoft Corporation.

• The screen shots in this document are used in compliance with the guidelines of the Microsoft Corporation.

• Windows® is known ocially as: “Microsoft® Windows® operating system.”

• Apple and Macintosh are registered trademarks of Apple Inc.

• Mac OS is a trademark of Apple Inc.

• MMP (Moore Microprocessor Portfolio) refers to a

patent portfolio concerned with microprocessor architecture, which was developed by Technology Properties Limited (TPL). Roland has licensed this technology from the TPL Group.

• All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

Main Features

Sound: Sophisticated fusion of a PCM synthesizer and COSM modeling sound generator

Sounds produced by a high-quality PCM synthesizer and a realistic COSM modeling sound generator can be freely combined to take advantage of each method’s unique characteristics.

You can intuitively create new sound combinations with a high degree of freedom. For example, you could create a new lead guitar sound that’s based on a standard distorted guitar combined with a synth lead or organ. Alternatively, you might layer a ute or a synth bell sound with an acoustic guitar to create fantastic new tones.

COSM amps and various eects units are provided independently, allowing you to create an incredible variety ranging, from raw guitar amp sounds to tricky noise sounds.

Expressiveness: Newly developed guitar pitch detection technology

The independent pickup signal from each of the six strings is analyzed at high speed by a newly developed algorithm, ensuring quick and accurate response from the sound generator.

In addition, your picking position as well as the dierences between notes played with a pick or with your ngers are also detected and transmitted to the sound generator, giving the GR-55 a range of performance expression that’s much broader and more natural than any previous guitar synthesizer.

Easy use: Use SOUND STYLE to select a sound, and use EZ EDIT to edit it

The three SOUND STYLE buttons “LEAD,” “RHYTHM,” and “OTHER” provide performance-ready sounds in a wide range of musical styles. A large-screen LCD ensures excellent visibility at your feet.

Press the [EZ EDIT] button to make easy graphical adjustments to the sound; this is a great convenience especially when playing live.

What is the COSM?

Technology that simulates existing physical structures, materials, and the like using dierent, virtual means is called “modeling technology.” COSM (Composite Object Sound Modeling) is a technical innovation from Roland that combines a number of such sound-modeling technologies to create new and unique sounds.

Settings

This chapter explains how to make the necessary settings when using the GR-55 for the rst time.

First, get your guitar/bass ready

• In order to use the GR-55, you’ll need a guitar or bass equipped with a divided pickup (GK pickup), which outputs a separate signal for each string. You can use GK pickups such as the Roland GK-3 or GK-3B.

• For details on how to install a GK pickup, refer to the owner’s manual that came with your GK pickup.

MEMO

• Be aware that string buzz due to a warped neck or worn frets, or faulty octave adjustment, can cause

problems such as wrong notes being produced.

• This unit does not support 7-string guitars/basses or other non-standard guitars/basses.

Check the Web for details about installing GK pickups

• On the Roland website, the “GK-3/3B Installation Tips” page provides an explanation and photos on how to attach a GK pickup. Be sure to take a look!

http://www.roland.com/GK/

Preparations for Using the GR-55

Connections

Guitar equipped with a GK-3/ GK-2A, bass equipped with a GK-3B/GK-2B, or a commercially available GK-ready guitar or bass

The GUITAR OUT jack outputs the sound of the normal pickups and the sound of the modeling tone (p.22).

For details, refer to “GUITAR OUT Jack Settings (GUITAR OUT)” (p.54).

Amp or PA (line)

If you’re using monaural output, connect only to the L/MONO jack.

Headphones AC adaptor

Place the AC adaptor so the side with the indicator (see illustration) faces upwards and the side with textual information faces downwards.

The indicator will light when you plug the AC adaptor into an AC outlet.

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

NOTE!

• To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn o the power on all devices before

making any connections.

• Switch on the power to all of your equipment before you raise the volume of the amp.

Turning the Power On/O

Turning the power on

Once the connections have been completed, turn on power to your various devices in the order specied. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

* Always make sure to have the volume level turned down before switching on power. Even with the volume all the way down, you may still hear

some sound when the power is switched on, but this is normal, and does not indicate a malfunction.

* 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.

1. Press the GR-55’s [POWER] switch to turn the power on.

2. Turn on the power of your amp.

Turning the power o

1. Check the following before you turn the power o.

• Have you minimized the volume on the connected equipment?

• Have you saved the data (settings, sounds, etc.) that you want to keep?

2. Turn o the power of your guitar amp or other connected equipment.

3. Press the GR-55’s [POWER] switch to turn the power o.

If you don’t want the power to turn o automatically, turn the “AUTO POWER OFF” setting o!

With the factory settings, the GR-55’s power will automatically be switched o 10 hours after you stop playing or operating the unit. If you want to have the power remain on all the time, change the “AUTO POWER OFF” setting to “OFF” as described on p.71.

NOTE!

The settings you were editing will be lost when the power is turned o. If you want to keep your settings, you must save your settings before turning the power o.

Preparations for Using the GR-55

Selecting Guitar or Bass (GUITAR<->BASS)

Before you use the GR-55, you must make a mode setting that species whether you’re using it with a guitar or with a bass.

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

* If BASS MODE is selected, some parameter names are displayed

dierently than in GUITAR MODE. (Example) String numbers “1, 2, 3, 4, 5, 6” --> “H, 1, 2, 3, 4, L.”

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab.

3. Use the cursor [ ] [ ] buttons to select the BACKUP/INIT

icon, and press the [ENTER] button.

Adjusting the Pickups (GK SETTING)

To ensure that the GR-55 is in the best possible playing condition, please make the appropriate adjustments for the divided pickup (GK settings). Making these settings will ensure that the GR-55 is operating optimally.

NOTE!

GK settings are extremely important in order to play the GR-55 with the best possible sound. You must be sure to make these settings correctly.

MEMO

If you connect dierent guitars to the GR-55 at dierent times, you can individually save settings for each guitar. For details, refer to “Setting the GK Pickups (GK SETTING)” (p.69).

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [ ] [ ] buttons to access the SYSTEM tab.

4. Use the cursor [ ] [ ] buttons to select the GUITAR<->BASS

icon and press the [ENTER] button.

5. If you want to change the mode, use the cursor [ ] [ ] buttons to select “OK,” and press the [ENTER] button.

If you decide not to change the mode, choose “CANCEL” and press the [ENTER] button.

6. When the following screen appears, turn the GR-55’s power o.

3. Use the cursor [ ] [ ] buttons to select the GK SETTING icon, and press the [ENTER] button.

4. Use the PAGE [ ] [ ] buttons to select the PU tab.

5. Adjust your pickup.

If you’re using a guitar “Adjusting Your Guitar Pickup” (p.10)

If you’re using a bass “Adjusting Your Bass Pickup” (p.11)

The next time you turn the GR-55’s power on, the screen will indicate the specied mode (“GUITAR MODE” or “BASS MODE”).

Once you’ve set the mode, the GR-55 will start up in the specied mode each time it’s powered up.

Preparations for Using the GR-55

Adjusting Your Guitar Pickup

1. Use the cursor [ ] [ ] buttons to move the cursor to “PU TYPE,” and use the dial to select the type of pickup that’s installed on your guitar.

Value Description

GK-3 Choose this if you’re using a GK-3.

GK-2A Choose this if you’re using a GK-2A.

PIEZO

PIEZO F This setting is appropriate for a Fishman piezo pickup.

PIEZO G This setting is appropriate for a Graph Tech piezo pickup.

PIEZO L This setting is appropriate for an L.R. Baggs piezo pickup.

PIEZO R This setting is appropriate for an RMC piezo pickup.

A piezo pickup is a type of pickup that is mounted on the bridge of the guitar, and uses a piezoelectric element to detect the vibrations of the strings.

If you’re using a guitar equipped with a GK pickup that’s not of the piezo type, choose “GK-2A.”

* If you’re not sure which piezo type setting is appropriate, try

selecting dierent choices while you play your guitar, and choose the piezo type that produces the most natural sound. In this case, the dierence will be easier to notice if you turn o the PCM 1 and 2 tone switches (p.25).

* If you’ve chosen PIEZO, PIEZO F, PIEZO G, PIEZO L, or PIEZO R as the

PU Type setting, you’ll be able to make further adjustments to the tone quality of the high range and low range (p.75).

2. Use the cursor [ ] [ ] buttons to move the cursor to “SCALE,” and use the dial to specify your guitar’s scale length (the distance between the bridge and nut).

Choose the closest value in the range of 500–660 mm. Choose “ST” (648 mm) for a standard Stratocaster type, or choose “LP” (628 mm) for a Les Paul type. For details on the other parameters, refer to “GK SETTING” (p.74).

3. Use the PAGE [ ] [ ] buttons to select the DIS tab.

This setting is appropriate if you’re using a piezo pickup that has a at response.

4. Use the cursor [ ] [ ] buttons to select each string, and for each string, specify the distance from the center of the pickup to the bridge saddle.

* If PU TYPE is set to one of the piezo-type pickups, this setting is not

necessary.

5. Use the PAGE [ ] [ ] buttons to select the SEN tab.

6. Use the cursor [

] [ ] buttons to move the cursor to 6TH

STRING SENS.

Play the 6th string as strongly as you ever expect to play it in actual performance, and use the dial to adjust the sensitivity as high as possible without allowing the meter to reach the full-scale position.

* If the level meter reaches the full-scale position, the level is exces-

sive. Lower the sensitivity.

* Depending on the guitar you’re using, the level meter might reach

full-scale even if the sensitivity is at minimum. If this is the case, adjust the distance between the divided pickup and the string so it’s somewhat greater than the recommendation.

7. In the same way, adjust the sensitivity for the 5th through 1st strings as well.

8. Check the volume balance of the six strings.

Play each of the strings 6–1 at normal strength; if a string sounds unusually loud, lower the sensitivity of that string to minimize any discrepancy in volume between the strings.

9. Press the [EXIT] button a number of times to return to the top screen.

These settings are required when you’ve newly installed a divided pickup on your guitar, or when you’ve adjusted the height of the divided pickup. These settings will be retained even while the power is switched o. Once you’ve made them correctly, there’s no need to make them again each time you perform. For details on the other parameters, refer to “GK SETTING” (p.74).

Preparations for Using the GR-55

Adjusting Your Bass Pickup

1. Use the cursor [ ] [ ] buttons to move the cursor to “PU TYPE,” and use the dial to select the type of pickup that’s installed on your bass.

Value Description

GK-3B Choose this if you’re using a GK-3B.

GK-2B Choose this if you’re using a GK-2B.

PIEZO

PIEZO G This setting is appropriate for a Graph Tech piezo pickup.

PIEZO R This setting is appropriate for an RMC piezo pickup.

A piezo pickup is a type of pickup that is mounted on the bridge of the bass, and uses a piezoelectric element to detect the vibrations of the strings.

If you’re using a bass equipped with a GK pickup that’s not of the piezo type, choose “GK-2B.”

* If you’re not sure which piezo type setting is appropriate, try

selecting dierent choices while you play your bass, and choose the piezo type that produces the most natural sound.

* If you’ve chosen “PIEZO,” “PIEZO G,” or “PIEZO R” as the PU Type

setting, you’ll be able to make further adjustments to the tone quality of the high range and low range (p.75).

2. Use the cursor [ ] [ ] buttons to move the cursor to “SCALE,” and use the dial to specify your bass’s scale length (the distance between the bridge and nut).

This setting is appropriate if you’re using a piezo pickup that has a at response.

3. Use the cursor [ ] [ ] buttons to move the cursor to “GK PU POS,” and use the dial to select the position of the divided pickup.

For a 4-string bass:

4STR-24STR-1 4STR-3

1st string

2nd string

3rd string 4th string

For a 5-string bass

5STR Lo2

Hi C string

1st string

2nd string

3rd string 4th string

1st string

2nd string

3rd string 4th string

Low B string

5STR Lo1 5STR Hi25STR Hi1

For a 6-string bass:

6STR

Hi C string

1st string

2nd string

3rd string 4th string

Low B string

4. Use the PAGE [ ] [ ] buttons to select the DIS tab.

5. Use the cursor [ ] [ ] buttons to select each string, and

for each string, specify the distance from the center of the divided pickup to the bridge saddle.

* If PU TYPE is set to one of the piezo-type pickups, this setting is not

necessary.

Choose the closest value in the range of 710–940 mm. For a standard Jazz Bass type or Precision Bass type, choose LONG JB/PB (864 mm).

For details on the other parameters, refer to “GK SETTING” (p.74).

6. Use the PAGE [ ] [ ] buttons to select the SEN tab.

Preparations for Using the GR-55

7. Use the cursor [ ] [ ] buttons to move the cursor to the STRING SENS eld for the lowest string.

Play the lowest string as strongly as you ever expect to play it in actual performance, and use the dial to adjust the sensitivity as high as possible without allowing the meter to reach the full-scale position.

* If the level meter reaches the full-scale position, the level is exces-

sive. Lower the sensitivity.

* Depending on the bass you’re using, the level meter might reach

full-scale even if the sensitivity is at minimum. If this is the case, adjust the distance between the divided pickup and the string so it’s somewhat greater than the recommendation.

8. In the same way, adjust the sensitivity of the remaining strings as well.

9. Check the volume balance of the strings.

Play each of the strings at normal strength; if a string sound unusually loud, lower the sensitivity of that string to minimize any discrepancy in volume between the strings.

10. Press the [EXIT] button a number of times to return to the top screen.

These settings are required when you’ve newly installed a divided pickup on your bass, or when you’ve adjusted the height of the divided pickup. These settings will be retained even while the power is switched o. Once you’ve made them correctly, there’s no need to make them again each time you perform. For details on the other parameters, refer to “GK SETTING” (p.74).

Specifying the Output System (OUTPUT SELECT)

Here’s how to specify the device (amp) that’s connected to the OUTPUT jacks. The tone will be adjusted within the GR-55 to ensure that the optimal sound is produced on the device you specied.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [

3. Use the cursor [ ] [ ] buttons to select the OUTPUT SELECT

icon, and press the [ENTER] button.

The OUTPUT SELECT screen will appear.

] [ ] buttons to select the SYSTEM tab.

4. Use the dial to select the type of device (amp) that’s connected to the OUTPUT jacks.

* With the factory settings, this is set to “LINE/PHONES.”

* If headphones are connected, this will automatically be “LINE/

PHONES” regardless of the OUTPUT SELECT setting.

Setting Description

LINE/PHONES

JC-120

SMALL

COMBO

STACK

JC-120 RETURN

COMBO RETURN

STACK RETURN

This is the appropriate setting when using headphones, or for when the GR-55 is connected to a keyboard amp, mixer, or digital recorder.

Choose this setting if the GR-55 is connected to the guitar input of a Roland JC-120 guitar amp.

Choose this setting if the GR-55 is connected to a small guitar amp.

Choose this setting if the GR-55 is connected to the guitar input of a combo-type guitar amp (i.e., an amp that contains the amp and speaker in a single unit) other than the JC-120. Depending on the guitar amp you’re using, using the “JC-120” setting might produce better results.

Choose this setting if the GR-55 is connected to the guitar input of a stack-type guitar amp (i.e., an amp in which the amp and speaker are separate units).

Choose this setting if the GR-55 is connected to the JC-120’s RETURN jack.

Choose this setting if the GR-55 is connected to the RETURN jack of a combo-type guitar amp.

Choose this setting if the GR-55 is connected to the RETURN jack of a stack-type guitar amp. You should also choose the “STACK RETURN” setting when using the GR-55 with a guitar power amp and a speaker cabinet.

Preparations for Using the GR-55

Setting Description

B-AMP WITH TWEETER

B-AMP NO TWEETER

Choose this setting if the GR-55 is connected to a bass amp that has a tweeter.

Choose this setting if the GR-55 is connected to a bass amp that does not have a tweeter. The high-frequency range will be corrected appropriately.

5. Press the [EXIT] button a number of times to return to the top screen.

Tuning Your Instrument (the Tuner Function)

Here’s how you can use the GR-55’s Tuner function to tune your guitar or bass.

1. Press the [2] pedal and [3] pedal simultaneously.

The TUNER screen will appear.

2. Use the PAGE [ ] [ ] buttons to switch between the tabs to choose the mode of the Tuner function.

Tab Description

MULTI MODE Allows you to tune six strings at the same time.

SINGLE MODE

Allows you to tune by playing a single note on the specic string you’re tuning.

4. Watch the screen, and tune your instrument so that only the center indicator is lit.

Repeat steps 3 and 4 until all of the strings are tuned.

MEMO

When tuning a guitar that’s equipped with a vibrato arm, tuning one string may cause other strings to drift out of tune. In this case, start by tuning each string approximately, so that the correct note name is shown, and then retune each string repeatedly until all strings are tuned correctly.

5. When you’ve nished tuning, press a pedal (any one of the [1]–[3] pedals or the [CTL] pedal).

You will return to the original screen.

You can also return to the original screen by pressing the [EXIT] button.

Settings in the TUNER screen

In the TUNER screen you can use the cursor buttons and the dial to make the following settings.

Parameter Value Description

Species the reference pitch.

* With the factory settings this is set to

“440 Hz.”

Sound will not be output while you’re tuning.

* The factory setting is “ON.”

MASTER TUNE

TUNER MUTE

435 Hz –445 Hz

OFF Sound will be output while you’re tuning.

3. Play an unfretted note on the string that you want to tune, and tune the string so that the desired note name is shown in the display.

When using MULTI MODE

When using SINGLE MODE

* In SYSTEM parameter GK SETTING, if DOWN TUNE (p.75) is set to a

value other than “0,” the tuner screen will indicate the note names as if they were not down tuned.

MEMO

Quick Guide

This chapter explains basic operation.

Before you play, you should set your GK pickup’s select switch to “MIX”!

If a dierent setting is selected, the sound might not be output correctly.

Selecting and Playing Sounds

Now that you’ve nished with preparations, here’s how to operate the GR-55 while you play.

Adjusting the Output Level

1. Adjust the GR-55’s output level by turning the [OUTPUT LEVEL] knob.

Turning the knob toward the right will increase the volume; turning the knob all the way toward the left will set the volume to zero. Normally, you can place the knob near the center position.

Step on the expression pedal.

Raise the GK pickup’s volume knob.

Selecting a Sound (Patch)

What is a Patch?

A “patch” is a unit of sound on the GR-55; in addition to settings determining the type of sound, the patch also includes eect settings.

You are free to modify (edit) the settings of a patch and store it in the GR-55 as a “user patch.” (Patches that are already built into the GR-55 are called “preset patches.”)

For more about patches, refer to “How the GR-55 Works” (p.22).

What is a Bank?

A “bank” is a collection of three patches.

Step 1

Choose the sound style of the sound you want to play.

Step 2

Choose a bank.

1. Press the [1] and [2] pedals simultaneously. The bank number in the display will blink; now you can choose a bank (BANK SELECT). At this point, the sound has not yet changed.

2. Use the [1]/[2] pedals to change banks.

3. Press the [3] pedal or the [CTL] pedal to conrm the selected bank. By pressing the [1] and [2] pedals simultaneously you can cancel your bank selection.

What is a Sound Style?

The GR-55 lets you select preset patches from three “sound styles.” First select the style of sound that you want to play, and

then select a patch from within that style.

Sound style Summary

LEAD

RHYTHM

OTHER

Step 4

Turn the GK-3’s volume knob to adjust the volume of the patch.

Sound style

Sound styles suitable for soloing, such as lead guitar sounds and wind instruments.

Sound styles suitable for backing, such when comping chords or playing arpeggios.

Sound styles that include eective, characteristic synthesized sounds.

Step 5

Play.

Patch bank

Patch number

Patch name

Step 3

Use the [1]–[3] pedals to select a patch.

MEMO

With the factory settings, you can use the GK pickup [S1]/[S2] buttons to switch banks.

Selecting a User Patch

New patches that you create are saved in the GR-55 as “user patches” (p.18).

Press the [USER] button to select user patches in Step 1 of “Selecting a Sound (Patch).” The rest of the procedure is the same as when selecting a preset patch.

Playing Your Guitar

You can apply eects to the sound by pressing the following pedals while you play.

Selecting and Playing Sounds

Expression pedal

When you operate this pedal while playing, the eect assigned to each patch will be applied. Normally, the volume will change, but

depending on the patch, a variety of other

eects may be assigned. If you depress this pedal completely, placing

your weight on the toe, the EXP PEDAL SW indicator will light, and the expression pedal will switch to a dierent function. Normally, it will control an eect such as wah pedal, but this too may be assigned to a dierent eect depending on the patch.

[CTL] pedal

When you press this pedal while playing, an eect specied for each patch will be applied; for example, raising the synthesizer sound by an octave, or extending the decay of the synthesizer note you’re playing.

You are also free to change this eect to your taste (p.61).

You can change each of these eects according to your taste (p.61).

* When operating the expression pedal,

be careful so as not to get your toes pinched between the moving portion and the main part of the GR-55. If there are young children in your household, don’t let them use or play with the GR-55 without adult supervision.

Selecting and Playing Sounds

Creating an Original Sound

Using the EZ EDIT Function to Create a Sound

You can easily edit the selected patch to your taste by using the GR-55’s EZ EDIT function.

Step 1

Select a patch (p.16).

Step 2

Press the [EZ EDIT] button to access the EZ EDIT screen.

Step 3

Edit the sound by using [ ] [ ] [ ] [ ] (cursor buttons) to move the cursor within the grid.

Display Parameter Description

WET Gives the sound richer ambience (reverb/delay).

Step 4

Turn the dial to adjust the volume of the overall patch.

DRY Gives the sound less ambience (reverb/delay).

MILD Helps the sound blend in with the mix.

BRIGHT Helps the sound stand out from the mix.

Saving the Sound You Created

When you’ve created a sound that you like, you should save it as a user patch.

Be aware that if you switch to another patch without saving the patch you edited, the changes you made will be lost.

Step 1

Press the [WRITE] button. The WRITE screen will appear.

Step 3

Press the [WRITE] button to save the patch in the specied destination.

The screen will indicate “NOW WRITING..” and the patch will be saved. If you decide not to save the patch, press the [EXIT] button to return

to the previous screen.

* For more about saving patches, refer to “Saving a Patch (PATCH WRITE)” (p.60).

Step 2

Turn the dial to specify the save-destination

patch number.

Reference

Panel Descriptions

Front Panel

[OUTPUT LEVEL] knob

Adjusts the volume of the output jacks and the headphone jack.

Display

[1] ([BANK ]), [2] ([BANK ]), [3] pedals

Press these pedals to select patches or patch banks.

By pressing the [BANK [BANK ] pedal simultaneously, you can turn “Bank Select” on/o, allowing you to select the desired patch bank (p.16).

By pressing the [2] pedal and [3] pedal simultaneously, you can tune your guitar (p.13).

] pedal and

Dial

Use this to switch patches or edit values.

[ ] [ ] [ ] [ ] (cursor buttons)

Use these to move the cursor up/down/ left/right.

[CTL] (control) pedal

By holding down this pedal you can apply the eect that is assigned by the patch, such as sustaining or modifying the currently playing note.

You are also free to assign other functions (p.61).

By pressing the [3] pedal and [CTL] pedal simultaneously, you can use the PHRASE LOOP function (p.64).

Expression pedal

When you operate this pedal while playing, the eect assigned to each patch will be applied. Normally, the volume will change, but depending on the patch, a variety of other eects may be assigned.

If you depress this pedal completely, placing your weight on the toe, the EXP PEDAL SW

indicator will light, and the expression pedal

will switch to a dierent function. Normally, it will control an eect such as wah pedal, but this too may be assigned to a dierent eect depending on the patch.

You can change each of these eects according to your taste (p.61).

* When operating the expression pedal, be careful

so as not to get your toes pinched between the moving portion and the main part of the GR-55. If there are young children in your household, don’t let them use or play with the GR-55 without adult supervision.

Button Description

[V-LINK] Switches V-LINK on/o (p.68).

[LEAD]/[RHYTHM]/ [OTHER]

[USER] Selects user patches (p.17).

[EZ EDIT] Accesses the EZ EDIT screen (p.18).

] [ ]

PAGE [

[EXIT]

[ENTER] Conrms an operation.

[EDIT] Accesses the EDIT screen (p.20).

[WRITE] Saves the patch (p.60).

[AUDIO PLAYER]

Switches the sound style (p.16).

Pressed to navigate to the next left/right tab in the screen.

Cancels an operation, or takes you to the next higher level in the screen.

Accesses the AUDIO PLAYER screen (p.65). The AUDIO PLAYER is available only if

USB memory is inserted in the GR-55.

About the Top Screen

A short while after you turn on the power of the GR-55, this screen will appear. In this manual, the explanations of various procedures will start from this screen unless otherwise specied.

Patch bank

Patch number

Sound style

Patch name

About the EDIT Screen

The EDIT screen will appear when you press the [EDIT] button. Use the PAGE [ ] [ ] buttons to switch between tabs in the EDIT screen.

For details on each screen, refer to the following pages.

Screen Description Page

TONE Edit the tone settings. p.23

EFFECT Edit the eect settings. p.38

MASTER Edit overall settings for the patch. p.54

SYSTEM Edit settings for the entire GR-55. p.69

Rear Panel

1 2 3 4 5 6 7 8 9 10 11

Panel Descriptions

1. Security Slot ( )

http://www.kensington.com/

2. GK IN connector

Use the included GK cable (or a separately sold GKC-5 or GKC-10) to connect your divided pickup to this connector.

* For details on connecting a commercially available GK-equipped

guitar, refer to the guitar manufacturer or your dealer.

3. GUITAR OUT jack

This jack outputs the sound of the guitar’s normal pickup and the sound of the GR-55’s modeling tone (p.22). Connect it to your guitar amp.

For details on settings for the sound that is output from the GUITAR OUT jack, and how to make connections, refer to “GUITAR OUT Jack Settings (GUITAR OUT)” (p.70).

4. OUTPUT R, L/MONO jacks

These jacks output the sound of your performance using the GR-55. If connecting to a monaural amp, use the L/MONO jack.

Set the OUTPUT SELECT setting to specify the type of device (amp) that’s connected to these jacks, as described in “Specifying the Output System (OUTPUT SELECT)” (p.12).

5. PHONES jack

Connect headphones (sold separately) to this jack (p.8).

6. MIDI connectors (OUT, IN)

Connect other MIDI equipment to these connectors (p.67).

7. USB COMPUTER connector

Use a USB cable to connect the GR-55 to your computer (p.66).

8. [POWER] switch

This turns the power on/o (p.8).

9. DC IN (AC adaptor) jack

Connect the included AC adaptor here (p.8).

10. Cord hook

Use this to fasten the AC adaptor cord so that it will not be unplugged accidentally (p.8).

11. Functional ground terminal

Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device or the metal portions of other objects connected to it, such as guitars. This is due to an innitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground terminal (see gure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

Unsuitable places for connection

• Water pipes (may result in shock or electrocution)

• Gas pipes (may result in re or explosion)

• Telephone-line ground or lightning rod (may be dangerous in the

event of lightning)

Side Panel

1. USB MEMORY connector

Connect USB memory (sold separately) here.

* Never insert or remove a USB memory while this unit’s power is on. Doing so may corrupt the unit’s data or the data on the USB memories.

* Carefully insert the USB memory all the way in-until it is rmly in place.

How the GR-55 Works

What is a Patch?

A “patch” is a unit of sound on the GR-55. In addition to settings determining the type of sound, a patch also contains eect settings.

You can modify (edit) the settings of a patch, and save it as a “user patch.” (The patches already built into the GR-55 are called “preset patches.”)

The following illustration shows how a patch is structured internally.

PATCH

Synthesizer sound

PCM TONE 1

PCM TONE 2

Modeling sound

MODELING TONE

AMP

Preamp

Normal pickup sound

This is the sound of the guitar’s normal pickup.

NORMAL PICKUP

Eects

This is a synthesizer sound that plays according to the performance data from your guitar. Two PCM tones can be layered.

MFX

Multi-eect

This is a modeled sound based on the audio from each guitar string.

MOD

Guitar eects

These eects processors apply various eects to the sound.

MFX is a stereo-in multi-eects processor. AMP uses COSM technology to simulate the

response of the preamp, the size of the speakers, and the shape of the cabinet.

MOD is a monaural-input guitar eects processor used in conjunction with AMP.

DELAY REVERBCHORUS

Equalizer

There are some restrictions on the functions that can be used with each tone and with the normal pickup; please refer to the following table.

Parameter HOLD ALTERNATE TUNING TONE EDIT GUITAR OUT

Description Sustain the sound (Hold) Change the tuning of each string Edit the tone Output from GUITAR OUT jack

Page p.55, p.76 p.54 p.24 p.54

PCM tones 1, 2 √ √ √ ×

Modeling tone × √ √ √

Normal pickup × × × √

The available tones will depend on the position of the GK pickup’s select switch.

GK pickup select switch

GK MIX

PCM tones 1, 2 √ √

Modeling tone √ √

Normal pickup × √

* Even if a tone is available, there will be no sound if its tone switch (p.23) is “OFF.”

Normally, you should use the “MIX” setting.

Editing the Tones (TONE)

As shown in the illustration below, a GR-55 patch consists of several tones.

You can create a new patch by selecting dierent tones or by editing the detailed settings of each tone.

PATCH

PCM TONE 1

PCM TONE 2

MODELING TONE

Changing the Tone

Here’s how to create a new sound by changing the tone that’s selected.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [ ] [ ] buttons to access the TONE tab.

The screen shows the structure of the currently selected patch.

3. Select a dierent tone.

Use the cursor buttons to select the tone that you want to change, and use the dial to select a dierent tone.

Move the cursor to the tone switch, and turn the tone on /o .

The available tones are listed as shown in the illustration. You can use the cursor [

] [ ] buttons to select the tone category (p.23).

Synthesizer sound

This is a synthesizer sound that plays according to the performance data from your guitar. Two tones can be layered.

Modeling sound

This is a modeled sound based on the audio from each guitar string.

Tone Category

Tone category

Ac.Piano 16 Ensemble Strings 22

Pop Piano 3 Orchestral 4

E.Grand Piano 2 Solo Brass 11

E.Piano1 25 Ensemble Brass 7

E.Piano2 13 Wind 7

E.Organ 32 Flute 12

Pipe Organ 5 Sax 7

Reed Organ 1 Recorder 4

Harpsichord 5 Vox/Choir 28

Clav 8 Scat 2

Celesta 1 Synth Lead 123

Accordion 6 Synth Brass 40

Harmonica 2 Synth Pad/Strings 84

Bell 21 Synth Bellpad 17

Mallet 22 Synth PolyKey 45

Ac.Guitar 18 Synth FX 31

E.Guitar 18 Synth Seq/Pop 11

Dist.Guitar 11 Pulsating 32

Ac.Bass 4 Beat&Groove 11

E.Bass 14 Hit 7

Synth Bass 87 Sound FX 37

Plucked/Stroke 18 Percussion 13

Solo Strings 9 Drums 14

MEMO

If you select the “Drums” tone category, there will be fewer editable parameters than those listed in this manual.

Number of tones

Tone category

Number of tones

4. Press the [ENTER] button.

5. When you’ve nished making settings, press the [EXIT]

button.

6. If you want to keep your settings, save the patch (p.60).

Editing the Tones (TONE)

Editing the Tone

Here’s how to make various settings for the tone.

If you want to edit detailed settings, refer to “Editing a Tone (Detailed Settings)” (p.24).

Basic operation

1. In step 3 of “Changing the Tone” (p.23), move the cursor to the TONE LEVEL eld.

You can use the dial to edit the volume of the tone.

2. Press the cursor [ ] button.

The screen shows the parameters that can be edited for each tone.

3. Edit the parameter settings.

Use the cursor buttons to select the tone parameter that you want to edit, and use the dial to edit the value.

MEMO

This screen shows the parameters that are marked by a “#” symbol in the parameter list (p.25 –). The parameters that you can edit will dier for each tone.

4. When you’ve nished editing, press the [EXIT] button.

5. If you want to keep your settings, save the patch (p.60).

MEMO

If you want to adjust the overall volume of the patch, use the cursor buttons to select the PATCH LEVEL eld, and use the dial to edit the value.

Value: 0–200

Editing a Tone (Detailed Settings)

Here’s how to edit the tone settings in detail.

Basic operation

1. In step 3 of “Changing the Tone” (p.23), select the tone that you want to edit.

2. Press the [ENTER] button.

The TONE EDIT screen will appear.

3. Edit the parameter settings.

Use the PAGE [ ] [ ] buttons to switch between tabs.

Use the cursor [ ] [ ] buttons to select the parameter that you want to edit, and use the dial to edit the value of the parameter.

By holding down the cursor [ make the cursor move faster.

For details on each parameter, refer to “Parameter List (PCM TONE 1/ PCM TONE 2)” (p.25).

4. When you’ve nished editing, press the [EXIT] button.

5. If you want to keep the changes you made, save the patch

(p.60).

] [ ] buttons simultaneously you can

Parameter List (PCM TONE 1/PCM TONE 2)

Group Parameter Value Description

Turns the tone on/o. Tones that are turned “OFF” will not sound (they are muted).

Turn this “ON” if you want the tone to sound in chromatic steps. If this is “ON,” the pitch will change only in semitone steps even if you “bend” a string.

When you play notes in a smoothly connected manner by hammering-on or pullingo, only the pitch will change, and no attack will be heard for the subsequently played note.

The legato function can be used if CHROMATIC is ON.

Adjusts the amount by which the tone’s volume will be aected by your playing strength.

With positive “+” values, the volume will increase as you play more strongly.

Species the curve by which your playing strength will aect the tone’s volume. Normally, you should choose “TONE.” The optimal curve for each tone will be used. If you don’t want the tone’s volume to change, choose “FIX.”

TONE

SWITCH OFF, ON

TONE CATEGORY Selects the category (group) of tones.

TONE NUMBER Selects the tone number.

LEVEL 0–100 Adjusts the volume of the tone.

OCTAVE # -3–+3 Shifts the tone’s pitch in steps of an octave.

CHROMATIC OFF, ON

OFF Turns the Legato function o.

LEGATO

LEVEL VELOCITY SENS -50–+50

VELOCITY CURVE TYPE FIX, 1–7, TONE

Editing the Tones (TONE)

PITCH

1 2 3 4 5 6 7

NUANCE SW OFF, ON Species whether nuances of your performance (p.28) will produce tonal change.

PAN L50–R50 Species the pan setting.

Adjusts the volume of each string.

STRING LEVEL1–6 1–100

PITCH SHIFT -24–+24 Species the tone’s pitch (semitone steps, +/-2 octaves).

PITCH FINE -50–+50 Species the tone’s pitch (in one cent steps; equivalent to 1/100 semitone).

OFF Portamento will not be applied.

PORTAMENTO SW

PORTAMENTO TYPE

PORTAMENTO TIME 0–100 Species the time required for the pitch change when using portamento.

ON Portamento will be applied.

TONE The setting most appropriate for the tone will be used.

RATE

TIME

For the PCM1, PCM2, and MODELING tones, you can specify a value of “0” for each string that you don’t want to be sounded for that tone; this allows you to create “split” setups.

The time required for the pitch change is proportionate to the amount of pitch change.

The pitch change will occupy the same length of time regardless of the amount of pitch change.

Editing the Tones (TONE)

Group Parameter Value Description

OFF The lter will not be used.

LPF

BPF

HPF

FILTER TYPE

FILTER

CUTOFF # -50–+50 Species the frequency at which the lter will begin to be applied.

RESONANCE -50–+50

CUTOFF VELOCITY SENS -50–+50

CUTOFF NUANCE SENS -50–+50 Species how nuances of your performance (p.28) will aect the lter cuto frequency.

CUTOFF VELOCITY CURVE

PKG

LPF2

LPF3

TONE The setting most appropriate for the tone will be used.

FIX, 1–7, TONE

Low Pass Filter. The region above the cuto frequency will be cut, making the sound more mellow.

Band Pass Filter. The region around the cuto frequency will remain, and the regions above and below will be cut. This is a useful way to create a distinctive sound.

High Pass Filter. The region below the cuto frequency will be cut. This is appropriate for percussive sounds with a distinctive high-frequency component.

Peaking Filter. The region around the cuto frequency will be emphasized. You can produce a wah eect by using an LFO to cyclically change the cuto frequency.

Low Pass Filter 2. The region above the cuto frequency will be cut, but the lter sensitivity will be half that of LPF. This is suitable for simulating instruments such as acoustic piano.

* If “LPF2” is selected, the RESONANCE setting will be unavailable.

Low Pass Filter 3. The region above the cuto frequency will be cut, but the lter sensitivity will change according to the cuto frequency. This is suitable for simulating acoustic instruments, but even with the same TVF ENVELOPE settings, it will produce a sound with a dierent nuance than LPF2.

* If “LPF3” is selected, the RESONANCE setting will be unavailable.

Boosts the region near the cuto frequency, giving the sound a distinctive character. Raising this value excessively may cause oscillation and distortion.

Species the amount by which your playing strength will vary the cuto frequency. With positive “+” values, stronger playing will raise the cuto frequency.

Species the curve by which your playing strength will aect the cuto frequency. Normally, you should choose “TONE.” The optimal curve for each tone will be used. If you don’t want the cuto frequency to be aected, choose “FIX.”

TVF

1 2 3 4 5 6 7

CUTOFF KEYFOLLOW -200–+200

TVF ENV DEPTH -50–+50

TVF ATTACK TIME -50–+50 Adjusts the attack time of the lter envelope.

TVF DECAY TIME -50–+50 Adjusts the decay time of the lter envelope.

TVF SUSTAIN LEVEL -50–+50 Adjusts the sustain level of the lter envelope.

TVF RELEASE TIME -50–+50 Adjusts the release time of the lter envelope.

TVF ATTACK VEL SENS -50–+50

TVF ATK NUANCE SENS -50–+50 Species how nuances of your performance (p.28) will aect the lter attack time.

Species how the pitch of the note you play will aect the cuto frequency. With positive “+” values, the cuto frequency will rise as you player higher notes.

Adjusts the depth of the TVF envelope. Higher values will increase the change produced by the TVF envelope.

Species how your playing strength will aect the lter attack time. With positive “+” values, stronger playing will shorten the attack time.

Group Parameter Value Description

TVA ATTACK TIME # -50–+50 Adjusts the attack time of the amp envelope.

TVA DECAY TIME -50–+50 Adjusts the decay time of the amp envelope.

TVA SUSTAIN LEVEL -50–+50 Adjusts the sustain level of the amp envelope.

TVA RELEASE TIME # -50–+50 Adjusts the release time of the amp envelope.

Species how your playing strength will aect the attack time. With positive “+” values, stronger playing will shorten the attack time.

The next note will be sounded while maintaining the release of a previously played note sounding on the same string.

Any previously played note sounding on the same string will be forcibly decayed before the next note is sounded.

Species how your playing strength will aect the depth of the pitch envelope. With positive “+” values, stronger playing will increase the change produced by the

pitch envelope.

Adjusts the depth of the pitch envelope. Higher settings will increase the change produced by the pitch envelope.

Makes the LFO rate synchronize to the tempo in units of the note value you specify.

Species how the LFO will aect the pitch. Choose “OFF” if you don’t want the LFO to aect the pitch.

Species how the LFO will aect the cuto frequency. Choose “OFF” if you don’t want the LFO to aect the TVF.

Species how the LFO will aect the volume. Choose “OFF” if you don’t want the LFO to aect the TVA.

Species how the LFO will aect pan (stereo position). Choose “OFF” if you don’t want the LFO to aect pan.

Makes the LFO rate synchronize to the tempo in units of the note value you specify.

Species how the LFO will aect the pitch. Choose “OFF” if you don’t want the LFO to aect the pitch.

Species how the LFO will aect the cuto frequency. Choose “OFF” if you don’t want the LFO to aect the TVF.

Species how the LFO will aect the volume. Choose “OFF” if you don’t want the LFO to aect the TVA.

Species how the LFO will aect pan (stereo position). Choose “OFF” if you don’t want the LFO to aect pan.

TVA

PITCH ENV

LFO1

LFO2

TVA ATTACK VEL SENS -50–+50

TVA ATK NUANCE SENS -50–+50 Species how nuances of your performance (p.28) will aect the attack time of the level.

LEVEL NUANCE SENS -50–+50 Species how nuances of your performance (p.28) will aect the volume.

RELEASE MODE

PITCH ENV VEL SENS -50–+50

PITCH ENV DEPTH -12–+12

PITCH ATTACK TIME -50–+50 Adjusts the attack time of the pitch envelope.

PITCH DECAY TIME -50–+50 Adjusts the decay time of the pitch envelope.

0–100 Species the LFO rate (speed).

LFO1 RATE

LFO1 PITCH DEPTH OFF, -50–+50

LFO1 TVF DEPTH OFF, -50–+50

LFO1 TVA DEPTH OFF, -50–+50

LFO1 PAN DEPTH OFF, -50–+50

LFO2 RATE

LFO2 PITCH DEPTH OFF, -50–+50

LFO2 TVF DEPTH OFF, -50–+50

LFO2 TVA DEPTH OFF, -50–+50

LFO2 PAN DEPTH OFF, -50–+50

–

BPM

TONE The LFO rate will be set appropriately for the tone.

0–100 Species the LFO rate (speed).

–

BPM

TONE The LFO rate will be set appropriately for the tone.

Editing the Tones (TONE)

Using the Nuance parameters

The Nuance parameters detect when you play your guitar/bass with a soft touch, and apply a corresponding change to the sound of the PCM tone.

For example, if CUTOFF NUANCE SENS is set to a positive “+” value, the cuto frequency of the PCM tone will be lowered when you play a muted or a nger-picked note, producing a softer tone quality.

As another example, you might use PCM TONE 1 to create the sound that will be heard when you pluck the string with a pick, and PCM TONE 2 to create the sound that will be heard when you pluck the string with your nger. Then set the Nuance parameters as follows, allowing you to switch between PCM TONE 1 and 2 by alternating your performance technique.

• PCM TONE 1 settings

TONE CATEGORY/NUMBER: the tone sounded for a note played with a pick

LEVEL NUANCE SENS: +50

• PCM TONE 2 settings

TONE CATEGORY/NUMBER: the tone sounded for a note played with your nger

LEVEL NUANCE SENS: -50

To enable the Nuance parameters, turn NUANCE SW “ON” and adjust each NUANCE SENS parameter as desired.

If you want to adjust the nuance so it’s appropriate for the guitar or bass you’re using, set the SYSTEM - GK SETTING parameters NUANCE DYNAMICS and NUANCE TRIM (p.75).

Parameter List (MODELING TONE)

Group Parameter Value Description

SWITCH OFF, ON Turns the tone on/o. Tones turned “OFF” will not sound (i.e., they are muted).

If GUITAR<->BASS is set to “GUITAR” (p.9)

E.GTR, AC, E.BASS, SYNTH

If GUITAR<->BASS is set to “BASS” (p.9)

E.BASS, SYNTH, E.GTR

TONE

PITCH

12STR

TONE CATEGORY

TONE NUMBER 001–

LEVEL 0–100 Adjusts the volume of the tone.

STRING LEVEL1–6 0–100

PITCH SHIFT -24–+24 Adjusts the pitch of the tone (in semitone steps, +/-2 octaves).

PITCH FINE -50–+50 Adjusts the pitch of the tone (in one cent steps; equivalent to 1/100 semitone).

12STR SW OFF/ON

DIRECT LEVEL 0–100 Species the volume of the main strings.

SHIFT1–6 -24–+24

FINE1–6 -50–+50

* 12STR cannot be used with any of the following settings (the parameters will not be shown).

• MODELING TONE parameters

TONE CATEGORY=E.BASS (if set to GUITAR input) or E.GTR (if set to BASS input) PITCH SHIFT≠0 PITCH FINE≠0

• MASTER parameters

ALTERNATE TUNING “SWITCH” =ON

Editing the Tones (TONE)

Selects the category (group) of tones.

Selects the tone. For an explanation, refer to the following table (TONE CATEGORY: E.GTR–SYNTH).

Adjusts the volume of each string. For the PCM1, PCM2, and MODELING tones, you can specify a value of “0” for each string that you don’t want to be sounded for that tone; this allows you to create “split” setups.

Turn this on if you want to produce the sound of a 12-string guitar. The sound of a conventional 6-string guitar will be transformed to the sound of a 12-string guitar with its supplementary strings.

Adjusts the pitch dierence of each supplementary string relative to the corresponding main string, in semitone steps.

Adjusts the pitch of each supplementary string in cents (1/100 semitone steps).

* On a conventional 12-string guitar,

supplementary strings 1 and 2 are tuned to the same pitch (SHIFT = 0) as the corresponding main string, and supplementary strings 3–6 are tuned one octave higher (SHIFT = +12) than the corresponding main string. Slightly raising each string’s FINE setting will produce a more realistic 12-string guitar tone.

Editing the Tones (TONE)

* Company names and product names appearing in this document are the registered trademarks or trademarks of their respective owners. This

document uses these names in order to appropriately describe the sounds simulated by COSM technology.

TONE CATEGORY: E.GTR

TONE NUMBER (PICKUP)

GUITAR BASS

01: CLA-ST 16: ST This models a Fender Stratocaster, a guitar with three traditional single-coil pickups.

02: MOD-ST — This models a guitar with three EMG active single-coil pickups.

03: H&H-ST — This models a Stratocaster-type guitar with humbucking pickups.

04: TE — This models a Fender Telecaster, a guitar with two single-coil pickups often used in blues and country music.

05: LP 17: LP This models a Gibson Les Paul Standard, a guitar with two humbucking pickups often used in rock.

06: P-90 —

07: LIPS — This models a Danelectro 56-U3, a guitar with three pickups with a distinctive silver “lipstick-style” appearance.

08: RICK — This models a Rickenbacker 360, a semi-hollow body guitar with two unique single-coil pickups.

09: 335 — This models a Gibson ES-335 Dot, a well-known semi-acoustic guitar with two humbucking pickups.

10: L4 —

Description

This models a Gibson Les Paul Junior, a guitar with two single-coil pickups aectionately referred to as “dog ear” or “soap bar” pickups.

This models a Gibson L-4 CES, a acoustic-body guitar suitable for jazz, equipped with two humbucking pickups and strung with at-wound strings.

TONE CATEGORY: E.BASS

TONE NUMBER (PICKUP)

GUITAR BASS

— 01: VINT JB This models a Fender Jazz Bass made in the 1960s.

16: JB 02: JB This models a Fender Jazz Bass.

— 03: VINT PB This models a Fender Precision Bass made in the early 1960s.

17: PB 04: PB This models a Fender Precision Bass.

— 05: M-MAN This models a Music Man StingRay Bass made in the 1970s.

— 06: RICK This models a Rickenbacker 4001.

— 07: T-BIRD This models a Gibson Thunderbird.

— 08: ACTIVE This models a typical bass equipped with active pickups.

— 09: VIOLIN This models a Höfner violin bass.

Description

TONE CATEGORY: AC

TONE NUMBER (PICKUP)

GUITAR BASS

11: STEEL — This models a steel-string guitar.

12: NYLON — This models a nylon-string guitar.

13: SITAR — This models a Coral electric sitar. The sitar’s distinctive buzz and tonal change are modeled.

14: BANJO — This models a conventional ve-string banjo.

15: RESO — This models a Dobro-type resonator guitar.

Description

TONE CATEGORY: SYNTH

TONE NUMBER (PICKUP)

GUITAR BASS

18: ANALOG GR 10: ANALOG GR

19: WAVE SYNTH 11: WAVE SYNTH

20: FILTER BASS 12: FILTER BASS This instrument is similar to a bass synth with a lter applied.

21: CRYSTAL 13: CRYSTAL This is an instrument with a metallic resonance.

22: ORGAN 14: ORGAN

23: BRASS 15: BRASS This instrument produces a clear brass type sound good for leads.

Description

This is the sound of a classic analog polyphonic guitar (bass) synthesizer. It provides hexa-distortion, with a hexa-VCO and VCF (variable frequency lter) that generates independent

pitch-shiftable sawtooth waves for the six strings, letting you enjoy analog synthesizer sounds that reect the nuances of your guitar or bass performance.

To change the pitch, use “PITCH A/B” (p.36).

This algorithm directly processes the string signal from the GK pickup to produce the synthesizer sound. It allows a natural performing feel.

This is a sustained-tone instrument suitable for solo parts or slow songs. As on an organ, you can adjust the volume level balance of three parameters (FEET 16, 8, 4) to create the desired tone.

E.GTR

CLA-ST, MOD-ST, ST

Group Parameter Value Description

REAR Simulates the sound produced when the rear pickup is used.

R+C Simulates the sound produced when both rear and center pickups are used.

PU SEL #

VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound.

TONE # 0–100 Adjusts the tone. The standard value is 100; lowering the value creates a softer tone.

SWITCH OFF, ON Turns the noise suppressor on/o.

THRESHOLD # 0–100

RELEASE 0–100

CENTER Simulates the sound produced when the center pickup is used.

C+F Simulates the sound produced when both center and front pickups are used.

FRONT Simulates the sound produced when the front pickup is used.

Adjust this according to the level of the noise. Set this to a higher value if the noise level is high, or to a lower value if the noise level is low. Adjust this so that the decay of your guitar still sounds natural.

Species the time from when the noise suppressor begins to operate until the volume is completely attenuated.

Editing the Tones (TONE)

H&H-ST, TE, LP, P-90, RICK, 335, L4

Group Parameter Value Description

REAR Simulates the sound produced when the rear pickup is used.

PU SEL #

VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound.

TONE # 0–100 Adjusts the tone. The standard value is 100; lowering the value creates a softer tone.

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

R+F Simulates the sound produced when both rear and front pickups are used.

FRONT Simulates the sound produced when the front pickup is used.

LIPS

Group Parameter Value Description

REAR Simulates the sound produced when the rear pickup is used.

R+C Simulates the sound produced when both center and rear pickups are used.

PU SEL #

VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound.

TONE # 0–100 Adjusts the tone. The standard value is 100; lowering the value creates a softer tone.

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

CENTER Simulates the sound produced when the center pickup is used.

C+F Simulates the sound produced when both center and front pickups are used.

FRONT Simulates the sound produced when the front pickup is used.

ALL Simulates the sound produced when all pickups are used.

Editing the Tones (TONE)

STEEL

Group Parameter Value Description

Species the acoustic guitar type.

MA28 The sound of a Martin D-28. Older model known for its exquisitely balanced sound.

TRP-0

BODY TYPE #

BODY

BODY 0–100

TONE # -50–+50

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

GB45

GB SML

GLD40

NYLON

Group Parameter Value Description

BODY # 0–100

BODY

ATTACK 0–100

TONE # -50–+50

The sound of a Martin 000-28. This model features a full low-end resonance and crisp, distinct contour.

The sound of a Gibson J-45. This vintage model features a unique, seasoned tone with good response.

The sound of a Gibson B-25. Featuring a compact body, this vintage model is often used in blues.

The sound of a Guild D-40. This model features warm resonance from the body along with a delicate string resonance.

Adjusts the body resonation. Raising the value produces more of a sense of the guitar body in the sound. Lower the value in conditions where feedback is prone to occur.

Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

Adjusts the body resonation. Raising the value produces more of a sense of the guitar body in the sound. Lower the value in conditions where feedback is prone to occur.

Species the strength of the attack when you pluck the string strongly. As this setting is increased, the attack will be sharper, and the sound will be crisper.

Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

SITAR

Group Parameter Value Description

FRONT Simulates the sound produced when the front pickup is used.

PU SEL #

SENS 0–100 Adjusts the input sensitivity.

BODY 0–100

BODY

COLOR 0–100 Adjusts the overall tone quality of the sitar.

DECAY 0–100 Adjusts the time it takes following the attack for the tone to change.

BUZZ 0–100

ATTACK LEVEL 0–100 Adjusts the volume level of the attack.

TONE # -50–+50

R+F Simulates the sound produced when both rear and front pickups are used.

REAR Simulates the sound produced when the rear pickup is used.

PIEZO Simulates the sound produced when the piezo pickup is used.

Adjusts the body resonation. Raising the value produces more of a sense of the guitar body in the sound. Lower the value in conditions where feedback is prone to occur.

Adjusts the amount of characteristic buzz produced by the buzz bridge when the strings make contact with it.

Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

BANJO

Group Parameter Value Description

ATTACK # 0–100

BODY

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

RESO 0–100 Adjusts the body resonation. The resonation increases as the value is raised.

TONE # -50–+50

Species the strength of the attack when you pluck the string strongly. As this setting is increased, the attack will be sharper, and the sound will be crisper.

Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

RESO

Group Parameter Value Description

You can specify how the resulting volume will be aected by changes (loud/soft

SUSTAIN 0–100

BODY

RESO # 0–100 Adjusts the body resonation. The resonation increases as the value is raised.

TONE # -50–+50

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

dynamics) in the guitar string vibrations that are input. Adjusts the range (time) over which low-level signals are boosted. Larger values will

result in longer sustain.

Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

E.BASS

Editing the Tones (TONE)

JB, VINT JB, T-BIRD

Group Parameter Value Description

REAR VOL 0–100 Sets the volume of the rear pickup.

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

FRONT VOL 0–100 Sets the volume of the front pickup.

VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound.

TONE # 0–100 Adjusts the tone.

PB, VINT PB

Group Parameter Value Description

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound.

TONE # 0–100 Adjusts the tone.

M-MAN

Group Parameter Value Description

TREBLE # -50–+50 Adjusts the tone for the high frequency range.

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

BASS # 0–100 Adjusts the tone for the low frequency range.

VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound.

Editing the Tones (TONE)

RICK

Group Parameter Value Description

REAR VOL 0–100 Sets the volume of the rear pickup.

FRONT VOL 0–100 Sets the volume of the front pickup.

REAR TONE 0–100 Adjusts the tone of the rear pickup.

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

FRONT TONE 0–100 Adjusts the tone of the front pickup.

VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound.

REAR Simulates the sound produced when the rear pickup is used.

PU SEL #

R+F Simulates the sound produced when both rear and front pickups are used.

FRONT Simulates the sound produced when the front pickup is used.

ACTIVE

Group Parameter Value Description

REAR VOL 0–100 Sets the volume of the rear pickup.

FRONT VOL 0–100 Sets the volume of the front pickup.

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

TREBLE # 0–100 Adjusts the tone for the high frequency range.

BASS # 0–100 Adjusts the tone for the low frequency range.

VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound.

VIOLIN

Group Parameter Value Description

REAR VOL 0–100 Sets the volume of the rear pickup.

FRONT VOL 0–100 Sets the volume of the front pickup.

VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound.

NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p.31).

TREBLE ON # OFF, ON Switches the rear pickup on/o.

BASS ON # OFF, ON Switches the front pickup on/o.

RHYTHM/SOLO #

RHYTHM Selects a lower volume suitable for backing.

SOLO Selects a higher volume suitable for soloing.

SYNTH

ANALOG-GR

Group Parameter Value Description

Species whether to sound the hexa-VCO (sawtooth wave), the hexa-distortion (square wave), or both.

VCO Only the hexa-VCO will sound.

V+D The hexa-VCO and hexa-distortion will sound together.

DIST Hexa-distortion will sound.

OFF The envelope modulator will not be used.

INV

TONE

ENV

MODE #

COMP OFF, ON

FILTER CUTOFF # 0–100

FILTER RESO # 0–100

This automatically varies the VCF cuto frequency according to the amplitude of the string vibrations. This causes a wah-like tonal change each time you pluck the string.

ENV MOD SW

ENV MOD SENS 0–100

ENV MOD ATTACK 0–100

Editing the Tones (TONE)

If this is “ON,” the decay time of the hexa-VCO will be extended. If ENV MOD SW is “ON,” the decay time of the VCF (variable frequency lter) will also be extended.

* The decay time of the hexa-distortion will not be extended.

Adjusts the VCF cuto frequency, specifying the brightness of the sound. Higher settings will make the sound brighter.

Adjusts the VCF resonance (unique characteristics). Higher settings will boost the sound in the region of the cuto frequency, producing a sound with more distinctive characteristics.

Each time you pluck the string, the VCF cuto frequency will move from high toward low, producing a “wah” eect.

MEMO

Extremely high cuto frequency settings will make this eect dicult to discern.

Each time you pluck the string, the VCF cuto frequency will move from low toward high, producing an “oo-ahh” that is the opposite of the “wah” eect.

MEMO

Fairly high cuto frequency settings will make this eect easier to discern.

Adjusts the input sensitivity of the envelope modulation. Higher settings of this value will increase the range of envelope modulation that occurs when you pluck a string softly.

MEMO

Listen to how the sound is aected while you adjust this parameter. Start with the setting at about “0,” and play while you gradually raise the value. Setting ENV MOD ATTACK to “0” will make it easier to hear the change.

Adjusts the attack time of the envelope modulation that occurs when you play a string. Higher values produce a slower attack.

Editing the Tones (TONE)

Group Parameter Value Description

Switches the pitch shift setting of the hexa-VCO that responds to the pitch of the string vibrations.

* Pitch shift applies only to the hexa-VCO; it does not apply to hexa-distortion.

PITCH SW

PITCH A/B

PITCH A/B FINE

PITCH

DUET OFF, ON

This is a Sweep function that smoothly changes the amount of shift when you use PITCH SW to vary the amount of pitch shift.

SWEEP SW OFF, ON

SWEEP RISE 0–100

SWEEP FALL 0–100

Allows you to apply electronic vibrato to the hexa-VCO.

VIBRATO SW OFF, ON

VIBRATO

VIBRATO RATE 0–100

VIBRATO DEPTH 0–100

If you want to use the pitch shift function, set MODE to “VCO” or “V+D.”

OFF The pitch of the original sound will be unmodied.

A The pitch shift specied by PITCH A and PITCH A FINE will be applied.

B The pitch shift specied by PITCH B and PITCH B FINE will be applied.

Adjusts the amount of pitch shift.

* This is eective when PITCH SW is set to anything other than “OFF.” * The nal amount of pitch shift is the sum of PITCH and PITCH FINE.

-12–+12

Adjusts the amount of pitch shift.

* This is eective when PITCH SW is other than “OFF.” * The nal amount of pitch shift is the sum of PITCH and PITCH FINE.

-50–+50

Species the amount of pitch shift for PITCH A/B relative to the original pitch, in semitones. A setting of “-12” is one octave down, and a setting of “+12” is one octave up.

Applies a ne adjustment to the PITCH A/B pitch. A setting of “-50” is half a semitone lower, and “+50” is half a semitone higher. This ne setting allows DUET to be used eectively.

If this is “ON,” a sawtooth wave at the same pitch as the original sound will be added to the hexa-VCO, making the sound richer.

MEMO

By setting the hexa-VCO’s pitch shift to a PITCH setting such as +/-12 (an octave up/down), +/- 7 (a perfect fth), or +/-5 (a perfect fourth), you can create thick, synthesizer-like sounds. By setting PITCH FINE to about “+/-5” to slightly skew the pitch shift of the hexa-VCO, you can give the sound greater depth.

Turns the Sweep function on/o.

MEMO

Normally, you’ll use Control Assign to control PITCH SW, and use the control to operate PITCH SW. The Sweep function is eective when you operate PITCH SW to change the pitch shift amount for the hexa-VCO. It does not operate on changes that occur in the input pitch while the pitch shift amount is unchanged. SWEEP RISE and SWEEP FALL have no eect if SWEEP SW is “OFF.”

Adjusts the time over which movement to a higher pitch will occur. If this is “0,” the change will occur instantly; higher values produce slower change.

Adjusts the time over which movement to a lower pitch will occur. If this is “0,” the change will occur instantly; higher values produce slower change.

Turns the vibrato eect on/o.

MEMO

If you make Control Assign settings to control VIBRATO SW, you’ll be able to add powerful vibrato by turning VIBRATO SW “ON” when desired during your performance.

* You can’t apply vibrato to the hexa-distortion.

Species the vibrato rate. Higher values produce faster vibrato.

Species the vibrato depth. With a setting of “0” there will be no vibrato. Higher values produce deeper vibrato.

Editing the Tones (TONE)

WAVE SYNTH

Parameter Value Description

TYPE #

COLOR # 0–100 Adjusts the tone quality. Increasing this value makes the sound brighter.

SAW This is an analog-synth type sound suitable for leads.

SQUARE This is an analog-synth type sound suitable for backing.

FILTER BASS

Parameter Value Description

FILTER CUTOFF # 0–100

FILTER RESO # 0–100

FILTER DECAY 0–100

TOUCH SENS 0–100

COLOR # 0–100 Adjusts the strength of the low range. As the value is increased, the low range will become stronger.

Adjusts the cuto frequency, setting the brightness (hardness) of the sound. The sound gets brighter (harder) as the value is raised.

Adjusts the resonance (distinctiveness of the sound). As the value is increased, sounds in the frequency range near the cuto frequency are boosted, making the sound more distinctive and unique.

This sets the speed at which the lter stops. The speed increases as the value of the setting is reduced.

* The FILTER DECAY eect cannot be obtained if the TOUCH SENS value is too low.

This sets the sensitivity when the lter is shifted according to the playing. The shifting of the lter caused by the playing increases as the value is raised. When the value is set to “0,” the lter remains set, with no movement.

CRYSTL

Parameter Value Description

ATTACK LENGTH 0–100 This sets the decay time for the attack portion of the sound. A smaller setting results in a shorter attack.

MOD TUNE 0–100 This sets the tuning for the modulation applied to the attack.

MOD DEPTH # 0–100 This sets the depth of the modulation applied to the attack. Larger values result in deeper undulations.

ATTACK LEVEL # 0–100 This sets the volume level of the attack portion.

BODY LEVEL # 0–100 This sets the volume level for the sustained portion of the sound.

SUSTAIN 0–100

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

ORGAN

Parameter Value Description

FEET16 # 0–100 This is a long tone at the same pitch as the guitar.

FEET8 # 0–100 This is a long tone one octave higher than the guitar.

FEET4 # 0–100 This is a long tone two octave higher than the guitar.

SUSTAIN 0–100

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

BRASS

Parameter Value Description

FILTER CUTOFF # 0–100

FILTER RESO # 0–100

TOUCH SENS # 0–100

SUSTAIN 0–100

Adjusts the cuto frequency, setting the brightness (hardness) of the sound. The sound gets brighter (harder) as the value is raised.

Adjusts the resonance (distinctiveness of the sound). As the value is increased, sounds in the frequency range near the cuto frequency are boosted, making the sound more distinctive and unique.

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

Eect Settings (EFFECT)

The GR-55 contains seven eects processors (AMP, MFX, MOD, CHORUS, DELAY, REVERB, EQ), which are organized as shown in the illustration below. (The illustration is for Structure 1.)

AMP

Preamp

MFX

Multi-eect

MOD

Guitar eects

CHORUS

Equalizer

DELAY REVERB

PCM TONE 1

PCM TONE 2

MODELING TONE

NORMAL PICKUP

By internally connecting eects to the PCM tones and the modeling tone that make up the patch, you can create a broad range of sounds.

5. Switch the eect type.

Switching the Eect Type

Eects are already applied to the patches built into the GR-55. By editing these settings, you can change the sound to your taste.

1. Select the patch whose eect settings you want to edit (p.16).

2. Press the [EDIT] button to access the EDIT screen.

Use the cursor buttons to select the eect whose type you want to change, and use the dial to switch the eect type.

3. Use the PAGE [ ] [ ] buttons to select the EFFECT tab.

The screen shows the eects that are applied to the currently selected patch.

4. Turn an eect on/o.

Use the cursor buttons to select an eect, and use the dial to turn that eect on /o .

The eect types are listed as shown in the illustration.

6. Press the [ENTER] button.

7. When you’ve nished editing, press the [EXIT] button.

8. If you want to keep the changes you made, save the patch

(p.60).

Eect Settings (EFFECT)

Editing the Eects

Here’s how to edit the eect settings.

For details on these settings, refer to “Eect Editing (Detailed Settings)” (p.39).

Basic operation

1. In step 3 of “Switching the Eect Type,” move the cursor to the EFFECT LEVEL eld.

You can use the dial to adjust the volume of the eect.

2. Press the cursor [ ] button.

The editable parameters for each eect are displayed.

3. Edit the parameters.

Use the cursor buttons to select the eect parameter that you want to edit.

Use the dial to edit the value.

Eect Editing (Detailed Settings)

Here’s how to make detailed changes to the eect settings.

Basic operation

1. In step 5 of “Switching the Eect Type,” select the eect that you want to edit.

2. Press the [ENTER] button.

The EFFECT EDIT screen will appear.

3. Edit the parameters.

Use the PAGE [ ] [ ] buttons to switch between tabs.

Use the cursor [ ] [ ] buttons to select the parameter that you want to edit, and use the dial to edit the value of the parameter.

By holding down the cursor [ make the cursor move faster.

For details on each parameter, refer to “Parameter List (EFFECT)” (p.41).

4. When you’ve nished editing, press the [EXIT] button.

5. If you want to keep the changes you made, save the patch

(p.60).

] [ ] buttons simultaneously you can

MEMO

This screen shows the parameters that are marked with a “#” symbol in the parameter list (p.41 –). The parameters that can be edited will dier depending on the eect.

4. When you’ve nished editing, press the [EXIT] button.

5. If you want to keep the changes you made, save the patch

(p.60).

MEMO

If you want to adjust the overall volume of the patch, use the cursor buttons to select the PATCH LEVEL eld, and use the dial to edit the value.

Value: 0–200

Eect Settings (EFFECT)

Changing the Structure/Specifying the Connection Destination

If you want to change the way in which the eects are arranged, you can switch the structure.

The GR-55 provides two structures, which have the following features.

This structure uses AMP+MOD and MFX in parallel. Use this structure when you want to apply the eects

separately; the MFX eect to the synthesizer sound, and the AMP+MOD eects to the guitar modeling sound.

STRUCTURE 1

This structure connects AMP+MOD and MFX in series. Use this structure when you want to apply the MFX eect

to the entire patch, and both the AMP+MOD eects and the MFX eect to the guitar modeling sound.

STRUCTURE 2

1. In step 5 of “Switching the Eect Type,” select the eect that you want to edit.

2. Press the [ENTER] button.

The EFFECT EDIT screen will appear.

Specifying the connection destination of the tones

6. Use the cursor buttons to move the cursor to the position shown in the illustration.

If the border is a dashed line, the tone switch is turned o. You can set the tone switch in the TONE tab of the EDIT screen (p.23).

7. Use the dial to change the connection destination of the tone.

Setting Description

BYPS The tone will not use MFX, AMP, or MOD.

AMP The tone is connected to AMP.

MFX The tone is connected to MFX.

8. When you’ve nished editing, press the [EXIT] button.

9. If you want to keep the changes you made, save the patch

(p.60).

10.

Changing the structure

3. Use the PAGE [ ] [ ] buttons to select the STRUCT tab.

4. Use the cursor buttons to move the cursor to the position

shown in the illustration.

5. Use the dial to change the structure.

Eect Settings (EFFECT)

Parameter List (EFFECT)

* Company names and product names appearing in this document

are the registered trademarks or trademarks of their respective owners. This document uses these names in order to appropriately describe the sounds simulated by COSM technology.

About the RATE and DELAY TIME parameters

If you choose “BPM” for these parameters, the value of the parameter will be determined by the “PATCH TEMPO” (p.58) specied for each patch. This makes it easy to create an eect sound that is synchronized to the tempo of the song.

AMP

Group Parameter Value Description

SWITCH OFF, ON Turns the AMP OFF/ON.

TYPE

GAIN # 0–120

LEVEL 0–100

TYPE

GAIN SW

SOLO SW OFF, ON

SOLO LEVEL 0–100

BASS # 0–100

MIDDLE # 0–100

TREBLE # 0–100

PRESENCE 0–100

TONE

BRIGHT

Refer to “AMP Type“

LOW, MIDDLE, HIGH

The BRIGHT parameter setting is only available when BOSS CLEAN, JC-120, JAZZ COMBO, CLEAN TWIN, PRO CRUNCH, TWEED, BOSS CRUNCH, BLUES, STACK CRUNCH, BG LEAD, BG DRIVE, or BG RHYTHM is selected.

OFF BRIGHT is not used.

Species the AMP type.

Adjusts the distortion of the amp.

Adjusts the overall volume of the preamp. Take care not to raise LEVEL excessively.

Switches the amount of the amp’s distortion in three levels. LOW, MIDDLE, and HIGH provide progressively greater distortion.

Switches to a sound suitable for solos.

Adjusts the volume when SOLO SW is “ON.”

Adjusts the tone for the low frequency range.

Adjusts the tone for the middle frequency range.

Adjusts the tone for the high frequency range.

Adjusts the tone for the ultra high frequency range.

When VO DRIVE, VO LEAD, VO CLEAN, MATCH DRIVE, FAT MATCH, or MATCH LEAD is selected for TYPE, the PRESENCE parameter functions as a high cut lter.

BRIGHT is switched on to create a lighter and crisper tone.

Group Parameter Value Description

Selects the speaker type.

OFF Turns o the speaker simulator.

The built-in speaker of the amp you selected with AMP TYPE.

An open-back speaker cabinet with one 8-inch speaker.

An open-back speaker cabinet with one 10-inch speaker.

An open-back speaker cabinet with one 12-inch speaker.

An open-back speaker cabinet with two 12-inch speakers.

A closed-back speaker cabinet with four 10-inch speakers.

A closed-back speaker cabinet with four 12-inch speakers.

A double stack of two closedback cabinets, each with four 12-inch speakers.

Models the Shure SM57, a general-use dynamic microphone used for instruments and vocals. Optimal for use in miking guitar amps.

Models the Sennheiser MD421, a dynamic microphone with extended low end.

Models the AKG C451B, a small-diaphragm condenser microphone for use with instruments.

Models the Neumann U 87, a condenser microphone with at response.

Simulates a microphone with perfectly at response.

Microphone is placed at a distance from the speaker.

Microphone is placed so it’s near the speaker.

Microphone is set up so it’s pointed at the center of the speaker’s cone.

Microphone is positioned at the specied distance from the center of the speaker’s cone.

Adjusts the volume of the microphone.

SP/MIC

ORIGIN

1x8”

1x10”

SPEAKER TYPE

MIC TYPE

MIC DISTANCE

MIC POSITION

MIC LEVEL 0–100

1x12”

2x12”

4x10”

4x12”

8x12”

This setting selects the simulated microphone type.

DYN57

DYN421

CND451

CND87

FLAT

Simulates the distance between the microphone and speaker.

OFF MIC

ON MIC

This simulates the microphone position.

CENTER

1–10

Eect Settings (EFFECT)

AMP TYPE

Value Description

01: BOSS CLEAN A clean sound that is smooth and warm.

02: JC-120 The sound of the Roland JC-120.

03: JAZZ COMBO A sound suited to jazz.

04: FULL RANGE

05: CLEAN TWIN Models a Fender Twin Reverb.

06: PRO CRUNCH Models a Fender Pro Reverb.

07: TWEED Models a Fender Bassman 4 x 10” Combo.

08: DELUXE CRUNCH Models a Fender Deluxe Reverb.

09: BOSS CRUNCH

10: BLUES A sound suited to blues.

11: WILD CRUNCH A crunch sound with wild distortion.

12: STACK CRUNCH A crunch sound with high gain.

13: VO DRIVE

14: VO LEAD Models the lead sound of the VOX AC-30TB.

15: VO CLEAN Models the clean sound of the VOX AC-30TB.

16: MATCH DRIVE

17: FAT MATCH

18: MATCH LEAD

19: BG LEAD

20: BG DRIVE Models a Mesa/Boogie with Treble Shift Switch on.

21: BG RHYTHM

22: MS1959 I

23: MS1959 I+II

24: MS HIGAIN

25: MS SCOOP

26: R-FIER VINTAGE

27: R-FIER MODERN

28: R-FIER CLEAN

29: T-AMP LEAD Models AMP3 on a Hughes & Kettner TriAmp.

30: T-AMP CRUNCH Models AMP2 on a Hughes & Kettner TriAmp.

31: T-AMP CLEAN Models AMP1 on a Hughes & Kettner TriAmp.

32: BOSS DRIVE A drive sound producing awesome distortion.

33: SLDN

34: LEAD STACK A lead sound with high gain.

35: HEAVY LEAD A powerful lead sound featuring extreme distortion.

36: BOSS METAL A metal sound suited to heavy ris.

37: 5150 DRIVE Models the lead channel of a Peavey EVH 5150.

38: METAL LEAD A lead sound suited to metal.

39: EDGE LEAD A sharp sound suited for lead play.

40: BASS CLEAN A clean sound that is great for use with bass guitars.

A sound with at response. Good for acoustic guitar.

A crunch sound that faithfully reproduces picking nuances.

Models the drive sound of a VOX AC-30TB. This is a sound that it suited to sixties-style British rock.

Models the sound produced using the left input on a Matchless D/C-30, a modern tube amp widely used in styles from blues to rock.

Models the sound of a Matchless modied for high gain.

Models the sound produced using the right input on a Matchless D/C-30.

Models the lead sound of the Mesa/Boogie combo amp, a tube amp that was very popular in the late ‘70s and ‘80s.

Models the rhythm channel of a Mesa/Boogie combo amp.

Models the sound produced using Input I on a Marshall 1959 Super Lead amp. This is a trebly sound suited to hard rock.

The sound of connecting Inputs I and II of the Marshall 1959 amp in parallel, creating a sound with a stronger low end than I.

Models the sound of a Marshall modied with a midrange boost.

This is a Marshall sound that’s been tweaked for a metal sound.

Models the sound of the Channel 2 VINTAGE Mode on the Mesa/Boogie DUAL Rectier.

Models the sound of the Channel 2 MODERN Mode on the Mesa/Boogie DUAL Rectier.

Models the sound of the Channel 1 CLEAN Mode on the Mesa/Boogie DUAL Rectier.

Models a Soldano SLO-100, a very popular tube amp in the 1980s.

Value Description

41: BASS CRUNCH

42: BASS HIGAIN A high-gain sound suitable for use with bass guitars.

A crunch sound with natural distortion that sounds great with bass guitars.

MOD

Group Parameter Value Description

SWITCH OFF, ON Turns MOD OFF/ON.

Adjusts the pan position. The PAN parameter is valid even if

SWITCH is “OFF.”

Species the MOD type.

Adjusts the eect in response to the level of noise.

A value of 0 switches o the noise suppressor.

Setting this higher than necessary may cause no sound to be produced when the guitar is played at low volume.

Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”

TYPE

PAN L50–R50

EFFECT TYPE

SWITCH OFF, ON Turns the noise suppressor on/o.

THRESHOLD 0–100

RELEASE 0–100

Refer to “MOD Type“

Eect Settings (EFFECT)

MOD Type

01: OD/DS

Parameter Value Description

Selects the type of eect.

MID BOOST

CLEAN BOOST

TREBLE BOOST

BLUES OD

CRUNCH

NATURAL OD

OD-1

T-SCREAM Models an Ibanez TS-808.

TURBO OD

WARM OD A warm overdrive.

TYPE

DRIVE # 0–120 Adjusts the intensity of the distortion.

TONE # -50– +50 Adjusts the brightness of the sound.

LEVEL 0–100 Adjusts the volume level for OD/DS.

DISTORTION A basic, traditional distortion sound.

MILD DS Produces a mild distortion.

MID DS Distortion that emphasizes the midrange.

RAT Models a ProCo RAT.

GUV DS Models a Marshall Guv’nor.

DST+ Models an MXR Distortion Plus.

MODERN DS

SOLID DS A distortion sound that has a lot of edge.

STACK

LOUD

METAL ZONE

LEAD

60S FUZZ

OCT FUZZ Models an Ace Tone FUZZ.

MUFF FUZZ Models an Electro-Harmonix Big Mu π.

A booster with unique characteristics in the midrange. This produces a great sound for solos.

This can be used not only as a booster, but also can be used by itself to provide clean tones with punch.

A booster that has bright sound characteristics.

The crunch sound of the BOSS BD-2. A unique overdrive that faithfully reproduces the nuances of picking.

A brilliant crunch sound to which the distortion elements of an amp have been added.

Produces the natural sounding distortion of a slightly overdriven amp.

The sound of the BOSS OD-1. It produces sweet, mild distortion.

The high-gain overdrive sound of the BOSS OD-2.

The deep distortion sound of a large stack-type amp.

A fat sound to which the distortion elements of a stack amp have been added.

This distortion sound is ideal for performing heavy ris.

The sound of the BOSS MT-2. It produces a wide range of metal sounds, from old style to slash metal.

Produces a distortion sound with the smoothness of an overdrive along with a deep distortion.

Models a Fuzz Face. It produces a fat fuzz sound.

02: WAH

Parameter Value Description

Selects the wah mode.

MODE #

TYPE (*1)

PEDAL POSITION (*1)

SENS (*2) 0–100

FREQUENCY (*2) 0–100

PEAK (*2) 0–100 Adjusts the intensity of the wah sound.

LEVEL 0–100 Adjusts the volume level of the eect.

(*1) Setting available with MODE set to “MANUAL.” (*2) Setting available with MODE set to “T.UP” or “T.DOWN.”

(*3) Assign the controller to the expression pedal. As the assigned parameter, set the PEDAL/GK CTL setting EXP-FUNCTION to“MOD CONTROL” (p.57).

MANUAL (*3)

T.UP

T.DOWN

Selects the type of wah.

CRY WAH

VO WAH Models the sound of the VOX V846.

FAT WAH This is a wah sound featuring a bold tone.

LIGHT WAH

7STRING WAH

RESO WAH

0–100

You can use an expression pedal to control wah.

Produces a wah eect matched to the intensity of picking.

Models the sound of the CRY BABY wah pedal popular in the ‘70s.

This wah has a rened sound with no unusual characteristics.

This expanded wah features a variable range compatible with seven-string and baritone guitars.

This completely original eect oers enhancements on the characteristic resonances produced by analog synth lters.

Adjusts the position of the wah pedal. This parameter will change when you

operate the expression pedal.

Adjusts the sensitivity of response to the input sound.

Adjusts the center frequency of the Wah eect.

03: COMP

Parameter Value Description

SUSTAIN # 0–100 Adjusts the sustain for the sound.

ATTACK # 0–100 Adjusts the attack (onset) of the sound.

LEVEL 0–100 Adjusts the volume level of the eect.

04: LIMITER

Parameter Value Description

THRESHOLD # 0–100

RELEASE # 0–100 Adjusts the release time.

LEVEL 0–100 Adjusts the volume level of the eect.

When the input signal level exceeds the level set here, limiting will be applied.

05: OCTAVE

Parameter Value Description

Adds sound one octave lower than the input,

OCTAVE LEVEL 0–100

DIRECT LEVEL # 0–100 Adjusts the volume level of the direct sound.

giving a weighty feel to the sound. Play single notes, with the other strings muted completely. This parameter species the volume of the octave-lowered sound.

Eect Settings (EFFECT)

06: PHASER

Parameter Value Description

Selects the number of stages that the phaser eect uses.

4 STAGE

TYPE

RATE #

DEPTH # 0–100 Adjusts the richness of the eect.

RESONANCE # 0–100 Adjusts the intensity of the eect.

LEVEL 0–100 Adjusts the volume level of the eect.

8 STAGE

12 STAGE

BI-PHASE

0–100, BPM

A four-phase eect. A light phaser eect is obtained.

An eight-phase eect. This is the most common phaser eect.

A twelve-phase eect. A deep phase eect is obtained.

A phaser with two phase-shift circuits connected in series.

Adjusts the speed of the eect.

–

07: FLANGER

Parameter Value Description

RATE #

DEPTH # 0–100 Adjusts the richness of the eect.

MANUAL # 0–100

RESONANCE # 0–100 Adjusts the intensity of the eect.

LEVEL 0–100 Adjusts the volume level of the eect.

0–100, BPM

–

Adjusts the speed of the eect.

Adjusts the modulation frequency of the anger eect.

08: TREMOLO

Parameter Value Description

RATE #

DEPTH # 0–100 Adjusts the intensity of the eect.

WAVE SHAPE # 0–100

LEVEL 0–100 Adjusts the volume level of the eect.

0–100, BPM

–

Adjusts the speed of the eect.

Adjusts the curve for changes in the volume level. A higher value makes the change more abrupt.

09: ROTARY

Parameter Value Description

RATE SLOW #

RATE FAST #

DEPTH # 0–100 Adjusts the richness of the eect.

SPEED SELECT #

LEVEL 0–100 Adjusts the volume level of the eect.

0–100,

–

BPM

0–100,

–

BPM

SLOW, FAST

Adjusts the rate of modulation when SPEED SELECT is “SLOW.”

Adjusts the rate of modulation when SPEED SELECT is “FAST.”

Changes the rotation speed of the simulated speaker.

10: UNI-V

Parameter Value Description

RATE #

DEPTH # 0–100 Adjusts the richness of the eect.

LEVEL 0–100 Adjusts the volume level of the eect.

0–100, BPM

–

Adjusts the speed of the eect.

11: PAN

Parameter Value Description

RATE #

DEPTH # 0–100

WAVE SHAPE # 0–100

LEVEL 0–100 Adjusts the volume level of the eect.

0–100, BPM

–

Adjusts the rate of change in the pan position.

Adjusts the intensity of the change in the pan position.

Adjusts the curve for pan position changes. Higher values produce steeper change.

12: DELAY

Parameter Value Description

Use this to choose the type of delay.

SINGLE A simple monaural delay.

PAN

STEREO

TYPE

TIME #

FEEDBACK # 0–100 Adjusts the number of repetitions for the delay.

EFFECT LEVEL 0–120

REVERSE Produces the eect of playback in reverse.

ANALOG Produces a mild analog delay sound.

TAPE

MODULATE

HICUT

1–3400 msec,

–

BPM

Provides a tap delay eect that divides the delay time between the left and right channels.

The direct sound is output from the left channel, and the eect sound is output from the right channel.

Provides the characteristic wavering sound of a tape echo.

A delay with a pleasant amount of modulation added.

Produces a warm-sounding delay with the high frequencies attenuated.

Adjusts the delay time.

Adjusts the volume level of the eect. When TYPE is set to “REVERSE,” this adjusts the

balance of direct and eect sound.

13: CHORUS

Parameter Value Description

Use this to choose the type of chorus.

MONO

STEREO 1

TYPE

RATE #

DEPTH # 0–100 Adjusts the richness of the eect.

EFFECT LEVEL 0–100 Adjusts the volume level of the eect.

STEREO 2

MONO MILD

STEREO 1 MILD

STEREO 2 MILD

0–100,

–

BPM

This chorus eect outputs the same sound from the left and right channels.

A stereo chorus eect that adds dierent chorus sounds to the left and right channels.

This stereo chorus uses spatial synthesis, with the direct sound output in the left channel and the eect sound output in the right channel.

Features a more suppressed high end than MONO.

Features a more suppressed high end than STEREO 1.

Features a more suppressed high end than STEREO 2.

Adjusts the speed of the eect.

Eect Settings (EFFECT)

14: EQ

LOW GAIN LO-MID GAIN

LO-MID FREQ HI-MID FREQ

Parameter Value Description

LOW CUT

LOW GAIN # -20–+20 dB Adjusts the low frequency range tone.

LO-MID FREQ

LO-MID Q 0.5–16

LO-MID GAIN # -20–+20 dB Adjusts the low-middle frequency range tone.

HI-MID FREQ

HI-MID Q 0.5–16

HI-MID GAIN # -20–+20 dB Adjusts the high-middle frequency range tone.

HIGH GAIN # -20–+20 dB Adjusts the high frequency range tone.

HIGH CUT

LEVEL -20–+20 dB Adjusts the overall volume of the equalizer.

FLAT, 55–800 Hz

20.0 Hz–

10.0 kHz

20.0 Hz–

10.0 kHz

700 Hz–

11.0 kHz, FLAT

HI-MID GAIN HIGH GAIN

Frequency

Species the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

Species the center of the frequency range that will be adjusted by the LO-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the LO-MID FREQ. Higher values will narrow the area.

Species the center of the frequency range that will be adjusted by the HI-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the HI-MID FREQ. Higher values will narrow the area.

Species the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

MFX

Group Parameter Value Description

SWITCH OFF, ON Turns MFX OFF/ON.

Name of MFX type indicated

PAN L50–R50

EFFECT TYPE

Refer to “MFX Type”

Adjusts the pan position. The PAN parameter is valid even if

SWITCH is “OFF.”

Species the MFX type.

MFX Type

01: EQ

This EQ lets you modify the tone quality by adjusting the low range, two mid-ranges, and the high range.

L in

R in

Parameter Value Description

LOW FREQ 200, 400 Hz

LOW GAIN # -15–+15 dB

MID1 FREQ 200–8000 Hz

MID1 GAIN # -15–+15 dB

MID1 Q 0.5, 1.0, 2.0, 4.0, 8.0

MID2 FREQ 200–8000 Hz

MID2 GAIN # -15–+15 dB

MID2 Q 0.5, 1.0, 2.0, 4.0, 8.0

HIGH FREQ 2000, 4000, 8000 Hz

HIGH GAIN # -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

4-Band EQ

L out

R out

Species the frequency of the low range.

Adjusts the gain of the low range.

Adjusts the frequency of middle range 1.

Adjusts the gain of middle range 1.

Species the width of middle range 1.

Set a higher value for Q to narrow the range to be aected.

Adjusts the frequency of middle range 2.

Adjusts the gain of middle range 2.

Species the width of middle range 2.

Set a higher value for Q to narrow the range to be aected.

Species the frequency of the high range.

Adjusts the gain of the high range.

Eect Settings (EFFECT)

SAW1 SAW2

02: SUPER FILTER

This is a lter with an extremely sharp slope. The cuto frequency can be varied cyclically.

L in

R in

Parameter Value Description

FILTER TYPE #

FILTER SLOPE

FILTER CUTOFF # 0–100

FILTER RESONANCE #

FILTER GAIN # 0–+12 dB

MODULATION SW OFF, ON

MODULATION WAVE

Super Filter

Selects the type of lter. Species the frequencies allowed to pass through the

lter.

LPF Frequencies below the cuto

BPF

HPF Frequencies above the cuto

NOTCH

Species the slope of the lter (steepness, in terms of the attenuation per octave).

-12 dB Gentle

-24 dB Steep

-36 dB Extremely steep

0–100

Species how the cuto frequency will be modulated.

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1 Sawtooth wave (upward)

SAW2 Sawtooth wave (downward)

L out

R out

Frequencies in the region of the cuto

Frequencies other than the region of the cuto

Adjusts the cuto frequency of the lter. Increasing this value will raise the cuto frequency.

Adjusts the lter resonance level. Increasing this value will emphasize the region near the cuto frequency.

Adjusts the amount of boost for the lter output.

This is the on/o switch for cyclic change.

03: PHASER

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

L in

R in

Parameter Value Description

MODE

MANUAL # 0–100

RATE #

DEPTH # 0–100 Adjusts the depth of modulation.

POLARITY

RESONANCE # 0–100 Adjusts the amount of feedback.

CROSS FEEDBACK

MIX 0–100

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

Phaser

Mix

Phaser

4-STAGE, 8-STAGE, 12-STAGE

0–100, BPM

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE

SYNCHRO

-98–+98%

2-Band

This sets the number of stages in the phaser.

Adjusts the basic frequency from which the sound will be modulated.

–

Adjusts the rate of the modulation.

The left and right phase will be opposite. When using a mono source, this spreads the sound.

The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the level of the phaseshifted sound.

Adjusts the gain of the high range.

L out

R out

04: STEP PHASER

This is a stereo phaser. The phaser eect will be varied gradually.

RATE

DEPTH 0–100 Adjusts the depth of modulation.

ATTACK 0–100

LEVEL 0–100 Adjusts the output volume.

0–100, BPM

L in

–

Adjusts the rate of modulation.

Adjusts the speed at which the cuto frequency will change.

This is eective if MODULATION WAVE is SQR, SAW1, or SAW2.

R in

Parameter Value Description

MODE

MANUAL # 0–100

RATE #

DEPTH 0–100 Adjusts the depth of modulation.

Step Phaser

4-STAGE, 8-STAGE, 12-STAGE

0–100, BPM

Mix

–

2-Band

Species the number of stages in the phaser.

Adjusts the basic frequency from which the sound will be modulated.

Adjusts the rate of the modulation.

L out

R out

Eect Settings (EFFECT)

SAW1 SAW2

Parameter Value Description

Selects whether the left and right phase of the modulation will be the same or the opposite.

POLARITY

RESONANCE # 0–100 Adjusts the amount of feedback.

CROSS FEEDBACK

STEP RATE #

MIX 0–100

LOW GAIN -15–+15 dB

HIGH GAIN -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

INVERSE

SYNCHRO

-98–+98%

0–100, BPM

–

The left and right phase will be opposite. When using a mono source, this spreads the sound.

The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the rate of the stepwise change in the phaser eect.

Adjusts the level of the phaseshifted sound.

Adjusts the gain of the low range.

Adjusts the gain of the high range.

05: RING MODULATOR

This is an eect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the eect.

L in

Ring Mod

2-Band EQ

L out

06: TREMOLO

Cyclically alters the volume.

L in

R in

Parameter Value Description

MOD WAVE #

RATE #

DEPTH # 0–100 Adjusts the depth of the eect.

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

Tremolo

2-Band EQ

Species how the volume will be modulated.

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1/2 Sawtooth wave

0–100, BPM

–

L out

R out

Adjusts the frequency of the change.

Adjusts the gain of the high range.

07: AUTO PAN

Cyclically varies the stereo location of the sound.

R in

Ring Mod

Parameter Value Description

FREQUENCY # 0–127

SENS # 0–100

POLARITY

LOW GAIN -15–+15 dB

HIGH GAIN -15–+15 dB

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

2-Band EQ

Determines whether the frequency modulation moves towards higher frequencies or lower frequencies.

UP Higher frequencies

DOWN Lower frequencies

R out

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Adjusts the gain of the low frequency range.

Adjusts the gain of the high frequency range.

Adjusts the volume balance between the direct sound (D) and the eect sound (W).

L in

R in

Parameter Value Description

MOD WAVE

Auto Pan

2-Band EQ

Species how the pan position will be varied.

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1/2 Sawtooth wave

RATE #

DEPTH # 0–100 Adjusts the depth of the eect.

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

0–100, BPM

–

L out

R out

Adjusts the frequency of the change.

Adjusts the gain of the high range.

Eect Settings (EFFECT)

Balance D

08: SLICER

By applying successive cuts to the sound, this eect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially eective when applied to sustain-type sounds.

L in

R in

Parameter Value Description

PATTERN # P01–P20

RATE #

ATTACK # 0–100

INPUT SYNC SW OFF, ON

INPUT SYNC THRESHOLD

LEVEL 0–100 Adjusts the output volume.

Slicer

0–100, BPM

0–100

–

L out

R out

Selects the slice pattern used to cut the sound.

Species the rate at which the 16-step sequence will repeat.

Adjusts the speed at which the level changes between steps.

Species whether an input note will cause the sequence to resume from the rst step of the sequence (ON) or not (OFF).

Adjusts the volume at which an input note will be detected.

09: VK ROTARY

This type provides modied response for the rotary speaker, with the low end boosted further.

This eect features the same specications as Roland VK-7 organ’s built-in rotary speaker.

L in

Rotary

R in

Parameter Value Description

This sets the rotational speed of the rotating speaker.

SPEED

BRAKE OFF, ON

WOOFER SLOW SPEED #

WOOFER FAST SPEED #

WOOFER TRANS UP 0–100

WOOFER TRANS DOWN

WOOFER LEVEL 0–100 Adjusts the volume of the woofer.

TWEETER SLOW SPEED #

TWEETER FAST SPEED #

TWEETER TRANS UP 0–100

TWEETER TRANS DOWN

TWEETER LEVEL 0–100

SLOW Slow

FAST Fast

0–100

2-Band EQ

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop. When it is turned o, the rotation will gradually resume.

Adjusts the low-speed rotation speed of the woofer.

Adjusts the high-speed rotation speed of the woofer.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from SLOW to FAST.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from FAST to SLOW.

These are the settings of the tweeter. The parameters are the same as for the woofer.

L out

R out

Parameter Value Description

SPREAD 0–10

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

Species how the sound of the rotary speaker will be spread.

Adjusts the gain of the high range.

10: HEXA-CHORUS

This type uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

L in

Balance D

Hexa Chorus

R in

Parameter Value Description

PRE DELAY 0.0–100 msec

RATE #

DEPTH # 0–100 Adjusts the depth of modulation.

PRE DELAY DEVIATION

DEPTH DEVIATION -20–+20

PAN DEVIATION 0–20

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

0–100, BPM

0–20

–

L out

Balance W

R out

Adjusts the delay time from the direct sound until the chorus sound is heard.

Adjusts the rate of the modulation.

Adjusts the deviation with respect to the sounding of the various chorus sounds.

Adjusts the dierence in modulation depth between each chorus sound.

Adjusts the dierence in stereo location between each chorus sound.

With a setting of “0,” all of the sounds will be panned to the center. With a setting of “20,” each of the chorused sounds will be spread apart at 60 degree angles relative to the center.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

Eect Settings (EFFECT)

Balance D

11: SPACE-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus eect.

L in

Space D

R in

Parameter Value Description

PRE DELAY 0.0–100 msec

RATE #

DEPTH # 0–100

PHASE 0–180 deg

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

0–100, BPM

–

2-Band

Balance W

2-Band

Adjusts the delay time from the direct sound until the chorus sound is heard.

Adjusts the rate of the modulation.

Adjusts the depth of the modulation.

Adjusts the spatial spread of the sound.

Adjusts the gain of the high range.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

L out

R out

12: FLANGER

This is a stereo anger. It produces a metallic resonance that’s comparable to the sound a jet plane makes when ascending/descending. A lter is provided so that you can adjust the timbre of the anged sound.

L in

Flanger

Feedback Feedback

Flanger

R in

Parameter Value Description

Selects the type of lter.

OFF No lter is used.

FILTER TYPE

CUTOFF FREQ 200–8000 Hz

PRE DELAY 0.0–100 msec

RATE #

DEPTH # 0–100

PHASE 0–180 deg

LPF

HPF

0–100, BPM

–

2-Band

Balance W

2-Band

Cuts the frequency range above the CUTOFF FREQ.

Cuts the frequency range below the CUTOFF FREQ.

Adjusts the center frequency when using the lter to cut a specic frequency range.

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the rate of the modulation.

Adjusts the depth of the modulation.

Adjusts the spatial spread of the sound.

L out

R out

Parameter Value Description

Adjusts the proportion of the

FEEDBACK # -98–+98%

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the gain of the high range.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

13: STEP FLANGER

This is a anger in which the anger pitch changes in steps. The speed at which the pitch changes can also be specied in terms of a note-value of a specied tempo.

L in

Step Flanger

Feedback Feedback

Step Flanger

R in

Parameter Value Description

Selects the type of lter.

OFF No lter is used.

FILTER TYPE

CUTOFF FREQ 200–8000 Hz

PRE DELAY 0.0–100 msec

RATE #

DEPTH 0–100

PHASE 0–180 deg

FEEDBACK # -98–+98%

STEP RATE #

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

LPF

HPF

0–100, BPM

–

2-Band

Balance W

2-Band

Cuts the frequency range above the CUTOFF FREQ.

Cuts the frequency range below the CUTOFF FREQ.

Adjusts the center frequency when using the lter to cut a specic frequency range.

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the rate of the modulation.

Adjusts the depth of the modulation.

Adjusts the spatial spread of the sound.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the rate (period) of pitch change.

Adjusts the gain of the high range.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

L out

R out

Eect Settings (EFFECT)

L in

L out

R out

14: GUITAR AMP SIMULATOR

This is an eect that simulates the sound of a guitar amplier.

Pre Amp

Speaker

R in

Parameter Value Description

PRE AMP SW OFF, ON Turns the amp switch on/o.

JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II,

PRE AMP TYPE #

PRE AMP VOLUME # 0–100

PRE AMP MASTER # 0–100

PRE AMP GAIN LOW, MIDDLE, HIGH

PRE AMP BASS

PRE AMP MIDDLE

PRE AMP TREBLE

PRE AMP PRESENCE 0–100

PRE AMP BRIGHT OFF, ON

SPEAKER SW OFF, ON

SPEAKER TYPE # (See the table below.) Selects the type of speaker.

MIC SETTING 1, 2, 3

MIC LEVEL 0–100

DIRECT LEVEL 0–100

PAN L50–R50

LEVEL 0–100 Adjusts the output volume.

MS1959I+II, SLDN LEAD, METAL 5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

0–100

Species the type of guitar amp.

Adjusts the volume and amount of distortion of the amp.

Adjusts the volume of the entire pre-amp.

Species the amount of pre-amp distortion.

Adjust the tone of the bass/mid/ treble frequency ranges. PRE AMP MIDDLE cannot be set if MATCH DRIVE is selected as the PRE AMP TYPE.

Adjusts the tone of the ultra-high frequency range.

Turning this ON produces a sharper and brighter sound. This is available only if PRE AMP TYPE is set to “JC-120,” “CLEAN TWIN,” or “BGLEAD.”

Determines whether the signal passes through the speaker (ON), or not (OFF).

Adjusts the location of the microphone that’s capturing the sound of the speaker. This can be adjusted in three steps, from 1 to 3, with the microphone becoming more distant as the value increases.

Adjusts the volume of the microphone.

Adjusts the volume of the direct sound.

Adjusts the stereo location of the output sound.

Pan L

Pan R

Specications for Each Speaker Type

The “Speaker” column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open-back enclosure 12 x 1 Dynamic

JC-120 Open-back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open-back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open-back enclosure 12 x 2 Condenser

BUILT-IN 3 Open-back enclosure 12 x 2 Condenser

BUILT-IN 4 Open-back enclosure 12 x 2 Condenser

BUILT-IN 5 Open-back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

15: COMPRESSOR

Flattens out high levels and boosts low levels, smoothing out uctuations in volume.

L in

Compressor

R in

Compressor

Parameter Value Description

ATTACK # 0–100

THRESHOLD # 0–100

POST GAIN # 0–+18 dB Adjusts the output gain.

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

2-Band EQ

L out

R out

Adjusts the time from when the input exceeds the THRESHOLD until the volume starts being compressed.

Adjusts the volume at which compression begins.

Adjusts the gain of the high range.

Eect Settings (EFFECT)

Balance D

16: LIMITER

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

L in

R in

Parameter Value Description

RELEASE # 0–100

THRESHOLD # 0–100

RATIO # 1.5:1, 2:1, 4:1, 100:1 This sets the compression ratio.

POST GAIN # 0–+18 dB Adjusts the output gain.

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

LEVEL 0–100 Adjusts the output volume.

Limiter

2-Band EQ

L out

R out

Adjusts the time after the signal volume falls below the THRESHOLD level until compression is no longer applied.

Adjusts the volume at which compression begins.

Adjusts the gain of the high range.

17: 3TAP PAN DELAY

Produces three delay sounds; center, left and right.

L in

R in

Triple Tap Delay

Feedback

Left Tap

Center Tap

Right Tap

2-Band

Balance W

2-Band

L out

R out

18: TIME CTRL DELAY

A stereo delay in which the delay time can be varied smoothly.

L in

Time Ctrl Delay

Feedback Feedback

Time Ctrl Delay

R in

Parameter Value Description

DELAY TIME #

ACCELERATION # 0–15

FEEDBACK # -98–+98%

HF DAMP 200–8000 Hz, BYPASS

LOW GAIN -15–+15 dB Adjusts the gain of the low range.

HIGH GAIN -15–+15 dB

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

1–1300 msec,

–

BPM

2-Band EQ

Pan L

Pan R

2-Band EQ

Adjusts the time until the delay sounds are heard.

Adjusts the speed at which the delay time changes from the current setting to a specied new setting. The rate of change for the delay time directly aects the rate of pitch change.

Adjusts the amount of the delay that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Adjusts the gain of the high range.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

L out

R out

Parameter Value Description

DELAY LEFT/RIGHT/ CENTER #

CENTER FEEDBACK # -98–+98%

HF DAMP 200–8000 Hz, BYPASS

LEFT/RIGHT/CENTER LEVEL

LOW GAIN -15–+15 dB

HIGH GAIN -15–+15 dB

BALANCE D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

1–2600 msec,

–

BPM

0–100

Adjusts the time from the original sound until the left, right, and center delayed sounds are heard.

Adjusts the amount of the delay sound that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Adjusts the volume of each delay.

Adjusts the gain of the low range.

Adjusts the gain of the high range.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

Eect Settings (EFFECT)

19: LOFI COMPRESS

This is an eect that intentionally degrades the sound quality for creative purposes.

L in

Compressor

R in

Compressor

Parameter Value Description

Selects the type of lter applied to the sound before it

PRE FILTER TYPE #

LOFI TYPE # 1–9

POST FILTER TYPE

POST FILTER CUTOFF 200–8000 Hz

LOW GAIN -15–+15 dB

HIGH GAIN -15–+15 dB

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

passes through the Lo-Fi eect.

1 The compressor will be o.

2–6 The compressor will be on.

Selects the type of lter applied to the sound after it passes through the Lo-Fi eect.

OFF No lter is used.

LPF

HPF

Lo-Fi

2-Band

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Cuts the frequency range above the Cuto.

Cuts the frequency range below the Cuto.

Adjusts the basic frequency of the POST FILTER.

Adjusts the gain of the low range.

Adjusts the gain of the high range.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

L out

R out

20: PITCH SHIFTER

This is a stereo pitch shifter.

L in

2-Band EQ

Pitch Shifter

R in

Parameter Value Description

COARSE # -24–+12 semi

FINE # -100–+100 cent

DELAY TIME

FEEDBACK -98–+98%

LOW GAIN -15–+15 dB

HIGH GAIN -15–+15 dB

BALANCE # D100:0W–D0:100W

LEVEL 0–100 Adjusts the output volume.

1–1300 msec,

–

BPM

2-Band EQ

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

Adjusts the delay time from the direct sound until the pitch shifted sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the gain of the low range.

Adjusts the gain of the high range.

Adjusts the volume balance between the direct sound (D) and the chorus sound (W).

L out

R out

DELAY

Group Parameter Value Description

SWITCH OFF, ON Turns the DELAY OFF/ON.

Use this to choose the type of delay.

01:SINGLE A simple monaural delay.

Provides a tap delay eect that divides the delay time between the left and right channels.

Produces the eect of playback in reverse.

This setting provides the characteristic wavering sound of a tape echo.

A delay with a pleasant amount of modulation added.

Produces a warm-sounding delay with the high frequencies attenuated.

Adjusts the delay time.

–

Adjusts the number of repetitions for the delay.

Adjusts the volume of the signal sent from the MFX output to DELAY.

Adjusts the volume of the signal sent from the AMP-MOD output to DELAY.

Adjusts the volume of the signal sent from the bypass channel (unprocessed by the eect) to DELAY.

TYPE

SEND

02: PAN

03: REVERSE

TYPE

DELAY TIME #

FEEDBACK #

EFFECT LEVEL

MFX SEND 0–100

MOD SEND

BYPASS SEND

04: ANALOG Produces a mild analog delay sound.

05: TAPE

06: MODULATE

07: HICUT

1–3400 msec, BPM

0–100

0–120 Adjusts the volume level of the eect.

0–100

REVERB

Group Parameter Value Description

SWITCH OFF, ON Turns the REVERB OFF/ON.

Use this to choose the type of reverb.

Simulates an ambience microphone (omic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.

Simulates the reverberation of a small room. Provides warm reverberations.

Simulates the reverberation of a concert hall. Provides clear and spacious reverberations.

Simulates the reverberation of a concert hall. Provides mild reverberations.

Simulates plate reverberation (a studio eect unit that uses the vibration of a large metal plate to produce reverberation). Provides a metallic sound with a distinct upper range.

Adjusts the length (time) of reverberation.

The high cut lter adjusts the amount of high frequencies in the reverb sound. When FLAT is selected, the high cut lter will have no eect.

TYPE

REVERB TIME #

HIGH CUT #

EFFECT LEVEL

01: AMBIENCE

02: ROOM

03: HALL 1

04: HALL 2

05: PLATE

0.1 s–10.0 s

700 Hz–

11.0 kHz, FLAT

0–100 Adjusts the volume level of the eect.

Eect Settings (EFFECT)

Group Parameter Value Description

Adjusts the volume of the signal sent from the MFX output to REVERB.

Adjusts the volume of the signal sent from the AMP-MOD output to REVERB.

Adjusts the volume of the signal sent from the bypass channel (unprocessed by the eect) to REVERB.

SEND

MFX SEND 0–100

MOD SEND

BYPASS SEND

0–100

CHORUS

Group Parameter Value Description

SWITCH OFF, ON Turns the CHORUS OFF/ON.

Use this to choose the type of chorus.

This chorus eect outputs the same sound from the left and right channels.

This is a stereo chorus eect that adds dierent chorus sounds to L channel and R channel.

This features a more suppressed high end than MONO.

This features a more suppressed high end than STEREO.

Adjusts the speed of the eect.

–

Adjusts the volume of the signal sent from the MFX output to CHORUS.

Adjusts the volume of the signal sent from the AMP-MOD output to CHORUS.

Adjusts the volume of the signal sent from the bypass channel (unprocessed by the eect) to CHORUS.

TYPE

SEND

01: MONO

TYPE

RATE #

DEPTH # 0–100 Adjusts the richness of the eect.

EFFECT LEVEL

MFX SEND 0–100

MOD SEND

BYPASS SEND

02: STEREO

03: MONO MILD

04: STEREO MILD

0–100, BPM

0–100 Adjusts the volume level of the eect.

0–100

Group Parameter Value Description

LOW GAIN LO-MID GAIN

LO-MID FREQ HI-MID FREQ

EQ SWITCH OFF, ON Turns the EQ OFF/ON.

LOW CUT

LOW GAIN # -20 dB–+20 dB

LO-MID FREQ

LO-MID Q 0.5–16

LO-MID GAIN #

HI-MID FREQ 20 Hz–10 kHz

HI-MID Q 0.5–16

HI-MID GAIN #

HIGH GAIN # -20 dB–+20 dB

HIGH CUT

LEVEL -20 dB–+20 dB

CHAR CHARACTER -3–0–+3

FLAT, 55–800 Hz

20 Hz–10 kHz

-20 dB–+20 dB

700 Hz–11.0 kHz, FLAT

HI-MID GAIN HIGH GAIN

Sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

Adjusts the low frequency range tone.

Species the center of the frequency range that will be adjusted by the LO-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the LO-MID FREQ. Higher values will narrow the area.

Adjusts the low-middle frequency range tone.

Species the center of the frequency range that will be adjusted by the HI-MID GAIN.

Adjusts the width of the area aected by the EQ centered at the HI-MID FREQ. Higher values will narrow the area.

Adjusts the high-middle frequency range tone.

Adjusts the high frequency range tone.

Sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the overall volume of the equalizer.

Determines whether the sound will have clear denition (+3) or be more mellow (-3).

Frequency

Patch Settings (MASTER)

Basic operation

1. Select a patch and press the [EDIT] button.

The EDIT screen will appear.

2. Use the PAGE [ ] [ ] buttons to select the MASTER tab.

3. Use the cursor [ ] [ ] buttons to select the icon for the

settings you want to edit.

Icon Description Page

PEDAL/GK CTL

ASSIGN Controller settings. p.57

PATCH TEMPO Patch tempo setting. p.58

GK SET

OTHER

4. Press the [ENTER] button.

5. Edit the parameter settings.

GUITAR OUT GUITAR OUT jack settings. p.59

ALT-TUNING

V-LINK V-LINK settings. p.59

Settings for the pedals and GK controls.

GK pickup settings for each patch.

Tuning adjustments for each string.

p.55

p.58

p.59

Controller Settings (ASSIGN)

For each parameter, you can specify which controller will control the parameter (p.62).

For details on the parameters, refer to “ASSIGN” (p.57).

Patch Tempo Setting (PATCH TEMPO)

You can specify the tempo used for tempo-synchronized eects.

For details on the parameter, refer to “PATCH TEMPO” (p.58).

GK Pickup Settings for Each Patch (GK SET)

If you’re using the GR-55 for live performance, you might change guitars depending on the song you’re performing.

If so, you can create a GK SET (“GK SETTING,” p.69) for each guitar, and then specify that the GK SET for the guitar used in a particular song will be recalled when you select the patch used for that song.

For details on the parameters, refer to “GK SETTING” (p.74).

GUITAR OUT Jack Settings (GUITAR OUT)

The GUITAR OUT jack can output the normal pickup sound and the sound of the modeling tone.

For example, you can make settings so that the normal pickup sound and the modeling tone sound will be played through a guitar amp, while the other synthesizer sounds will be played through the PA system connected to the OUTPUT jacks. For details, refer to System settings “GUITAR OUT Jack Settings (GUITAR OUT)” (p.70).

For details on the parameters, refer to “GUITAR OUT” (p.59).

MEMO

If the SYSTEM setting GUITAR OUT (p.80) is set to anything other than “PATCH,” this setting is ignored.

Use the cursor [ ] [ ] buttons to select the parameter that you want to edit, and use the dial to edit the value of the parameter.

6. If you want to keep the changes you made, save the patch (p.60).

Pedal and GK Control Settings (PEDAL/GK CTL)

For each patch, you can change the operation that occurs when you operate the pedal or operate the GK controls (p.61).

For details on the parameters, refer to “PEDAL/GK CTL” (p.55).

NOTE!

This is available if the SYSTEM parameter “FUNCTION” (p.76) is set to “PATCH SETTING.” (If unavailable, the display will indicate “**[SYSTEM]**”.)

Changing the Tuning of Each String (ALT-TUNING)

You can change the pitch of each string without changing the tuning of your guitar.

For details on the parameters, refer to “ALT-TUNING” (p.59).

* The pitch of the normal pickup sound will not change.

V-LINK Settings (V-LINK)

You can make settings for V-LINK (p.68), a function that allows you to switch images or control the brightness or hue of an image.

For details on the parameters, refer to “V-LINK” (p.59).

Parameter List (MASTER)

PEDAL/GK CTL

Tab Parameter Value Description

STATUS

CTL,

EXP SW,

GK S1,

GK S2

(CTL, EXP SW only)

FUNCTION

OFF, ON Switches the pedal on/o (reects the indicator’s illumination status).

Here you can specify the function that will be assigned to the [CTL] pedal, the expression pedal switch, or the GK [S1]/[S2] buttons.

OFF No function will be assigned to the above pedal or switch.

HOLD (CTL only)

TAP TEMPO Sets the tempo to the timing at which you press the pedal.

TONE SW

AMP SW Switches AMP on/o.

MOD SW Switches MOD on/o.

MFX SW Switches MFX on/o.

DELAY SW Switches DELAY on/o.

REVERB SW Switches REVERB on/o.

CHORUS SW Switches CHORUS on/o.

HOLD parameter Value Description

Notes that were sounding when you pressed the pedal will be held, and successive notes that are played while you continue holding down the pedal will also be held.

HOLD TYPE

SWITCH MODE

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

Controls the on/o switch for each tone and the normal pickup.

TONE SW parameter Value Description

SW OFF

SW ON

LATCH Hold will turn on/o each time you press the pedal.

MOMENT Hold will be on only while you hold down the pedal.

PCM TONE 1 OFF/ON

PCM TONE 2 OFF/ON

MODELING TONE OFF/ON

NORMAL PU OFF/ON

PCM TONE 1 OFF/ON

PCM TONE 2 OFF/ON

MODELING TONE OFF/ON

NORMAL PU OFF/ON

This diers from “HOLD TYPE 4” in that if a note is already sounding on the same string, the previous note will be silenced, and the note newly played on that string will take its place. This allows you to play without a break even if the note is on a distant fret.

Notes that were sounding when you pressed the pedal will be held as long as you continue holding down the pedal. Notes played after you started holding down the pedal will not sound.

Notes that were sounding when you pressed the pedal will be held as long as you continue holding down the pedal. Notes played after you started holding down the pedal will sound, but will not be held.

Notes that were sounding when you pressed the pedal will be held, and successive notes that are played while you continue holding down the pedal will also be held.

Choose the “OFF” setting if you don’t want the tone to be held.

These settings are for when the STATUS of each controller ([CTL] pedal, expression pedal switch) is “OFF.”

GK S1/S2 are the settings for the default state (i.e., before you’ve pressed a switch).

These settings are for when the STATUS of each controller ([CTL] pedal, expression pedal switch) is “ON.”

GK S1/S2 are the settings for when the switch has been pressed once.

Patch Settings (MASTER)

Tab Parameter Value Description

AUDIO PLAYER PLAY/ STOP

AUDIO PLAYER SONG

CTL,

EXP SW,

GK S1,

GK S2

EXP,

EXP ON,

GK VOL

FUNCTION

INC

AUDIO PLAYER SONG DEC

AUDIO PLAYER SW Performs the same operation as when the panel’s [AUDIO PLAYER] button is pressed.

V-LINK SW Performs the same operation as when the panel’s [V-LINK] button is pressed.

LED MOMENT The pedal indicator lights up while you press the pedal, and it goes out when you release the pedal.

LED TOGGLE The pedal indicator lights up and goes out when alternate each time you press the pedal.

Here you can specify the functions that will be assigned to the expression pedal or to the GK volume knob. Two dierent functions can be assigned separately to the expression pedal; one function for when the expression pedal switch is on,

and another function for when it is o.

OFF No function will be assigned to the above pedal or knob.

PATCH VOLUME Adjusts the volume of the patch.

TONE VOLUME

PITCH BEND

MODULATION

CROSS FADER

DELAY LEVEL REVERB LEVEL CHORUS LEVEL

Starts/stops the audio player.

Selects the audio le in USB memory played by the audio player.

Adjusts the volume of the tones and the normal pickup.

TONE VOLUME parameter

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

MODELING TONE OFF, ON

NORMAL PU OFF, ON

Changes the pitch of PCM tone 1, PCM tone 2, and the modeling tone.

PITCH BEND parameter Value Description

DEPTH -12–+12

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

MODELING TONE OFF, ON

Controls the depth of modulation for PCM tone 1 and PCM tone 2. The eect will dier depending on the PCM tone that’s selected.

MODULATION parameter

MIN 0–100

MAX 0–100

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

Controls the volume balance of the tones.

CROSS FADER parameter

PCM TONE 1 POLARITY

PCM TONE 2 POLARITY

MODELING TONE POLARITY

NORMAL PU POLARITY

Controls the DELAY/REVERB/CHORUS eect level.

Parameter Value Description

MIN

MAX Species the eect level when the pedal is fully depressed.

Value Description

If you don’t want the control to adjust the volume of the respective tone or pickup, choose “OFF.”

Species the maximum pitch change that will occur when you fully depress the pedal.

Choose “OFF” if you don’t want to change the pitch of PCM TONE 1.

Choose “OFF” if you don’t want to change the pitch of PCM tone 2.

Choose “OFF” if you don’t want to change the pitch of the modeling tone.

There will be no eect if “12STR SW” (p.29) is “ON.”

Value Description

Species the depth of modulation when the pedal is fully released.

Species the depth of modulation when the pedal is fully depressed.

Choose “OFF” if you don’t want to apply modulation to PCM tone 1.

Choose “OFF” if you don’t want to apply modulation to PCM tone 2.

Value Description

OFF The volume of the tone will not change.

TOE

HEEL

0–120 (DELAY) 0–100 (REVERB, CHORUS)

The volume of the tone will increase as you depress the pedal.

The volume of the tone will increase as you lift up on the pedal.

Species the eect level when the pedal is fully released.

Tab Parameter Value Description

EXP,

EXP ON,

GK VOL

FUNCTION MOD CONTROL

(*1) Set the MODE parameter (p.43) to “MANUAL.”

ASSIGN

Patch Settings (MASTER)

Controls the principal parameter for each type of MOD eect. This is valid if MOD SWITCH is “ON.”

MOD CONTROL Parameter

MIN

MAX

MOD Type Parameter MOD Type Parameter

OD/DS DRIVE TREMOLO RATE

WAH (*1) PEDAL POSITION ROTARY SPEED SELECT

COMP SUSTAIN UNI-V RATE

LIMITER THRESHOLD PAN RATE

OCTAVE OCTAVE LEVEL DELAY EFFECT LEVEL

PHASER RATE CHORUS EFFECT LEVEL

FLANGER RATE EQ HI-MID FREQ

Value Description

Species the range of change for the parameter. The values will depend on the parameter that’s assigned by MOD type.

Tab Parameter Value Description

SWITCH OFF, ON Turns ASSIGN 1–8 on/o.

TARGET

TARGET MIN

TARGET MAX

SOURCE

ASSIGN 1–8

SOURCE MODE

ACT RANGE LO 0–126 Within the operating range of the source, this species the range that will control the target

ACT RANGE HI 1–127

Selects the parameter that will be controlled. For details on the parameters, refer to the explanations of each parameter in this manual.

Species the range of change for the parameter. The values will depend on the parameter that’s assigned by TARGET.

Selects the controller to which the function will be assigned.

CTL [CTL] pedal

EXP Expression pedal

EXP ON Expression pedal when the expression pedal switch is on

EXP SW Expression pedal switch

INT PDL Internal pedal (p.62)

WAVE PDL Wave pedal (p.62)

GK S1 [S1] button of the GK pickup

GK S2 [S2] button of the GK pickup

GK VOL Volume knob of the GK pickup

CC1–31, CC64–95

Species how the value will change for each operation.

MOMENT

TOGGLE The value will toggle between o (minimum) and on (maximum) each time the control is operated.

Control change number from an external MIDI device

The value will normally be o (minimum value), and will be on (maximum value) only while the control is being operated.

parameter. The target parameter will be controlled within the range specied by ACT RANGE LO and ACT

RANGE HI. Normally, you should leave ACT RANGE LO at “0” and ACT RANGE HI at “127.”

Patch Settings (MASTER)

Tab Parameter Value Description

Species how the motion of the internal pedal will be triggered. *1

PATCH CHANGE Triggered when you switch patches.

CTL PDL Triggered when you operate the [CTL] pedal.

EXP LOW Triggered when you move the expression pedal to minimum.

EXP MID Triggered when you depress the expression pedal through the center value.

EXP HIGH Triggered when you move the expression pedal to maximum.

INT TRIG

INT TIME 0–100

ASSIGN 1–8

INT CURVE

EXP ON LOW

EXP ON MID

EXP ON HIGH

EXP SW Triggered when you operate the expression pedal switch.

GK S1 Triggered when you operate the [S1] button of the GK pickup.

GK S2 Triggered when you operate the [S2] button of the GK pickup.

LINEAR, SLOW RISE, FAST RISE

Triggered when you move the expression pedal to minimum while the expression pedal switch is on.

Triggered when you depress the expression pedal through the center value while the expression pedal switch is on.

Triggered when you move the expression pedal to maximum while the expression pedal switch is on.

Species the time over which the internal pedal will move from the released (heel) position to the depressed (toe) position. *1

Selects one of the following curves to specify the change produced by the internal pedal. *1

LINEAR SLOW RISE FAST RISE

Species the time for one cycle of the wave pedal. *2 If you choose BPM, the value of this parameter will be set according to the “PATCH TEMPO” (p.58)

WAVE RATE 0–100, BPM

setting of each patch. This is an easy way to make the eect sound synchronize to the tempo of each song.

* If the time determined by the tempo exceeds the allowable length, it will be set to

synchronize to 1/2 or 1/4 of that time.

Select one of the following to specify the change produced by the wave pedal. *2

SAW

WAVE FORM SAW, TRI, SIN

*1 INT TRIG, INT TIME, and INT CURVE are used if SOURCE is set to “INT PDL.”

*2 WAVE RATE and WAVE FORM are used if SOURCE is set to “WAVE PDL.”

PATCH TEMPO

Group Parameter Value Description

PATCH TEMPO TEMPO 20–250

GK SET

Group Parameter Value Description

GK SET SELECT SYSTEM, 1–10

TRIANGLE

Species the tempo for tempo-synchronized eects. If SYSTEM–MIDI/USB–GENERAL–MIDI SYNC (p.79) is “ON,” the tempo is determined by MIDI clock from an external device.

Normally, you can leave this set to “SYSTEM.” If you swap guitars for dierent patches, choose the GK SET you specied for the guitar you use with this patch.

SINE

GUITAR OUT

Group Parameter Value Description

For each patch, species the signal that will be sent from the GUITAR OUT jack. The system parameter GUITAR OUT lets you specify whether to use the GUITAR OUT setting for each patch or the

overall setting (system setting) for the entire GR-55. For details, refer to “GUITAR OUT Jack Settings (GUITAR OUT)” (p.70).

GUITAR OUT SOURCE

OFF Nothing will be output from the GUITAR OUT jack.

NORMAL PU The normal pickup sound will be output.

MODELING The modeling tone sound will be output.

BOTH Both the normal pickup sound and the modeling tone sound will be output.

ALT-TUNING

Group Parameter Value Description

SWITCH OFF, ON Turns the ALT-TUNING function on/o.

OPEN-D Tuning that produces a D chord when you play the open strings.

OPEN-E Tuning that produces an E chord when you play the open strings.

OPEN-G Tuning that produces a G chord when you play the open strings.

OPEN-A Tuning that produces an A chord when you play the open strings.

DROP-D Tuning that drops only the 6th string by one note (D).

D-MODAL

ALTERNATETUNING

USER USER SHIFT 1–6 -24–+24 Species the amount of shift for each string.

TYPE

-1 STEP

-2 STEP

BARITONE

NASHVL

-1 OCT Tuning that lowers all strings by one octave.

+1 OCT Tuning that raises all strings by one octave.

USER Tuning specied by USER SHIFT.

Tuning that drops the 6th, 2nd, and 1st string by one note to create an ethnic feel; also called “DADGAD.”

Tuned one semitone lower. Each string is tuned one semitone (one fret) lower.

Tuned one full step lower. Each string is tuned a full step (two frets) lower.

Tuning that drops each string by a perfect fourth (ve frets); suitable for heavy phrases.

Tuning that raises the 6th, 5th, 4th, and 3rd strings by one octave; like a 12-string guitar’s supplementary strings by themselves.

Patch Settings (MASTER)

V-LINK

Group Parameter Value Description

PALETTE LAST, 1–32

CLIP LAST, 1–32

When you play your guitar, the V-LINK device will switch clips according to the pitch of the note you play.

OFF If you don’t want your performance to switch clips, choose “OFF.”

NOTE CLIP CHANGE

V-LINK

EXP

EXP ON

GK VOL

1 The clip corresponding to the lowest note of those being sounded will be output.

2 The clip corresponding to the highest note of those being sounded will be output.

3 Clips will be output consecutively, regardless of the notes being sounded.

4 The clip corresponding to the note will be output.

You can use controllers to modify the image.

OFF No eect.

COLOR Cb

COLOR Cr

BRIGHT The brightness of the image will change.

PLAY SPEED If the image is motion video, the playback speed will change.

Selects the V-LINK device’s palette that you want to use with the current patch. If you don’t want to switch palettes, choose “LAST.”

Selects the V-LINK device’s clip that you want to use when you switch to the current patch. If you don’t want to switch clips, choose “LAST.”

The hue of the image will change.

Saving a Patch (PATCH WRITE)

If you edit a patch and then select another patch before saving the edited patch, the changes you made will be lost. If you want to keep the changes for future use, you must save the patch. Patches are saved as “user patches.” You can’t save by overwriting a preset patch.

1. Press the [WRITE] button.

The WRITE screen will appear.

2. Use the dial to select the write-destination user patch number.

3. To save the patch, press the [WRITE] button.

The screen will indicate “NOW WRITING...” and the patch will be saved.

If you decide not to save the patch, press the [EXIT] button.

Renaming a Patch

Changing the Order of Patches (PATCH EXCHANGE)

Here’s how to exchange a user patch with another user patch. If you bring frequently used patches together in consecutive locations, you’ll be able to conveniently select them using the foot pedals.

* You can’t change the order of the preset patches.

1. Select a user patch (p.16).

2. Press the [WRITE] button.

3. Use the PAGE [

The screen shows the number and name of the exchangedestination patch.

4. Use the dial to specify the desired exchange-destination patch.

5. Press the [WRITE] button.

The screen will indicate “NOW EXCHANGING...” and the current patch will be exchanged with the patch you specied.

If you decide not to exchange, press the [EXIT] button.

] [ ] buttons to select the EXCHANGE tab.

Here’s how to rename a user patch (p.16).

1. Select the patch that you want to rename, and press the [WRITE] button.

The WRITE screen will appear.

2. Press the [ENTER] button.

3. Use the cursor [ ] [ ] buttons to move the cursor to the

character that you want to change.

4. Use the dial and the following buttons to change the character.

As you continue turning the dial, the type of character will change in the order of uppercase → lowercase → numerals → symbols.

Button Description

Cursor [

PAGE [

] (INSERT)

] (DELETE)

] (A0!)

] (A<=>a)

Inserts a space at the cursor location.

Deletes the character, and moves subsequent characters forward.

Switches between letters, numerals, and symbols.

Switches between uppercase and lowercase letters.

Initializing the Settings of a Patch (PATCH INITIALIZE)

Here’s how to initialize all parameters of a user patch. This is convenient when you want to create a patch from scratch.

* You can’t initialize a preset patch.

1. Select the user patch that you want to initialize (p.16).

2. Press the [WRITE] button.

3. Use the PAGE [

The screen shows the number and name of the patch to be initialized.

4. Press the [WRITE] button.

The screen will indicate “NOW INITIALIZING...” and the patch will be initialized.

If you decide not to initialize, press the [EXIT] button.

] [ ] buttons to select the INITIALIZE tab.

5. Repeat steps 3–4 to rename the patch.

You can specify up to 16 characters.

6. Press the [ENTER] button.

The name will be nalized.

Controller Assignments

Controllers Whose Assignment Can Be Changed

For the following controllers, you are free to change the operation that will occur when they are pressed.

[S1]/[S2] buttons, GK volume

Expression pedal

[CTL] pedal

Making a Pedal Have the Same Operation for All Patches

When the GR-55 is shipped, each patch assigns the pedals to the functions that are most useful for that particular patch. If you want a pedal to have the same function regardless of the patch that is selected, proceed as follows.

1. In the system parameter PEDAL/GK CTL section, change the setting of the desired controller (CTL, EXP, EXP ON, EXP SW, GK S1/S2, GK VOL) to other than “PATCH SETTING.”

For details on how to set system parameters, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69).

Example setting

Changing the Pedal Assignments for Each Patch

1. In the system parameter PEDAL/GK CTL section, change the setting of the desired controller (CTL, EXP, EXP ON, EXP SW, GK S1/S2, GK VOL) to “PATCH SETTING.”

For details on how to set system parameters, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69)

2. Select the patch whose pedal assignment you want to change (p.16).

3. In the EDIT screen, choose the MASTER tab and then the PEDAL/GK CTL icon, and change the assignment of the desired controller (CTL, EXP, EXP ON, EXP SW, GK S1/S2, GK VOL) to the desired setting.

For details on how to set master parameters, refer to “Patch Settings (MASTER)” (p.54).

4. Save the patch (p.60).

Example setting

When a specic patch is selected, use the expression pedal to control the volume of the modeling tone

Select the patch whose settings you want to edit, then make the following parameter settings.

Also be sure to verify that the tone switch (p.23) of the modeling tone is turned on.

• SYSTEM

PEDAL/GK CTL

Tab Parameter Value Page

EXP FUNCTION PATCH SETTING p.77

• MASTER

PEDAL/GK CTL

Tab Parameter Value Page

TONE VOLUME

PCM TONE 1: OFF

EXP FUNCTION

PCM TONE 2: OFF

MODELING TONE: ON

NORMAL PU: OFF

p.56

Switch delay on/o by pressing the [CTL] pedal

Make the following parameter settings.

• SYSTEM

PEDAL/GK CTL

Tab Parameter Value Page

CTL FUNCTION DELAY SW p.76

MEMO

You should rst raise the “EFFECT LEVEL” (p.52) setting for DELAY.

Controller Assignments

Specifying the Parameter to be Controlled by the Controller

For each parameter, you can specify, in detail, which controller will control which parameter.

You can create eight sets of such assignments.

1. In the system parameter PEDAL/GK CTL section, set the assignment of each controller (CTL, EXP, EXP ON, EXP SW, GK S1/S2, GK VOL) to “PATCH SETTING.”

For details on how to set system parameters, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69).

2. Select the patch whose assignments you want to change (p.16).

3. In the EDIT screen, choose the MASTER tab and set ASSIGN 1–8 (p.57).

For details on how to set master parameters, refer to “Patch Settings (MASTER)” (p.54).

4. If you want to keep the settings, save the patch (p.60).

Virtual expression pedal system (Internal Pedal / Wave Pedal)

By assigning a desired parameter to the virtual expression pedal, you can produce an eect as though you were operating a physical expression pedal to change the volume or tone quality in real time.

The virtual expression pedal system provides the following two types of functions, and you can use the SOURCE (p.57) setting for ASSIGN 1–8 to choose the desired type.

* If you want to use the internal pedal or wave pedal, set the

ASSIGN parameter SOURCE MODE to “MOMENT.”

Internal pedal

If SOURCE is set to “INT PDL,” the virtual expression pedal will begin operating when started by the specied trigger (INT TRIG, p.58), modifying the parameter specied by TARGET (p.57).

For details on the parameters that can be assigned to the internal pedal, refer to “INT TIME” (p.58) and “INT CURVE” (p.58).

The value changes in a curve

When the trigger occurs

Example setting 1

Make PCM tone 1 smoothly bend up one octave when you press the [CTL] pedal

Select the patch whose settings you want to edit, and then make the following parameter settings.

• SYSTEM

PEDAL/GK CTL

Tab Parameter Value Page

CTL FUNCTION PATCH SETTING p.76

• MASTER

ASSIGN

Tab Parameter Value Page

SWITCH ON

TARGET PCM1 TONE1 BEND

TARGET MIN 0

TARGET MAX +12

SOURCE INT PDL

SOURCE MODE MOMENT

ACT RANGE LO 0

ASSIGN 1

If you use ASSIGN2 and ASSIGN3 to make the same settings for PCM TONE 2 and MODELING TONE, you’ll be able to bend up all tones.

ACT RANGE HI 127

INT TRIG CTL

INT TIME

INT CURVE

(Adjust the time over which the pitch rises an octave.)

LINEAR (You can select a dierent curve to modify the way in which the change occurs.)

p.57

Wave pedal

If SOURCE is set to “WAVE PDL,” the virtual expression pedal will cyclically modify the parameter specied by TARGET (p.57) in a xed wave form.

Always changes in a xed curve regardless of the actual pedal

For details on the parameters that can be assigned to the wave pedal, refer to “WAVE RATE” (p.58) and “WAVE FORM” (p.58).

Controller Assignments

Example setting 2

For guitar solos, you want to be able to step on the [CTL] pedal to switch AMP to solo mode

Select the patch whose settings you want to edit, and then make the following parameter settings.

• SYSTEM

PEDAL/GK CTL

Tab Parameter Value Page

CTL FUNCTION PATCH SETTING p.76

• MASTER

ASSIGN

Tab Parameter Value Page

SWITCH ON

TARGET AMP “SOLO SW”

TARGET MIN OFF

ASSIGN 1

ASSIGN 2

TARGET MAX ON

SOURCE CTL

SOURCE MODE TOGGLE

ACT RANGE LO 0

ACT RANGE HI 127

SWITCH ON

TARGET AMP “GAIN SW”

TARGET MIN LOW

TARGET MAX MID

SOURCE CTL

SOURCE MODE TOGGLE

ACT RANGE LO 0

ACT RANGE HI 127

p.57

NOTE!

If you edit the value of a parameter that’s assigned to a controller, and then save the patch, some parameters will be overwritten with the initial state of the controller. This will make it seem as though the edited value has not been saved.

To avoid this situation, choose the OFF setting for the PEDAL/GK CTL parameter FUNCTION (p.55, p.76) and for the ASSIGN parameter SWITCH (p.57) of the function being assigned.

Using Phrase Loop

You can record up to 20 seconds of a performance and play back the recorded section over and over.

You can also layer additional performances with the recording as it plays back (overdubbing).

When playback stops, the recorded data is deleted.

Press & hold

RECSTANDBY

5.5.

OVERDUB

[3] pedal indicator

Lit

O

1. Press the [3] pedal and [CTL] pedal simultaneously (recording-standby mode).

Phrase Loop goes into recording standby and the [3] pedal’s indicator ashes at a xed interval.

PLAY

2. Press the [CTL] pedal (REC).

Recording starts as soon as you press the [CTL] pedal, and the [CTL] pedal’s indicator ashes rapidly.

3. Press the [CTL] pedal again (PLAY).

Recording ends. As soon as recording stops, repeated playback of what you’ve recorded starts, and the [CTL] pedal’s indicator lights continuously.

NOTE

An oscillating sound may be audible when the recording time is extremely short.

4. To layer additional recordings (overdubbing), repeat steps 2 and 3 (OVERDUB).

You can switch patches even during phrase loop play, which lets you record a variety of overdubbed sounds.

5. To stop loop playback, press the [CTL] pedal twice in quick succession (STANDBY).

Loop playback/recording stops.

* When playback stops, the recorded data is deleted.

6. Press the [3] pedal and [CTL] pedal simultaneously.

This exits Phrase Loop mode.

Using the GR-55 as an Audio Player

Audio les (WAV, AIFF) copied from your computer to USB memory can be played back on the GR-55.

Audio les that can be played

File format WAV, AIFF

Sampling frequency 44.1 kHz

Bit depth 8/16/24 bits

Copying Audio Files From Your Computer to USB Memory

Before you continue, you’ll need to copy audio les from your computer to the root directory (the top level) of your USB memory.

Playing Back Audio

1. Press the [AUDIO PLAYER] button to access the AUDIO PLAYER screen.

2. Use the cursor buttons to select the le name, and turn the dial to choose the le that you want to play back.

File name

Copy to USB memory

WAV, AIFF

Inserting the USB Memory

1. As shown in the illustration below, insert your USB memory into the USB MEMORY connector.

Open the cover and insert the USB memory.

NOTE!

• Never insert or remove a USB memory while this unit’s power is

on. Doing so may corrupt the unit’s data or the data on the USB memories.

• Carefully insert the USB memory all the way in-until it is rmly in place.

• If the GR-55 is connected to your computer via a USB cable, you won’t be able to use USB memory to play audio les.

• Dimensions of USB memory that can be installed: 60 (length: including connector) x 26 (width) x 13.5 (thickness) mm or smaller

The songs are shown in the order of their le name (sorted by number, uppercase letters, and lowercase letters).

3. Press the [ENTER] button to conrm the audio le you choose.

4. Press the [ENTER] button once again to start playback.

MEMO

During playback, you can use the PAGE [ ] [ ] buttons to rewind or fast-forward.

5. Use the cursor buttons to select “AUDIO LEVEL,” and use the dial to adjust the volume.

6. Press the [ENTER] button to stop playback.

7. Press the [AUDIO PLAYER] button to return to the top screen.

Using the Pedal to Control the Audio Player

When you’re in the AUDIO PLAYER screen, the pedals will perform the following operations.

Pedal Description

[1] pedal

[2] pedal

[3] pedal Starts/stops audio le playback.

[CTL] pedal

Select an audio le.

Closes the AUDIO PLAYER screen (*1). Closing the AUDIO PLAYER screen will not stop playback. From the top screen, you can return to the AUDIO PLAYER screen by pressing the [CTL] pedal once again.

(*1) The Phrase Loop function is not available while you’re using the audio player.

Connecting External Equipment

2. Use a USB cable (sold separately) to connect the GR-55 to

Connecting a Computer via USB

If you use a commercially available USB cable to connect the GR-55’s rear panel USB connector to a USB connector on your computer, you’ll be able to do the following things.

USB audio

• The sound of the GR-55 can be brought into your computer and played. Sound from your computer can also be played through the equipment connected to the GR-55’s OUTPUT jacks.

USB MIDI

• Performance information from the GR-55 can be input via MIDI to your DAW software.

* It’s not possible to play the GR-55’s sound generator

via input from the MIDI IN connector or the USB-MIDI connector.

• You can use “GR-55 Librarian” software to back up and manage GR-55 patches on your computer. “GR-55 Librarian” can be downloaded from the Roland website.

Roland website http://www.roland.com/products/en/GR-55/

Connecting the GR-55 to a Computer

1. Install the USB driver in your computer.

In order to use the GR-55’s USB functionality, you must rst install the USB driver in your computer.

Download the dedicated GR-55 driver from the Roland website.

Roland website http://www.roland.com/products/en/GR-55/

Refer to the Roland website for details on the operating requirements. The program and procedure for installing the driver will dier depending on your system. Carefully read the Readme.htm le included with the downloaded le.

your computer.

NOTE!

What is the USB driver?

Computer’s USB connector (Supports USB 2.0 Hi-Speed)

USB cable

(Supports USB 2.0 Hi-Speed)

USB connector

• This might not work correctly for some types of computers. Refer to the Roland website for details on the operating systems that are supported.

• Before connecting the GR-55 to other devices, you must minimize the volume of all devices and turn o their power in order to prevent malfunctions and speaker damage.

• Use a USB cable that supports USB 2.0 Hi-Speed operation.

• Use a USB connector on your computer that supports USB 2.0

Hi-Speed operation.

• Turn on the GR-55’s power before you start up your DAW software on the computer. Do not turn the GR-55’s power on/o while the DAW software is running.

The USB driver is software that transfers data between the GR-55 and the application (e.g., DAW software) on your computer when the GR-55 is connected via USB to your computer.

The USB driver sends data from your application to the GR-55, and data from the GR-55 to your application.

USB function settings

You can make various settings for the USB functionality, such as the volume of USB audio. For the procedure, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69). For details on each parameter, refer to “MIDI/USB” (p.79).

Connecting External Equipment

Connecting the GR-55 to MIDI Devices

What is MIDI?

MIDI (Musical Instrument Digital Interface) is a standard specication that allows musical data to be transferred between electronic musical instruments and computers. If a MIDI cable is connected between devices equipped with MIDI connectors, you’ll be able to play multiple devices from a single MIDI keyboard, perform ensembles using multiple MIDI instruments, program the settings to change automatically as the song progresses, and more.

The GR-55 has the following two types of MIDI connectors, which operate in dierent ways.

External MIDI sound

MIDI OUT

Computer

USB (MIDI)

About the MIDI Connectors

MIDI IN connector

This connector receives MIDI data sent from an external MIDI device. The GR-55 can switch patches in response to the incoming MIDI data.

* It’s not possible to play the GR-55’s sound generator via input from

the MIDI IN connector or the USB-MIDI connector.

MIDI OUT connector

This connector transmits MIDI data to an external MIDI device. You can use this to control an external MIDI device.

Example connection

Synthesizer etc.

MIDI IN connector

MIDI Foot Controller

MIDI OUT connector

Guitar to MIDI conversion

GK IN

Guitar

* It’s not possible to play the GR-55’s sound generator via input from

the MIDI IN connector or the USB-MIDI connector.

MIDI Controller

FC-300 etc.

MIDI RX

PC MAP

MIDI IN

Patch No.

MIDI Settings

You can make MIDI settings that apply to the entire GR-55, such as specifying the MIDI channel. For the procedure, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69). For details on each setting, refer to “MIDI/USB” (p.79).

Connecting External Equipment

Connecting the GR-55 to V-LINK Devices (V-LINK)

What is V-LINK?

V-LINK ( ) is a function that allows music and images to be performed together. By using MIDI to connect two or more V-LINK compatible devices, you can easily enjoy performing a wide range of visual eects that are linked to the expressive elements of a music performance.

For example, if the GR-55 is connected to a Roland P-10 Visual Sampler, you would be able to switch images and control the brightness or hue of the image.

Example connection

This example shows connections with a Roland P-10.

Use a MIDI cable (sold separately) to connect the GR-55’s MIDI OUT connector to the MIDI IN connector of the Roland P-10.

Roland P-10

MIDI IN connector

MIDI OUT connector

* V-LINK communication is not possible via USB.

Turning V-LINK On/O

1. Press the [V-LINK] button so it’s lit.

V-LINK will turn on.

2. Press the [V-LINK] button once again.

The [V-LINK] button will go dark, and V-LINK will turn o.

V-LINK Settings

V-LINK settings for the system (SYSTEM-MIDI)

You can specify the MIDI transmit channel used for V-LINK. For the procedure, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69). For details on each parameter, refer to “V-LINK TX CH” (p.79).

V-LINK settings for a patch (PATCH-MIDI/GK SET)

You can specify the V-LINK eect (switching images, or controlling the brightness or hue) for each patch. For the procedure, refer to “Patch Settings (MASTER)” (p.54). For details on each parameter, refer to “V-LINK” (p.59).

Settings for the Entire GR-55 (SYSTEM)

Settings that aect the overall operation of the entire GR-55, such as tuning and pedal assignments, are called “system settings.” This section explains the procedure for setting system parameters, and how each system parameter operates.

Basic procedure

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab.

3. Use the cursor [ ] [ ] buttons to select the icon for the

settings you want to edit.

Icon Description Page

GK SETTING GK pickup settings. p.69

OUTPUT SELECT

PEDAL/GK CTL Pedal-related settings. p.70

MIDI/USB MIDI and USB settings. p.70

GUITAR OUT GUITAR OUT jack settings. p.70

TUNER Tune your guitar. p.71

OTHER

BACKUP /INIT

AUDIO PLAYER

LCD Adjust the display contrast. p.71

POWER Auto Power O settings. p.71

BACKUP/ RESTORE

PEDAL CALIB

FACTORY RESET

GUITAR<->BASS

Specify the device (amp) connected to the OUTPUT jacks.

Play back audio les (WAV, AIFF).

Back up the GR-55’s settings to USB memory, or restore these settings to the GR-55.

Calibrate the sensitivity of the pedal.

Return the GR-55’s settings to the factory-set condition.

Specify whether you’re using the GR-55 with a guitar or a bass.

p.70

p.65

p.72

p.73

p.71

5. Edit the parameter settings.

Use the PAGE [ ] [ ] buttons to move between tabs.

Use the cursor [ ] [ ] buttons to select the parameter that you want to edit, and use the dial to edit the value of the parameter.

For details on each parameter, refer to “Parameter List (SYSTEM)” (p.74).

6. When you’ve nished editing, press the [EXIT] button.

Setting the GK Pickups (GK SETTING)

To ensure that the GR-55 will perform optimally, it’s important to make settings for the divided pickup (GK settings). These settings must be made when you newly attach a divided pickup to a guitar, or when you’ve adjusted the height of the divided pickup.

The GR-55 lets you create and store ten sets of GK settings (GK set). If you’re using the GR-55 with more than one guitar, you should prepare and store GK sets for each guitar, so that you can quickly switch to the appropriate settings for a particular guitar when you switch guitars.

These settings are remembered even while the power is turned o. Once you’ve made them, there’s no need to make them again each time you perform; simply choose the appropriate GK set.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [

3. Use the cursor [

icon, and press the [ENTER] button.

4. Use the cursor buttons to move the cursor to the position shown in the illustration.

] [ ] buttons to access the SYSTEM tab.

] [ ] buttons to select the GK SETTING

4. Press the [ENTER] button.

The editing screen for the selected parameters will appear.

5. Use the dial to select a GK SET (1–10).

6. Edit the GK setting.

The edited values are saved directly in the GK set you selected.

For details on each parameter, refer to “GK SETTING” (p.74).

Settings for the Entire GR-55 (SYSTEM)

7. Press the [EXIT] button to return to the top screen.

The GK set you selected will be enabled.

* If the MASTER parameter GK SET (p.58) is set to “SYSTEM,” the setting

you specied for the SYSTEM parameter “GK SET SELECT” (p.74) will take priority.

Switching GK Sets

Select a GK set (1–10) as described in steps 1–5 of “Setting the GK Pickups (GK SETTING)” (p.69).

* If the MASTER parameter GK SET (p.58) is set to “SYSTEM,” the GK

setting that’s selected in this screen will take priority. You can also select “1–10” to specify a GK set for each patch.

Renaming a GK Set

Specifying the Output Device (OUTPUT SELECT)

You can specify the device (amp) that’s connected to the OUTPUT jacks. The tone will be adjusted inside the GR-55 to ensure that the optimal sound will be heard on the specied device.

For details on this setting, refer to “Specifying the Output System (OUTPUT SELECT)” (p.12) in the editing section.

You can assign a name to each GK set.

By naming each GK set to identify the guitar that it’s for, you can avoid selecting the wrong GK set when switching guitars.

1. Select a GK set (1–10) as described in steps 1–5 of “Setting the GK Pickups (GK SETTING)” (p.69).

2. Press the [ENTER] button.

3. Use the cursor [ ] [ ] buttons to move the cursor to the

character that you want to change.

4. Use the dial and the following buttons to change the character.

As you continue turning the dial, the type of character will change in the order of uppercase → lowercase → numerals → symbols.

Button Description

Cursor [

PAGE [

] (INSERT)

] (DELETE)

] (A0!)

] (A<=>a)

Inserts a space at the cursor location.

Deletes the character, and moves subsequent characters forward.

Switches between letters, numerals, and symbols.

Switches between uppercase and lowercase letters.

Pedal and GK Control Settings (PEDAL/GK CTL)

You can make the pedal assignments operate identically regardless of the patch that is selected.

For details, refer to “Controller Assignments” (p.61).

MIDI and USB Settings (MIDI/USB)

You can make settings for MIDI and USB.

For details, refer to “Connecting the GR-55 to MIDI Devices” (p.67) and “Connecting a Computer via USB” (p.66).

GUITAR OUT Jack Settings (GUITAR OUT)

The GUITAR OUT jack can output the normal pickup sound and the modeling tone sound.

For example, you can play the normal pickup sound and the modeling tone sound through your guitar amp, and play the other synthesizer sounds through the PA equipment connected to the OUTPUT jacks.

5. Repeat steps 3 and 4 to rename the GK set.

You can specify up to eight characters.

6. Press the [ENTER] button.

The name will be nalized.

Always Outputting the Normal Pickup Sound from the GUITAR OUT Jack for All Patches

1. Set the system parameter GUITAR OUT–SOURCE (p.80) to “NORMAL PU.”

For details on setting the system parameters, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69).

Always Outputting the Modeling Tone Sound from the GUITAR OUT Jack for All Patches

1. Set the system parameter GUITAR OUT–SOURCE (p.80) to “MODELING.”

For details on setting the system parameters, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69).

Settings for the Entire GR-55 (SYSTEM)

Changing the Output Sound from the GUITAR OUT Jack for Each Patch

1. Set the system parameter GUITAR OUT–SOURCE (p.80) to “PATCH.”

For details on setting the system parameters, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69).

2. Set the master parameter GUITAR OUT–SOURCE (p.59) to the setting you want to use.

For details on editing the master parameters, refer to “Patch Settings (MASTER)” (p.54).

MEMO

• The setting of the GUITAR OUT jack does not aect the output from

the OUTPUT jacks. If you don’t want the output from the GUITAR OUT jack to be included in the sound that’s output from the OUTPUT jacks, you must separately set each of the patch’s tone settings to “OFF.”

• If the GUITAR OUT–SOURCE setting is “BOTH,” the normal pickup sound and the modeling tone sound will be mixed and output.

• The OUTPUT SELECT (p.70) setting does not apply to the sound that’s output from the GUITAR OUT jack.

Tuning Your Guitar (TUNER)

You can use the GR-55’s tuner function to tune your guitar.

For details on how to set system parameters, refer to “Settings for the Entire GR-55 (SYSTEM)” (p.69).

For details on each parameter, refer to “OTHER” (p.80).

Auto Power O Settings (POWER)

The GR-55 can turn o its power automatically. The power will turn o automatically when 10 hours have passed since you last played or operated the unit. The display will show a message approximately 15 minutes before the power turns o.

With the factory settings, this function is turned “ON” (power-o in 10 hours). If you want to turn it “OFF,” change the setting as follows.

NOTE!

When the power is turned o, any settings you were editing will be lost. You must save settings that you want to keep.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [

3. Use the cursor [

press the [ENTER] button.

4. Use the cursor [ ] [ ] buttons to select “POWER.”

] [ ] buttons to access the SYSTEM tab.

] [ ] buttons to select the OTHER icon, and

Adjusting the Display Contrast (LCD)

Here’s how to adjust the contrast of the display.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [

3. Use the cursor [

press the [ENTER] button.

4. Use the cursor [ ] [ ] buttons to select “LCD.”

5. Turn the dial to adjust the contrast of the display.

] [ ] buttons to select the SYSTEM tab.

] [ ] buttons to select the OTHER icon, and

5. Turn the dial to specify the time until shutdown.

Value Description

OFF The power will not turn o automatically.

The power will automatically turn o when 10 hours have passed since you last played or operated the GR-55.

Switching Between Guitar and Bass (GUITAR<->BASS)

Before you use the GR-55, you must specify whether you’re playing a guitar or a bass. For details, refer to “Selecting Guitar or Bass (GUITAR<>BASS)” (p.9).

Settings for the Entire GR-55 (SYSTEM)

Saving GR-55 Settings to USB Memory (BACKUP)

Here’s how to save (back up) all of the GR-55’s settings to USB memory.

* One set of backup data can be saved to each USB memory device.

* Pedal calibration settings are not saved.

1. Connect your USB memory to the GR-55.

For details, refer to “Inserting the USB Memory” (p.65).

2. Press the [EDIT] button to access the EDIT screen.

3. Use the PAGE [

4. Use the cursor [

icon, and press the [ENTER] button.

5. Use the cursor [ ] [ ] buttons to select the BACKUP/ RESTORE icon, and press the [ENTER] button.

] [ ] buttons to select the SYSTEM tab.

] [ ] buttons to select the BACKUP/INIT

Restoring GR-55 Settings from USB Memory (RESTORE)

Here’s how data that you backed up to USB memory can be restored to the GR-55.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [

3. Use the cursor [

icon, and press the [ENTER] button.

4. Use the cursor [ ] [ ] buttons to select the BACKUP/ RESTORE icon, and press the [ENTER] button.

5. Use the cursor [ ] [ ] buttons to select “RESTORE,” and press the [ENTER] button.

] [ ] buttons to select the SYSTEM tab.

] [ ] buttons to select the BACKUP/INIT

6. Use the cursor [ ] [ ] buttons to select “BACKUP,” and press the [ENTER] button.

7. Use the cursor [ ] [ ] buttons to select “OK,” and press the [ENTER] button.

6. Use the cursor [ ] [ ] buttons to select “OK,” and press the [ENTER] button.

7. When the following screen appears, turn o the power.

The next time you turn on the GR-55’s power, the backup data will have been restored.

NOTE!

This operation will rewrite all of the GR-55’s settings. If you’ve stored important data in the GR-55, be sure to save the data to separate USB memory before you execute this operation.

Settings for the Entire GR-55 (SYSTEM)

Adjusting the Pedal Sensitivity (CALIB)

Here’s how to calibrate the sensitivity of the pedal.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [

3. Use the cursor [

icon, and press the [ENTER] button.

4. Use the cursor [ ] [ ] buttons to select the PEDAL CALIB icon, and press the [ENTER] button.

The PEDAL CALIBRATION screen will appear.

] [ ] buttons to select the SYSTEM tab.

] [ ] buttons to select the BACKUP/INIT

Restoring the Factory Settings (FACTORY RESET)

Here’s how the settings stored in the GR-55 can be returned to their factory-set condition.

NOTE!

If important data you’ve created has been stored in the GR-55, be aware that the data you’ve edited or created will all be lost if you execute a factory reset. If you want to keep this data, you must save it to USB memory (p.72).

* The pedal calibration settings will not be reset.

1. Press the [EDIT] button to access the EDIT screen.

2. Use the PAGE [

3. Use the cursor [

icon, and press the [ENTER] button.

4. Use the cursor [ ] [ ] buttons to select the FACTORY RESET icon, and press the [ENTER] button.

] [ ] buttons to select the SYSTEM tab.

] [ ] buttons to select the BACKUP/INIT

5. Move the expression pedal to the heel-down position, and press the [ENTER] button.

The display will indicate “OK,” and then the following screen will appear.

6. Move the expression pedal to the fully depressed (toe down) position, and press the [ENTER] button.

The display will indicate “OK,” and then the following screen will appear.

7. Apply strong pressure to the toe area of the expression pedal.

Verify that the EXP PEDAL SW indicator lights when you apply pressure to the toe area. If you want to change the sensitivity at which the EXP PEDAL SW indicator lights, adjust the THRESHOLD setting.

5. Use the cursor [ ] [ ] buttons to select “OK,” and press the [ENTER] button.

The factory reset will be executed.

* Never turn o the power while the factory reset is being carried out.

6. When the following screen appears, turn o the power.

The next time you power up the GR-55, it will start up in the factory-set condition.

NOTE!

If the GR-55 is set to “BASS MODE,” it will return to “GUITAR MODE” (p.9).

8. When you’ve nished making calibration settings, press the [ENTER] button.

The screen will indicate “COMPLETE!”

Settings for the Entire GR-55 (SYSTEM)

Parameter List (SYSTEM)

GK SETTING

Tab Parameter Value Description

GK SET SELECT

PICKUP

GK SET SELECT 1–10

NAME Edits the name of the GK set (up to eight characters).

Species the type of GK pickup on the guitar or bass you’re using.

If GUITAR<->BASS is set to “GUITAR” (p.9)

GK-3 Choose this if you’re using a GK-3.

GK-2A Choose this if you’re using a GK-2A.

PIEZO This setting is appropriate when using a piezo pickup with a at response.

PIEZO F This setting is appropriate for a Fishman piezo pickup.

PIEZO G This setting is appropriate for a Graph Tech piezo pickup.

PU TYPE

SCALE

GK PU POS

PU PHASE

PIEZO L This setting is appropriate for a L.R. Baggs piezo pickup.

PIEZO R This setting is appropriate for an RMC piezo pickup.

If GUITAR<->BASS is set to “BASS” (p.9)

GK-3B Choose this if you’re using a GK-3B.

GK-2B Choose this if you’re using a GK-2B.

PIEZO This setting is appropriate when using a piezo pickup with a at response.

PIEZO G This setting is appropriate for a Graph Tech piezo pickup.

PIEZO R This setting is appropriate for an RMC piezo pickup.

If GUITAR<->BASS is set to “GUITAR” (p.9)

500–660 mm, ST (648 mm), LP (628 mm)

If GUITAR<->BASS is set to “BASS” (p.9)

710–940 mm, SHORT (760 mm), MEDIUM (812 mm), LONG JB/PB (864 mm), EXTRA LONG (914 mm)

Species the position of the divided pickup.

* This setting applies only if GUITAR<->BASS is set to “BASS” (p.9).

4STR-1

4STR-3

5STR Lo1

5STR Lo2

5STR Hi1

5STR Hi2

6STR Position for a 6-string bass.

Species the phase of the divided pickup and the guitar’s normal pickup. Set this to “NORMAL,” and if the low-frequency range is cut, change it to the “INVERSE” setting.

MEMO

The phase will be easier to detect if the divided pickup sound is mixed with the normal pickup sound.

NORMAL The phase will be normal.

INVERSE The phase will be inverted.

Selects the GK SET that will be used when the master parameter “GK SET” (p.58) is set to “SYSTEM.” This is also where you’ll select the GK SET whose GK settings you want to edit.

Specify the scale length of the guitar you’re using.

Specify the scale length of the bass you’re using.

Position for a 4-string bass.4STR-2

Position for a 5-string bass (Low B–G).

Position for a 5-string bass (E–Hi C).

Settings for the Entire GR-55 (SYSTEM)

Tab Parameter Value Description

Species the direction in which the divided pickup is attached.

PU DIRECTION

S1/S2 POSITION

PICKUP

DISTANCE PU<->BRIDGE

SENSITIVITY SENS 0–100 Species the input sensitivity of the divided pickup.

VELOCITY

NUANCE

DOWN TUNE SHIFT 0– -5

NORM PU GAIN -20–+20 dB

PIEZO TONE LOW -10–+10 dB

PIEZO TONE HIGH -10–+10 dB

VELOCITY DYNAMICS 1–10

PLAY FEEL 1–5

LOW VELOCITY CUT 0–10

These settings adjust the way in which Nuance (p.28) responds to your playing. Adjust these settings so that the level meter reaches the maximum position when you play with the softest touch, and so that the level meter does

not move very much when you play normally.

NUANCE DYNAMICS 0–10

NUANCE TRIM 0–10

NORMAL The cable extends from the side of the 6th string.

REVERSE The cable extends from the side of the 1st string.

Swaps the functions of the [S1] and [S2] buttons of the GK-3 or GK-2A.

NORMAL The switches will not be swapped.

REVERSE The functions of the [S1] and [S2] buttons will be swapped.

Adjusts the input level of the normal pickup. When making this setting, set the GK pickup’s select switch to “MIX.”

Adjusts the low-frequency range

* This setting applies if the PU TYPE is set to “PIEZO,” “PIEZO F,” “PIEZO G,” “PIEZO

L,” or “PIEZO R.”

Adjusts the high-frequency range.

* This setting applies if the PU TYPE is set to “PIEZO,” “PIEZO F,” “PIEZO G,” “PIEZO

L,” or “PIEZO R.”

If GUITAR<->BASS is set to “GUITAR” (p.9)

10.0–30.0 mm

If GUITAR<->BASS is set to “BASS” (p.9)

5.5–55.5 mm

Species the distance between the divided pickup and the bridge. This setting is ignored if the PU TYPE is set to “PIEZO,” “PIEZO F,” “PIEZO G,” “PIEZO L,” or “PIEZO R.”

Species the distance between the divided pickup and the bridge. This setting is ignored if the PU TYPE is set to “PIEZO,” “PIEZO G,” or “PIEZO R.”

Adjusts the sensitivity of the PCM tone’s volume (velocity) change. The further you raise this setting, the more easy it becomes to produce higher values for velocity.

Adjusts the volume (velocity) change curve of the PCM tone. The lower-numbered settings give you a wider range of volume change in response to your picking dynamics. With higher-numbered settings, the volume becomes more consistent regardless of your picking dynamics. The “5” setting gives you a completely xed velocity.

Adjust this if simply touching a string causes a note to be unintentionally triggered. Raising this value will make it more dicult to trigger notes.

Adjusts the sensitivity at which Nuance occurs. Higher settings will make it easier to produce the Nuance eect.

Species the threshold value at which Nuance occurs. If the Nuance eect occurs more often than you would like with normal playing, lower this value.

If the guitar/bass you’re using has been tuned down, specify the number of chromatic steps by which it has been down-tuned.

OUTPUT SELECT

Parameter Value Description

LINE/PHONES

JC-120 Choose this setting if the GR-55 is connected to the guitar input of a Roland JC-120 guitar amp.

SMALL Choose this setting if the GR-55 is connected to a small guitar amp.

COMBO

OUTPUT SELECT

STACK

JC-120 RETURN Choose this setting if the GR-55 is connected to the JC-120’s RETURN jack.

COMBO RETURN Choose this setting if the GR-55 is connected to a combo-type guitar amp’s RETURN jack.

STACK RETURN

B-AMP WITH TWEETER Choose this setting if the GR-55 is connected to a bass amp that has a tweeter.

B-AMP NO TWEETER

Choose this setting if you’re using headphones, or if the GR-55 is connected to a keyboard amp, bass amp, mixer, or digital recorder.

Choose this setting if the GR-55 is connected to the guitar input of a combo-type guitar amp (a type in which the amp and speaker are in a single unit) other than the JC-120. Depending on the amp you’re using, the “JC-120” setting might produce better results.

Choose this setting if the GR-55 is connected to the guitar input of a stack-type guitar amp (a type in which the amp and speaker are separate units).

Choose this setting if the GR-55 is connected to the RETURN jack of a stack-type guitar amp. You should also choose the “STACK RETURN” setting if you’re using a guitar power amp together with a speaker cabinet.

Choose this setting if the GR-55 is connected to a bass amp that does not have a tweeter. The highfrequency range will be corrected.

Settings for the Entire GR-55 (SYSTEM)

PEDAL/GK CTL

Tab Parameter Value Description

Here you can specify the function that will be assigned to the [CTL] pedal, the expression pedal switch, or the GK [S1]/[S2] buttons.

OFF No function will be assigned to the above pedal or switch.

PATCH SETTING Choose this if you want the function of the pedals and switches to change for each patch.

HOLD (CTL only)

TAP TEMPO Sets the tempo to the timing at which you press the pedal.

CTL,

EXP SW,

GK S1,

GK S2

FUNCTION

TONE SW

AMP SW Switches AMP on/o.

MOD SW Switches MOD on/o.

MFX SW Switches MFX on/o.

DELAY SW Switches DELAY on/o.

REVERB SW Switches REVERB on/o.

CHORUS SW Switches CHORUS on/o.

SOUND STYLE INC

SOUND STYLE DEC

BANK NUMBER INC

BANK NUMBER DEC

PATCH NUMBER INC

PATCH NUMBER DEC

HOLD parameter Value Description

Notes that were sounding when you pressed the pedal will be held, and successive notes that are played while you continue

HOLD TYPE

SWITCH MODE

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

Controls the on/o switch for each tone and the normal pickup.

TONE SW parameter Value Description

SW OFF

SW ON

Switches the sound style.

Switches the bank number.

Switches the patch number.

LATCH Hold will turn on/o each time you press the pedal.

MOMENT Hold will be on only while you hold down the pedal.

PCM TONE 1 OFF/ON

PCM TONE 2 OFF/ON

MODELING TONE OFF/ON

NORMAL PU OFF/ON

PCM TONE 1 OFF/ON

PCM TONE 2 OFF/ON

MODELING TONE OFF/ON

NORMAL PU OFF/ON

holding down the pedal will also be held. This diers from “HOLD TYPE 4” in that if a note is already sounding on the same string, the previous note will be silenced, and the note newly played on that string will take its place. This allows you to play without a break even if the note is on a distant fret.

Notes that were sounding when you pressed the pedal will be held as long as you continue holding down the pedal. Notes played after you started holding down the pedal will not sound.

Notes that were sounding when you pressed the pedal will be held, and successive notes that are played while you continue holding down the pedal will also be held.

Choose the “OFF” setting if you don’t want the tone to be held.

These settings are for when the STATUS of each controller ([CTL] pedal, expression pedal switch) is “OFF.”

GK S1/S2 are the settings for the default state (i.e., before you’ve pressed a switch).

These settings are for when the STATUS of each controller ([CTL] pedal, expression pedal switch) is “ON.”

GK S1/S2 are the settings for when the switch has been pressed once.

Tab Parameter Value Description

CTL,

EXP SW,

GK S1,

GK S2

EXP,

EXP ON,

GK VOL

FUNCTION

AUDIO PLAYER PLAY/ STOP

AUDIO PLAYER SONG INC

AUDIO PLAYER SONG DEC

AUDIO PLAYER SW Performs the same operation as when the panel’s [AUDIO PLAYER] button is pressed.

V-LINK SW Performs the same operation as when the panel’s [V-LINK] button is pressed.

OFF No function will be assigned to the above pedal or knob.

PATCH SETTING Choose this if you want the function of the pedals and switches to change for each patch.

PATCH VOLUME Adjusts the volume of the patch.

TONE VOLUME

PITCH BEND

MODULATION

CROSS FADER

DELAY LEVEL REVERB LEVEL CHORUS LEVEL

Starts/stops the audio player.

Selects the audio le in USB memory played by the audio player.

Adjusts the volume of the tones and the normal pickup.

TONE VOLUME parameter

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

MODELING TONE OFF, ON

NORMAL PU OFF, ON

Changes the pitch of PCM tone 1, PCM tone 2, and the modeling tone.

PITCH BEND parameter

DEPTH -12–+12

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

MODELING TONE OFF, ON

Controls the depth of modulation for PCM tone 1 and PCM tone 2. The eect will dier depending on the PCM tone that’s selected.

MODULATION parameter

MIN 0–100

MAX 0–100

PCM TONE 1 OFF, ON

PCM TONE 2 OFF, ON

Controls the volume balance of the tones.

CROSS FADER parameter

PCM TONE 1 POLARITY

PCM TONE 2 POLARITY

MODELING TONE POLARITY

NORMAL PU POLARITY

Controls the DELAY/REVERB/CHORUS eect level.

Parameter Value Description

MIN

MAX Species the eect level when the pedal is fully depressed.

Settings for the Entire GR-55 (SYSTEM)

Value Description

If you don’t want the control to adjust the volume of the respective tone or pickup, choose “OFF.”

Value Description

Species the maximum pitch change that will occur when you fully depress the pedal.

Choose “OFF” if you don’t want to change the pitch of PCM tone 1.

Choose “OFF” if you don’t want to change the pitch of PCM tone 2.

Choose “OFF” if you don’t want to change the pitch of the modeling tone.

Value Description

Species the depth of modulation when the pedal is fully released.

Species the depth of modulation when the pedal is fully depressed.

Choose “OFF” if you don’t want to apply modulation to PCM tone 1.

Choose “OFF” if you don’t want to apply modulation to PCM tone 2.

Value Description

OFF The volume of the tone will not change.

TOE The volume of the tone will increase as you depress the pedal.

HEEL

0–120 (DELAY) 0–100 (REVERB, CHORUS)

The volume of the tone will increase as you lift up on the pedal.

Species the eect level when the pedal is fully released.

Settings for the Entire GR-55 (SYSTEM)

Tab Parameter Value Description

EXP,

EXP ON,

GK VOL

ASSIGN HOLD OFF, ON

(*1) Set the MODE parameter (p.43) to “MANUAL.”

FUNCTION MOD CONTROL

Controls the principal parameter for each type of MOD eect. This is valid if MOD SWITCH is ON.

MOD CONTROL Parameter

MIN

MAX

Type of MOD eect Parameter Type of MOD eect Parameter

OD/DS DRIVE TREMOLO RATE

WAH (*1) PEDAL POSITION ROTARY SPEED SELECT

COMP SUSTAIN UNI-V RATE

LIMITER THRESHOLD PAN RATE

OCTAVE OCTAVE LEVEL DELAY EFFECT LEVEL

PHASER RATE CHORUS EFFECT LEVEL

FLANGER RATE EQ HI-MID FREQ

When you switch patches, this setting species whether the state of the expression pedal and GK volume will be applied to the next patch (ON) or will not be applied to the next patch (OFF).

Value Description

Species the range of change for the parameter. The values will depend on the parameter that’s assigned by MOD type.

MIDI/USB

Tab Parameter Value Description

PATCH CH 1–16

PC RX SWITCH OFF, ON

GENERAL

GTR-MIDI

RX PC MAP

PC TX SWITCH OFF, ON

MIDI SYNC OFF, ON

MIDI CLOCK OUT OFF, ON

V-LINK TX CH 1–16 Species the MIDI channel used to control V-LINK devices.

SWITCH OFF, ON If this is “OFF,” guitar performance data will not be transmitted from MIDI OUT.

This sets the transmission mode for the MIDI messages.

MONO

MODE

POLY

CHROMATIC OFF, ON Turn this ON if you want to play an external sound module chromatically.

STRING CH 1–11

DATA THIN OFF, ON If this is “ON,” pitch bend data will be thinned-out to reduce the volume of MIDI data.

CTL PDL CC OFF, 1–31, 64–95

EXP PDL CC OFF, 1–31, 64–95

EXP PDL BEND RANGE

GK VOL CC OFF, 1–31, 64–95

GK S1 CC OFF, 1–31, 64–95

GK S2 CC OFF, 1–31, 64–95

MAP SELECT

BANK 0–63 Select the bank number (MSB 0–63) of the program change shown in the RX PC MAP (the LSB is xed at 0).

-24–+24

When using program change data transmitted from an external MIDI device to switch patches on the GR-55, this setting species whether the correspondence between the received program number and the patch will be xed, or whether it can be specied freely.

FIX

PROG The patch specied by BANK/PC will be selected.

Here you can edit the correspondence between the incoming program change numbers and the patch that will be selected for each number.

[LEAD] **-* [RHYTHM] **-* [OTHER] **-* [USER] **-*

Settings for the Entire GR-55 (SYSTEM)

Species the MIDI channel that will control patches. To switch patches on the GR-55, send a program change message on this MIDI channel. MIDI messages from an external device are also received on this MIDI channel. Received control changes are sent to ASSIGN SOURCE (p.57).

Turn this “ON” if you want program change messages from an external device to switch patches. You can use the RX BANK/PC MAP to change the correspondence between incoming program change numbers and the GR-55’s patches.

Turn this “ON” if you want program change messages to be transmitted when you switch patches on the GR-55.

Turn this “ON” if you want the tempo of tempo-synchronized eects to synchronize with an external device.

If this is “ON,” MIDI clock data will be transmitted to an external MIDI device. This data will not be transmitted if MIDI SYNC is “ON.”

In this mode, one channel per string is used, thus using a total of six channels. Since each string uses a dierent MIDI channel, you can select a dierent tone for each string, using string bending or continuously varying the pitch on a specic string; however, this requires use of a multitimbral sound module.

In this mode, the messages for all six strings are transmitted over a single channel. While transmitting the MIDI messages for all of the strings over one channel does simplify the settings needed for the sound module and reduces the number of MIDI channels used, it does impose certain limitations; for example, permitting only one tone to be selected for all of the strings.

Species the MIDI channel used to transmit guitar performance data. If MODE is set to “MONO,” the data will be transmitted using six channels starting with the channel you specify here. If it is set to “POLY,” performance data for all strings will be sent on the channel you specify here.

Species the control change numbers that are transmitted when you operate a pedal. Turn this “OFF” if you don’t want the pedals to transmit data.

Species the maximum pitch change amount when transmitting pitch bend data from the expression pedal to an external sound module. Set this to “0” if you don’t want the expression pedal to transmit pitch bend data.

Determine the control change numbers that will be transmitted when you operate the GK pickup’s volume knob or [S1]/[S2] buttons. Turn this “OFF” if you don’t want these controls to transmit data.

The incoming program change data will select the predetermined patch regardless of the BANK/PC settings.

Specify the patch number ([LEAD] 01-1–[USER] 99-3) that will correspond to each incoming program change number (bank number).

Settings for the Entire GR-55 (SYSTEM)

Tab Parameter Value Description

AUDIO IN LEVEL 0–200 Adjusts the volume of the digital audio signal from USB (computer).

AUDIO OUT LEVEL 0–200 Adjusts the volume of the digital audio signal output to USB (computer).

Turn this setting o if the audio data is

OFF

USB

DIRECT MONITOR

being passed through by the computer. In this case, you won’t hear sound unless the computer is passing the audio through.

The sound of the GR-55 will be output directly. Turn this setting “ON” if you’re using the GR-55 by itself. (If this is “OFF,” only the sound being input via USB will be output.)

OTHER

Group Parameter Value Description

Species the signal that is output from the GUITAR OUT jack. If you choose “PATCH,” the GUITAR OUT setting (p.59) of each patch will be used. If you choose any other setting,

that setting will apply at all times. For details, refer to “GUITAR OUT Jack Settings (GUITAR OUT)” (p.70).

PATCH The GUITAR OUT setting (p.59) of each patch will be used.

GUITAR OUT SOURCE

MASTER TUNE 435 Hz–445 Hz

TUNER

TUNER MUTE OFF, ON

AUDIO PLAYER LEVEL 0–200 Adjusts the volume of the audio player.

OFF Nothing will be output from the GUITAR OUT jack.

NORMAL PU The normal pickup sound will be output.

MODELING The modeling tone sound will be output.

BOTH Both the normal pickup sound and the modeling tone sound will be output.

Species the reference pitch.

* With the factory settings this is set to “440 Hz.”

Turn this setting “OFF“ if you want sound will be output while you tune your instrument. If you set this “ON,” sound will not be output while you tune your instrument

* With the factory settings this is turned “ON.”

Audio signal

USB OUT

The GR-55’s sound

DIRECT MONITOR

USB IN

AUDIO IN AUDIO OUT

OUTPUT L/R

PHONES

Computer

Guitar amp

Headphones

LCD CONTRAST 1–10 Adjusts the contrast of the display.

The GR-55 is able to turn o its power automatically. The power will automatically turn o when 10 hours have passed since you last played or operated the unit. A

POWER AUTO POWER OFF OFF, ON

message will appear in the display approximately 15 minutes before the power turns o.

With the factory settings, this function is turned “ON” (power switches o after 10 hours elapses). Turn this setting “OFF” if you want the power to stay on.

BACKUP/INITIALIZE

Icon Description

BACKUP/RESTORE Refer to “Saving GR-55 Settings to USB Memory (BACKUP)” (p.72).

PEDAL CALIBRATION Refer to “Adjusting the Pedal Sensitivity (CALIB)” (p.73).

FACTORY RESET Refer to “Restoring the Factory Settings (FACTORY RESET)” (p.73).

GUITAR-BASS SELECT Refer to “Selecting Guitar or Bass (GUITAR<->BASS)” (p.9).

Appendix

GR-55 Patch List

GUITAR MODE

SOUND STYLE: LEAD

Patch No. Patch Name

01-1 Metal Synth Lead Synth Lead 477 Synth Lead 548 E.GTR 03

01-2 Rock Lead Organ E.Organ 062 --- --- SYNTH 22

01-3 GR-300 Ctl:+1Oct --- --- --- --- SYNTH 18

02-1 Nice Tenor Sax 407 --- --- --- ---

02-2 Flute Solo Flute 393 --- --- --- ---

02-3 Jazz Guitar Vibe Mallet 143 Mallet 142 E.GTR 10

03-1 Legato Solo Pulsating 821 --- --- E.GTR 05

03-2 SlowAttack Solo Synth Lead 524 Synth Lead 524 --- ---

03-3 Synth Brass Lead Synth Lead 453 Synth Lead 524 SYNTH 23

04-1 Drive Blues Harp Harmonica 119 --- --- --- ---

04-2 Tp Section Ensemble Brass 379 Solo Brass 370 --- ---

04-3 MELLOW CELLO Solo Strings 339 --- --- --- ---

05-1 Strange Whistle Recorder 414 --- --- --- ---

05-2 EMOTIONAL LEAD Synth Lead 446 --- --- --- ---

05-3 WAVE SYNTH SOLO --- --- --- --- SYNTH 19

06-1 Dual Sync Lead Synth Lead 486 Synth Lead 486 E.GTR 02

06-2 Funky Syn Lead Synth Lead 466 Synth Lead 467 E.GTR 05

06-3 SqrPipe For You Synth Lead 527 Synth Lead 527 --- ---

07-1 Concert Grand Ac.Piano 002 --- --- --- ---

07-2 Mute Trumpet/EXP Solo Brass 377 --- --- --- ---

07-3 Epf + 335 Unison E.Piano1 035 --- --- E.GTR 09

08-1 P90 & Organ Bell E.Organ 082 --- --- E.GTR 06

08-2 Feedback Guitar E.Guitar 193 --- --- E.GTR 01

08-3 CTL=DLY/EXP=WAH --- --- --- --- E.GTR 05

09-1 More Blacklord E.Organ 060 E.Organ 065 E.GTR 01

09-2 Pdl Bend Guitar --- --- --- --- E.GTR 02

09-3 POLY DISTOTION --- --- --- --- SYNTH 19

10-1 NaturalResoLead Synth Lead 560 Synth Lead 501 E.GTR 01

10-2 Organ Syn Lead Synth Lead 554 E.Organ 087 SYNTH 22

10-3 Crims-O-Tron E.Bass 215 Vox/Choir 418 SYNTH 18

11-1 Dist Sync Lead Synth Lead 488 Synth Lead 548 E.GTR 03

11-2 5th Layer Synth Lead 469 Synth Lead 465 E.GTR 05

11-3 Screamin Lead Synth Lead 460 --- --- --- ---

12-1 Portamento Lead Synth Lead 471 Synth Lead 471 SYNTH 19

12-2 Dist Sine Solo Synth Lead 524 Synth Lead 524 E.GTR 05

12-3 Dist Square Lead Synth Lead 536 Synth Lead 535 E.GTR 03

13-1 Buzz Lead Synth Lead 476 Synth Lead 538 SYNTH 18

13-2 METAL SAW LEAD Synth Lead 447 --- --- E.GTR 05

13-3 BrassyLead Sax 406 Synth Brass 590 SYNTH 23

14-1 LONG ECHO LEAD Synth Lead 471 --- --- E.GTR 05

14-2 RockyOrgan E.Organ 084 E.Organ 087 SYNTH 22

14-3 MILD SAW LEAD Synth Lead 523 --- --- --- ---

15-1 Simple Square Synth Lead 533 --- --- --- ---

15-2 +1oct Mild Lead Synth Lead 533 --- --- --- ---

15-3 Unison Lead Dist.Guitar 201 --- --- E.GTR 01

16-1 Lead Beast Synth Lead 455 Synth Lead 456 SYNTH 19

16-2 Dream Bell Vox/Choir 416 Mallet 156 AC 11

16-3 Female Chorus Synth Bellpad 693 Vox/Choir 435 --- ---

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

GR-55 Patch List

Patch No. Patch Name

17-1 70s Unison Dist.Guitar 199 Dist.Guitar 199 E.GTR 01

17-2 Comfortable Solo --- --- --- --- E.GTR 02

17-3 Wah Feedback Synth Lead 524 Synth Lead 524 E.GTR 05

18-1 Gtr+Organ Unison E.Organ 060 E.Organ 060 E.GTR 03

18-2 Vibraphone Mallet 152 --- --- --- ---

18-3 Dark Trumpet Solo Brass 371 --- --- --- ---

19-1 High Note Tp Solo Brass 370 --- --- --- ---

19-2 Fat Brass Sec Ensemble Brass 380 Ensemble Brass 384 --- ---

19-3 Solo Fr.Horn Solo Brass 369 --- --- --- ---

20-1 SGT Fr Horn Ensemble Brass 383 --- --- --- ---

20-2 Solo Trombone Solo Brass 372 --- --- --- ---

20-3 Super Low Brass Solo Brass 375 Orchestral 365 --- ---

21-1 Clarinet>EXP Vib Wind 390 --- --- --- ---

21-2 Oboe Wind 387 --- --- --- ---

21-3 Soprano Sax Sax 405 --- --- --- ---

22-1 Alto Sax Sax 409 --- --- --- ---

22-2 Moody Sax Sax 406 --- --- --- ---

22-3 Guitar+SaxUnison Sax 410 Sax 411 E.GTR 09

23-1 Flute+Gtr Unison Flute 399 --- --- E.GTR 10

23-2 Pan Flute Flute 397 --- --- --- ---

23-3 Piccolo Flute 398 --- --- --- ---

24-1 Flutey GT Flute 401 Flute 403 --- ---

24-2 Heaven Ocarina Recorder 412 --- --- --- ---

24-3 LoFlute&Glockn Mallet 156 Flute 399 --- ---

25-1 Recorder Recorder 413 --- --- --- ---

25-2 Chromatic Harmo Harmonica 118 --- --- --- ---

25-3 FILTER HARP Harmonica 118 --- --- --- ---

26-1 Gt + HARMONICA Harmonica 118 --- --- E.GTR 09

26-2 Heavy Harmonica Recorder 415 Harmonica 118 E.GTR 05

26-3 LEAD VIOLIN Solo Strings 333 --- --- --- ---

27-1 DIST VIOLIN Solo Strings 333 --- --- --- ---

27-2 DRIVE+VLN+CELLO Solo Strings 337 Solo Strings 339 E.GTR 05

27-3 DOUBLE CELLO Solo Strings 339 Solo Strings 339 --- ---

28-1 GLASS CELLO Solo Strings 339 Synth Pad/Strings 681 --- ---

28-2 OVERDRIVE+CELLO Solo Strings 339 --- --- E.GTR 09

28-3 SMOOTH LEAD+VLN Solo Strings 336 --- --- E.GTR 09

29-1 Brass + Drive Ensemble Brass 379 Sax 411 E.GTR 05

29-2 Organ,Pf & OD Gt E.Organ 060 Ac.Piano 003 E.GTR 06

29-3 Shamisen Plucked/Stroke 329 --- --- --- ---

30-1 for Normal PU L1 Pipe Organ 094 E.Organ 080 SYNTH 20

30-2 for Normal PU L2 Sax 406 Synth Bass 280 SYNTH 18

30-3 for Normal PU L3 Synth Lead 486 Synth Lead 535 SYNTH 23

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

GR-55 Patch List

SOUND STYLE:

Patch No. Patch Name

01-1 12st AG & Ch Org Pipe Organ 095 --- --- AC 11

01-2 DoubleFlatHeavy Synth Bass 253 Synth Lead 450 E.GTR 05

01-3 SoftBrightPad+L4 Synth Pad/Strings 682 Synth Pad/Strings 680 E.GTR 10

02-1 RICH STRINGS Ensemble Strings 363 Solo Strings 340 --- ---

02-2 POLY SITAR Plucked/Stroke 327 Synth PolyKey 725 --- ---

02-3 HeavyBrassRock Ensemble Brass 384 Ensemble Brass 381 E.GTR 05

03-1 Syn Str.Pdl Reso Synth Pad/Strings 633 Synth Pad/Strings 627 E.GTR 02

03-2 TB-303 Bass Synth Bass 289 Synth Bass 289 --- ---

03-3 AG+Bell Pad Bell 121 Synth FX 784 AC 11

04-1 Double Low Piano Ac.Piano 003 Ac.Piano 003 --- ---

04-2 E.Piano E.Piano2 054 --- --- --- ---

04-3 Xylophone Plus Mallet 148 Pulsating 801 --- ---

05-1 30 String Guitar Ac.Guitar 178 Ac.Guitar 175 E.GTR 08

05-2 ST + TWEED --- --- --- --- E.GTR 01

05-3 LP + STACK --- --- --- --- E.GTR 05

06-1 AcGt12st+STRINGS Ensemble Strings 346 Solo Strings 339 AC 11

06-2 Jazz Guitar --- --- --- --- E.GTR 10

06-3 TL&Rotary Organ E.Organ 064 --- --- E.GTR 04

07-1 Ballade Wurly E.Piano1 041 --- --- --- ---

07-2 RnB Section Ensemble Brass 379 Sax 411 --- ---

07-3 NYLON Gt+STRINGS Ensemble Strings 346 --- --- AC 12

08-1 Symphonic Rock! Percussion 885 Ensemble Strings 350 E.GTR 03

08-2 GR Brass+Strings Synth Brass 584 Ensemble Strings 344 SYNTH 18

08-3 RockInCathedral Vox/Choir 418 Pipe Organ 092 E.GTR 02

09-1 DADGAD PHASER Ensemble Strings 350 --- --- E.GTR 07

09-2 Asian DADGAD Plucked/Stroke 329 Plucked/Stroke 315 AC 11

09-3 TL+StFlanger Pad Synth Pad/Strings 632 Synth Pad/Strings 609 E.GTR 04

10-1 Heavy Gt W/Sweep Synth Brass 581 Synth Pad/Strings 655 E.GTR 03

10-2 Fat Drive Mix Synth Lead 468 Synth Lead 468 E.GTR 05

10-3 Bright Gtr + Pad Ac.Piano 006 Synth Pad/Strings 618 AC 11

11-1 Electric 12str --- --- --- --- E.GTR 08

11-2 AC->12stAC(CTL) --- --- --- --- AC 11

11-3 Nylon String Gtr --- --- --- --- AC 12

12-1 Pedal Wah --- --- --- --- E.GTR 01

12-2 Stolling Rones --- --- --- --- E.GTR 04

12-3 Flat Tuned Drive --- --- --- --- E.GTR 03

13-1 BlueGrass 12-St Plucked/Stroke 328 --- --- AC 11

13-2 Bell Clean Synth Bellpad 694 Synth Pad/Strings 618 E.GTR 09

13-3 AG & Epf E.Piano1 033 --- --- AC 11

14-1 HnkyTonk Piano Ac.Piano 008 Ac.Piano 008 AC 14

14-2 Phaser E.Pf E.Piano1 032 --- --- --- ---

14-3 Piano + Anlg Pad Ac.Piano 007 Synth Pad/Strings 614 SYNTH 21

15-1 Dyno Epf w/Pad E.Piano1 032 --- --- SYNTH 23

15-2 ST+FM Epf+Voice E.Piano2 049 Vox/Choir 442 E.GTR 02

15-3 Drive Wurly E.Piano1 040 --- --- --- ---

16-1 80s Piano Pop Piano 018 Synth Pad/Strings 631 SYNTH 20

16-2 Analog Clav S&H Clav 106 Synth FX 775 E.GTR 06

16-3 E.PIANO/AcPIANO Ac.Piano 001 E.Piano1 022 --- ---

17-1 Pipe Organ Pipe Organ 095 ---

17-2 Cheap Organ E.Organ 086 --- --- --- ---

17-3 3xOrganPower E.Organ 067 E.Organ 065 SYNTH 22

RHYTHM

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

--- --- ---

GR-55 Patch List

Patch No. Patch Name

18-1 Simple Clavi Clav 103 --- --- --- ---

18-2 R12st+Clavi+Xylo Clav 104 Mallet 161 E.GTR 08

18-3 Harpsichord CTL Harpsichord 098 --- --- --- ---

19-1 Celesta Celesta 111 --- --- --- ---

19-2 Accordion Accordion 112 --- --- --- ---

19-3 Bell&Mallet+(Bs) Bell 139 Mallet 145 --- ---

20-1 TE+FM Bell Pad Bell 121 Synth Pad/Strings 613 E.GTR 04

20-2 Marimba Mallet 146 --- --- --- ---

20-3 SteelDrums/Ethno Mallet 147 Mallet 150 SYNTH 21

21-1 Voice Pad SL Vox/Choir 420 Synth Pad/Strings 662 SYNTH 20

21-2 AG+Voice Vox/Choir 419 --- --- AC 11

21-3 Rotary G & Pad Vox/Choir 426 Synth Bass 229 E.GTR 06

22-1 Gt & Vo Unison Vox/Choir 438 --- --- E.GTR 10

22-2 Vox+Pf+Crystal Vox/Choir 417 Pop Piano 017 SYNTH 21

22-3 Crunch & Voice Vox/Choir 430 Pulsating 799 E.GTR 04

23-1 80s Stack Piano Pop Piano 017 Synth Brass 569 SYNTH 20

23-2 Like 60s E.Organ 072 E.Organ 061 E.GTR 01

23-3 Reed Organ(+LP) Reed Organ 097 --- --- E.GTR 05

24-1 Full Section Ensemble Brass 382 Sax 411 --- ---

24-2 Real & Syn Brass Ensemble Brass 379 Synth Brass 605 --- ---

24-3 Edge Brass Ensemble Brass 381 Ensemble Brass 379 --- ---

25-1 ORCHESTRA Orchestral 367 Orchestral 367 --- ---

25-2 PIZZICATO Gt Ensemble Strings 360 Ensemble Strings 361 E.GTR 01

25-3 FLANGE STRINGS Ensemble Strings 344 Solo Strings 340 --- ---

26-1 PHASE STRINGS Ensemble Strings 346 Ensemble Strings 358 --- ---

26-2 SynthBrass Synth Brass 597 Ensemble Brass 380 SYNTH 18

26-3 BLADE RUNNING Synth Brass 575 --- --- --- ---

27-1 Seychelles Tour Vox/Choir 443 Sound FX 863 E.GTR 01

27-2 EmotionalBallad E.Piano1 042 E.Piano2 053 E.GTR 09

27-3 Analog Voice Pad E.Bass 215 Vox/Choir 418 SYNTH 18

28-1 -2 Tubular & LP Bell 136 Pipe Organ 095 E.GTR 05

28-2 Bridge of Sy's E.Piano1 042 Synth FX 765 E.GTR 01

28-3 Faded Cherry E.Guitar 190 Mallet 159 AC 12

29-1 Acid Bass Synth Bass 308 Synth Bass 308 SYNTH 23

29-2 Acoustic Bass Ac.Bass 210 --- --- AC 11

29-3 Heavy P-Funk BS Synth Bass 242 Plucked/Stroke 328 E.GTR 02

30-1 for Normal PU R1 Synth Bellpad 693 Ensemble Strings 345 AC 11

30-2 for Normal PU R2 Synth Brass 569 E.Organ 088 AC 11

30-3 for Normal PU R3 Ensemble Strings 362 Synth Pad/Strings 627 SYNTH 19

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

GR-55 Patch List

SOUND STYLE:

Patch No. Patch Name

01-1 Ultimate Pulse Synth Pad/Strings 612 Pulsating 824 SYNTH 18

01-2 Heavy Hit&Groove Hit 843 Beat&Groove 835 E.GTR 02

01-3 Jazz Trio Percussion 884 Ac.Bass 212 E.GTR 10

02-1 Seq*Tempo Dly+EG Synth Pad/Strings 615 Synth Seq/Pop 788 E.GTR 01

02-2 DarkSideOfTheSun Bell 128 Synth Pad/Strings 669 E.GTR 03

02-3 KOTO DREAMS Plucked/Stroke 330 Synth PolyKey 726 --- ---

03-1 Voice Hit Pulsating 825 Hit 844 E.GTR 04

03-2 Heavens Bells Bell 129 Synth Pad/Strings 666 E.GTR 08

03-3 Sine Air Bend Synth Lead 549 Synth Lead 549 --- ---

04-1 Question+Answer Plucked/Stroke 318 E.Grand Piano 020 E.GTR 03

04-2 Metamorphosis Synth FX 775 Pulsating 797 SYNTH 21

04-3 HighlanderGTR Synth Bellpad 704 Wind 391 AC 15

05-1 Sitar Fantasy Synth Lead 553 Ensemble Strings 355 AC 13

05-2 GR-300 Triplet Synth Pad/Strings 675 Synth Pad/Strings 684 SYNTH 18

05-3 Noize Mix Drive Synth FX 764 Synth FX 760 E.GTR 03

06-1 Scat & Guitar Scat 444 E.Piano1 034 E.GTR 10

06-2 SE Pad & LP+MS Pulsating 825 Synth Pad/Strings 640 E.GTR 05

06-3 DancingAcoustic Synth Pad/Strings 692 Ac.Guitar 173 AC 11

07-1 Heavy Pulse Synth Lead 553 Synth Lead 538 E.GTR 03

07-2 NEW WAVES Synth Lead 492 --- --- --- ---

07-3 FourthOfFifth Synth PolyKey 735 Synth Bellpad 708 E.GTR 02

08-1 E Sitar& Dly Toy Mallet 141 --- --- AC 13

08-2 Trio Concerto Ac.Piano 002 Ensemble Strings 346 AC 12

08-3 PARADISE LOST Synth PolyKey 754 Synth Bellpad 708 --- ---

09-1 Trademark Ri --- --- Synth FX 779 --- ---

09-2 Touchy 5th Synth PolyKey 735 E.Guitar 190 E.GTR 09

09-3 Scuba-Diving Synth FX 779 Pulsating 798 SYNTH 23

10-1 Big Syn Drum Percussion 893 Synth Pad/Strings 633 E.GTR 03

10-2 Sequence Clean Pulsating 812 Synth Pad/Strings 620 E.GTR 01

10-3 Acoustic Heaven Pulsating 815 Synth Pad/Strings 610 AC 11

11-1 SparkleBellGTR Bell 128 Plucked/Stroke 324 E.GTR 02

11-2 Metal Timpani Percussion 885 Percussion 885 E.GTR 03

11-3 Cheezy Movie Hit 840 Orchestral 365 E.GTR 04

12-1 Stalker Violin Solo Strings 333 Synth Pad/Strings 681 E.GTR 08

12-2 OverblownClnGTR Sax 409 Flute 401 E.GTR 10

12-3 MotionBuilder Pulsating 823 Pulsating 809 SYNTH 18

13-1 Pulsing Bell+EG Pulsating 811 Synth Bellpad 696 E.GTR 06

13-2 Flying Tremolo Synth FX 775 Pulsating 803 E.GTR 09

13-3 Trance Organ Pulsating 810 E.Piano1 038 SYNTH 22

14-1 Sequence Trio Pulsating 812 Pulsating 814 E.GTR 02

14-2 Extreme FX Sound FX 859 Sound FX 863 E.GTR 02

14-3 Rhythmic Pulse Pulsating 808 E.Organ 063 E.GTR 02

15-1 Scared Score Sound FX 863 Percussion 886 AC 12

15-2 EasternFluteGT Plucked/Stroke 327 Flute 394 AC 13

15-3 Odd Guitar Ac.Guitar 175 Plucked/Stroke 330 E.GTR 02

16-1 DissonantBeauty E.Piano1 033 Plucked/Stroke 322 SYNTH 19

16-2 PluckdBaritoned --- --- Plucked/Stroke 325 E.GTR 04

16-3 GroovePusher Beat&Groove 831 Pulsating 809 E.GTR 04

17-1 JazzEP/BassSplit E.Piano2 055 Ac.Bass

17-2 Metal Scat Scat 444 Scat 444 E.GTR 05

17-3 Quantum Physics Synth Pad/Strings 657 Vox/Choir 429 SYNTH 22

OTHER

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

210 E.GTR 10

GR-55 Patch List

Patch No. Patch Name

18-1 Enigmatic Rick Synth FX 755 Synth FX 761 E.GTR 08

18-2 Euro Beat Slicer Synth Bass 242 Synth Lead 553 --- ---

18-3 Fuzz Heaven Synth PolyKey 754 Pulsating 797 SYNTH 18

19-1 Arabian Nights --- --- Plucked/Stroke 322 AC 14

19-2 Morpheus Bell 129 Synth Pad/Strings 665 E.GTR 08

19-3 Unison+5thPower Synth Seq/Pop 795 Synth Lead 553 E.GTR 09

20-1 BassFluteSaxTrio Sax 410 Flute 402 E.BASS 17

20-2 Exorbitanz Synth Pad/Strings 652 Synth FX 757 AC 14

20-3 Armageddon Sound FX 850 Sound FX 849 SYNTH 18

21-1 Grinder Bell 132 Pulsating 800 AC 13

21-2 EmoCarillion Ac.Guitar 169 Bell 138 SYNTH 18

21-3 Unbelievable Synth Pad/Strings 653 Synth Pad/Strings 668 E.GTR 08

22-1 FAB 4 Together E.Piano1 042 E.Piano2 056 E.BASS 17

22-2 Esoteric Vibe Plucked/Stroke 321 Mallet 152 E.GTR 06

22-3 Deja Vu Bass Synth Lead 542 Synth PolyKey 743 E.BASS 16

23-1 GK Paradise Synth FX 775 Synth PolyKey 726 AC 13

23-2 Is Dis Fat? Synth PolyKey 747 Synth Lead 482 E.GTR 05

23-3 Gladiator Percussion 885 Vox/Choir 425 --- ---

24-1 SlowGearSynth Bell 130 Ac.Guitar 174 E.GTR 04

24-2 Oxygen Lead Plucked/Stroke 320 E.Piano1 035 SYNTH 18

24-3 SteelPan + Agogo Percussion 886 Mallet 147 E.GTR 01

25-1 GHOSTLY Synth FX 783 Synth FX 783 E.GTR 01

25-2 SNEAKING UP Ensemble Strings 353 Synth Pad/Strings 681 --- ---

25-3 Big Ben Plucked/Stroke 320 Bell 137 E.GTR 03

26-1 AggroClav Reed Organ 096 Clav 106 SYNTH 20

26-2 Cinematic Art Sound FX 863 Mallet 156 --- ---

26-3 Strictly E Mallet 142 Synth Lead 492 E.GTR 06

27-1 Beat Provider Beat&Groove 830 Beat&Groove 829 --- ---

27-2 Shanai+Rhythm Wind 392 Beat&Groove 834 --- ---

27-3 BackToDaCrib Beat&Groove 839 Beat&Groove 838 SYNTH 23

28-1 Hyper TE Beat Sound FX 851 Beat&Groove 837 E.GTR 04

28-2 HOUSE FIRE Beat&Groove 838 Pulsating 822 --- ---

28-3 Trance Groove Beat&Groove 831 Synth PolyKey 713 E.GTR 03

29-1 RAINSTORM Sound FX 850 Sound FX 849 --- ---

29-2 Scary Scream Sound FX 860 Sound FX 876 --- ---

29-3 COMEDIAN Sound FX 875 Sound FX 874 --- ---

30-1 for Normal PU O1 Mallet 143 E.Piano2 054 AC 13

30-2 for Normal PU O2 Synth Lead 553 Beat&Groove 832 SYNTH 20

30-3 for Normal PU O3 Synth FX 783 Orchestral 367 SYNTH 18

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

GR-55 Patch List

BASS MODE

SOUND STYLE: LEAD

Patch No. Patch Name

01-1 Double String Bs Ensemble Strings 342 Synth Pad/Strings 632 E.BASS 01

01-2 Oct Unison Lead Synth Lead 523 Synth Lead 523 SYNTH 10

01-3 Cotton Harp Harmonica 119 --- --- --- ---

02-1 Jazz Trio Percussion 884 Mallet 152 E.BASS 01

02-2 Mond MG Lead Synth Lead 482 Solo Brass 378 E.GTR 16

02-3 Pipe & Organ Flute 393 E.Organ 071 --- ---

03-1 Indian Fretless Plucked/Stroke 319 E.Bass 218 E.BASS 01

03-2 EP Unison E.Piano1 022 E.Piano1 032 E.BASS 01

03-3 Mellow Fretless E.Bass 218 --- --- E.BASS 01

04-1 AnalogBass+Pedal Synth Lead 481 Synth Pad/Strings 688 SYNTH 10

04-2 OrgBass+PedalSyn Synth Lead 561 E.Organ 062 E.BASS 05

04-3 ModBass+PedalSyn Synth Brass 577 Synth Pad/Strings 639 E.BASS 08

05-1 Deep Ensemble Ensemble Strings 358 Solo Strings 340 SYNTH 10

05-2 Rock Organic E.Organ 061 E.Organ 088 E.BASS 06

05-3 Pedal Synth Bend Synth Lead 477 Synth Lead 548 E.BASS 01

06-1 Soft Lead Recorder 414 --- --- E.BASS 01

06-2 70s Mond Org E.Organ 077 --- --- E.GTR 16

06-3 Flange GR-500 Synth Lead 456 --- --- SYNTH 10

07-1 Solo Cello Solo Strings 335 Solo Strings 333 --- ---

07-2 Trumpet&Strings Solo Brass 371 Ensemble Strings 356 E.BASS 01

07-3 OctaPiano Ac.Piano 001 Ac.Piano 001 E.BASS 01

08-1 Strings&FL Sound Ensemble Strings 342 Flute 399 E.BASS 01

08-2 Ska Melody Solo Strings 340 Ensemble Brass 384 E.BASS 01

08-3 Spacy Jazz Bass --- --- --- --- E.BASS 01

09-1 Delayed Nylon Ac.Guitar 163 --- --- E.BASS 08

09-2 Experience --- --- --- --- E.GTR 16

09-3 Extreme Dist --- --- --- --- E.BASS 05

10-1 for Normal PU L1 Pipe Organ 094 E.Organ 080 SYNTH 12

10-2 for Normal PU L2 E.Piano1 038 Synth Lead 502 SYNTH 10

10-3 for Normal PU L3 Synth Lead 486 Synth Lead 535 SYNTH 15

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

SOUND STYLE: RHYTHM

Patch No. Patch Name

01-1 Super Saw Bass Synth Bass 229 Synth PolyKey 723 SYNTH 11

01-2 M-Man Brass Ensemble Brass 379 Sax 411 E.BASS 05

01-3 Fat Upright Ac.Bass 211 --- --- SYNTH 12

02-1 Organ ViolinBass E.Organ 070 E.Organ 073 E.BASS 09

02-2 Bell Sweep Bass Synth Lead 553 Synth Bellpad 693 SYNTH 10

02-3 Heavy E.Piano E.Piano1 022 E.Piano1 023 E.BASS 04

03-1 Shaker Synth Synth Lead 556 Synth Brass 569 SYNTH 12

03-2 FilterBassSynth --- --- --- --- SYNTH 12

03-3 MM & Fat Poly Synth PolyKey 721 Synth Pad/Strings 656 E.BASS 05

04-1 FastTrackin'Bass Synth Bass 240 --- --- SYNTH 12

04-2 Soft Bass Synth Bass 283 Synth Bass 265 --- ---

04-3 BrightJB+SynBass Synth Bass 303 --- --- E.BASS 02

05-1 Fat Synth Bass Synth Bass 235 Synth Bass 237 SYNTH 10

05-2 Big Synth Synth Bass 275 --- --- --- ---

05-3 DecayFilterBass --- --- --- --- SYNTH 12

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

GR-55 Patch List

Patch No. Patch Name

06-1 Bass Synth Synth Bass 237 --- --- SYNTH 11

06-2 Reso Fuzz Bass Synth Bass 288 --- --- E.BASS 04

06-3 ACID CLAV Synth Bass 262 Clav 105 --- ---

07-1 Space Funk Clav 108 Synth Bass 253 E.BASS 03

07-2 Trem E.Piano E.Piano1 022 --- --- E.BASS 01

07-3 Bass + Clav Clav 103 --- --- E.BASS 03

08-1 OctaClavz Clav 109 Clav 110 E.BASS 03

08-2 High Strings Ensemble Strings 342 Ensemble Strings 363 --- ---

08-3 Brass Mix Ensemble Brass 379 Synth Brass 579 E.BASS 08

09-1 Organ Bass E.Organ 062 E.Organ 070 E.BASS 01

09-2 Octave M-Man --- --- --- --- E.BASS 05

09-3 P-Bass Crunch --- --- --- --- E.BASS 04

10-1 for Normal PU R1 Synth Bellpad 693 Ensemble Strings 345 E.BASS 07

10-2 for Normal PU R2 Synth Brass 569 E.Organ 088 E.BASS 08

10-3 for Normal PU R3 Ensemble Strings 362 Synth Pad/Strings 627 SYNTH 10

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

SOUND STYLE: OTHER

Patch No. Patch Name

01-1 Ultimate Pulse Synth Pad/Strings 612 Pulsating 824 SYNTH 10

01-2 Ambient Sparkle Bell 120 Synth Pad/Strings 680 --- ---

01-3 Auto Groove Beat&Groove 835 Synth Brass 569 E.BASS 01

02-1 Avalon Bell 120 Plucked/Stroke 318 --- ---

02-2 Bollywood Stack Plucked/Stroke 327 Ensemble Strings 359 SYNTH 10

02-3 Gel Sequence Pulsating 813 Synth Pad/Strings 645 --- ---

03-1 Seq.Str.Hit Pulsating 815 Ensemble Strings 351 --- ---

03-2 Vint Seq.Bass Synth FX 773 Synth FX 773 SYNTH 12

03-3 Techno Sequence Pulsating 824 Pulsating 808 --- ---

04-1 Tubular Strings Bell 133 Ensemble Strings 361 E.BASS 05

04-2 TIME>TRAVELER Pulsating 805 Pulsating 808 --- ---

04-3 STRINGTHEORY Pulsating 803 Pulsating 797 --- ---

05-1 Ambient Organ E.Organ 067 Flute 402 --- ---

05-2 RingLoop&E.Piano E.Piano1 024 Pulsating 809 E.BASS 01

05-3 Unknown Kingdom Pulsating 825 Synth Pad/Strings 646 E.BASS 01

06-1 Arrival Of King Percussion 885 Ensemble Strings 345 E.BASS 01

06-2 Ringing Bell --- --- Synth Pad/Strings 680 --- ---

06-3 TOKYO LIGHTS Synth PolyKey 718 Synth FX 778 --- ---

07-1 Sad Memory Pulsating 823 Vox/Choir 433 E.BASS 01

07-2 Wandering Pipe Bell 120 Flute 394 --- ---

07-3 LUNAR LANDING Synth FX 759 Pulsating 805 --- ---

08-1 Techno Opening Pulsating 824 Synth Lead 486 E.BASS 01

08-2 Inner Journey Pulsating 822 Vox/Choir 436 SYNTH 10

08-3 HOUSE PARTY Beat&Groove 839 Hit 842 --- ---

09-1 Compu-Strings Beat&Groove 831 Ensemble Strings 362 E.BASS 01

09-2 5th & Groovin' Beat&Groove 829 Synth PolyKey 735 E.BASS 01

09-3 Shamisen Beat Plucked/Stroke 329 Beat&Groove 839 E.BASS 08

10-1 for Normal PU O1 Mallet 143 E.Piano2 054 SYNTH 14

10-2 for Normal PU O2 Synth Lead 553 Beat&Groove 832 SYNTH 12

10-3 for Normal PU O3 Synth FX 783 Orchestral 367 SYNTH 10

PCM TONE1 PCM TONE2 MODELING TONE

Category Tone No. Category Tone No. Category Tone No.

Troubleshooting

If the GR-55 is not producing sounds or if you think it is not operating properly, rst check the following points. If checking these points fails to resolve the problem, consult your dealer or the nearest Roland service center.

During normal performance using the GR-55 alone

Problem Items to check Action Page

No sound/Low volume

Unwanted synthesizer sound is heard when you play softly

Synthesizer sound is inconsistent in volume

Volume is uneven among the strings

When using the GR-55’s pedal eects or expression pedal, the result is dierent for each patch

The pitch of the synth sound does not change in the same way as the pitch of the guitar

The pitch changes in half-steps when bending or etc.

Oscillation occurs

Cannot change parameters with pedals or buttons

Patches not switching

Unable to control parameters set with Assign as expected

Is the [OUTPUT LEVEL] knob turned down completely?

Could the volume of the GK pickup be turned down?

Could the select switch of the GK pickup be set to “GUITAR”?

Could the expression pedal be released?

Could the PATCH LEVEL be turned down?

Is there a short in any connecting cable?

Are the GR-55 and other devices connected properly?

Is the power to the connected amp or mixer not turned on, or is the volume turned down?

Is the tuner on?

If there are no sounds through USB, are the [SYSTEM] - USB settings correct?

Is the [SYSTEM] - USB - DIRECT MON switched o?

Check the setting for “VELOCITY” under “GK SETTING.”

Was the “GK SENS” setting adjusted correctly for each string?

Is the GK pickup attached correctly?

The eect produced using the expression pedal is dierent for each sound (patch).

The pitch of some tones (such as percussion instruments and sound eects) will change in a dierent way than the pitch of your guitar.

On some sounds (patches) such as piano or organ, the pitch will not change smoothly, but change only in semitone steps. This is done intentionally in order to make the instrument sound more realistic.

In the eect settings, could a gain value or volume-related parameter be set too high?

Are you using INTERNAL PEDAL with Control Assign?

Is some screen other than the Play screen shown in the display?

Are the eects switched o?

Are the MIDI channels matched?

Are the controller numbers (CC#) matched?

Adjust the knob to an appropriate setting. p.16

Raise the volume of the GK pickup to an appropriate level. p.16

Set the switch of the GK pickup to GK (or SYNTH) or MIX. p.22

Depress the expression pedal. p.20

Try raising the PATCH LEVEL in the EZ EDIT or other screen. p.18

Try replacing the connecting cable. —

Check the connections with the other devices. p.8

Check the settings for the connected device. —

The direct sound is not output when the tuner is on if the volume setting during tuning is set to “MUTE ON.”

Adjust the settings to the appropriate values. p.80

Set this to ON. p.80

If you raise the LOW VELOCITY CUT value, unwanted triggering will be reduced; softly played notes will be less likely to sound.

Adjust the “PLAY FEEL” parameter. The “5” setting gives you a completely xed velocity and sound regardless

of your playing strength (picking).

Perform the adjustment. p.10, p.11

Refer to the manual of your GK pickup, and attach the GK pickup correctly. On the Roland website, the “GK-3/3B Installation Tips” page provides an

explanation and photos on how to attach a GK pickup. Be sure to take a look!

http://www.roland.com/GK/

Check the eect of each patch beforehand. —

It does not indicate a malfunction. —

Decrease the value. p.41

When INTERNAL PEDAL or WAVE PEDAL is used for the assign source, the eect parameters set as the assign targets change automatically.

If you want to change parameters with the knobs or PATCH/VALUE dial, rst switch o Control Assign and cancel the INTERNAL PEDAL setting.

With the GR-55, you cannot switch patches in any screen other than the Play screen. Press the [EXIT] button one or more times to return to the Play screen.

Check to make sure the eects incorporating the parameters being controlled are on.

When carrying out operations using MIDI, check to conrm that both devices are set to the same MIDI channel.

Check to conrm that the controller numbers you are using are the same. p.79

p.13

p.75

—

p.57

p.20

p.38

p.79

Troubleshooting

When using the GR-55 with other MIDI devices / When using the GR-55 with the computer

Problem Items to check Action Page

The external sound module connected to the MIDI OUT connector does not sound

Only one string sounds on the external sound module (some strings do not sound)

Pitch is incorrect (dierent than the guitar pitch)

When you view the note messages recorded in your sequencer, the pitches dier from what is actually

sounded

MIDI messages not being transmitted/received

Do the MIDI channels of the transmitting and receiving devices match?

Could you have turned down the volume using the volume control of the GK pickup or the expression pedal?

Could you be using Mono mode to transmit from the GR-55 to a sound module that is unable to receive six MIDI channels simultaneously?

Is the Bend Range of your external sound module set to +/- 24?

Is your guitar tuned accurately?

The GR-55 expresses the pitch as a combination of note data and pitchbend data. This means that if you’re looking only at the note data, the pitches may appear dierent than what you played.

Could there be a short in the MIDI cable? Try replacing the MIDI cable. —

Are the GR-55 and the external MIDI device connected properly?

Are the MIDI channels matched? Check to conrm that both devices are set to the same MIDI channel. p.79

Match the MIDI channels. p.79

Raise the controller or volume. —

Use a sound module that supports multitimbral operation. Use the GR-55 in Poly mode.

Set the Bend Range of your external sound module to +/- 24. —

Use the GR-55’s Tuner function to tune your guitar accurately. You must also adjust your guitar so that accurate pitches are sounded even on the high frets.

Check the pitchbend data. —

Check the connection with the external MIDI device. p.67

p.79

p.13

Pitch does not change smoothly

If you are transmitting from the GR-55, have the settings for transmission been made?

Could the master parameter GTR-MIDICHROMATIC be “ON”?

Check the Program Change message transmission ON/OFF setting and the settings for the controller number to be transmitted.

If this is turned “ON,” pitch bend data will not be output, and the pitch will change in semitone steps. Check the master parameter GTR-MIDI-CHROMATIC, and turn it “OFF.”

When using USB memory

Problem Items to check Action Page

USB memory is not detected / Song les are not displayed

Can’t back up to USB memory

Check the format of your USB memory. The GR-55 can use USB memory that is formatted as FAT. (Normally, when you purchase USB memory, it will be formatted as FAT, so you can start using it immediately.) However, USB memory that was formatted by a computer or other device as something other than FAT (e.g., NTFS) will not be recognized by the GR-55.

Could the USB memory be write protected? Disable write protection. —

Is there sucient free space on the USB memory?

Use your computer to format the USB memory in FAT format. (It is not possible to format USB memory using the GR-55.)

In Computer (or My Computer), right-click the USB drive, choose “Format,” and then choose “FAT” as the le system so that the USB memory will be formatted in FAT format. For details on formatting USB memory, refer to your computer’s documentation.

* When you format USB memory, all of its contents will be lost.

Use USB memory that has sucient free space. —

p.79

—

Error Messages

Message Meaning Action

MIDI OFFLINE! The MIDI IN connection was broken.

MIDI BUFFER FULL!

MEMORY DAMAGED!

USB MEMORY NOT READY! USB memory is not connected. Connect USB memory.

USB MEMORY READ ERROR! The USB memory could not be read.

USB MEMORY WRITE ERROR! The USB memory could not be written.

UNFORMATTED USB MEMORY! The USB memory is not formatted.

CURRENTLY CONNECTED TO COMPUTER VIA USB!

AUDIO FILE NOT FOUND! There is no audio le for the AUDIO PLAYER to play. Save the audio le that you want to play on the USB memory.

UNSUPPORTED AUDIO FILE! This audio le cannot be played by the GR-55. —

An unusually large amount of MIDI data was received, and could not be processed.

It is possible that the contents of memory have been damaged.

Since there is a USB cable connected to the USB COMPUTER connector, the AUDIO PLAYER function cannot be used.

Check that there is no problem with the MIDI cable connected to the GR-55’s MIDI IN, and that the MIDI cable was not disconnected.

Reduce the amount of MIDI messages that are being transmitted.

Please execute a Factory Reset. If this does not resolve the problem, contact your dealer or a

nearby Roland service center.

Use your computer to format the USB memory.

* When you format USB memory, all of its contents will be

lost.

Check whether the USB memory might be write protected. If the USB memory is not write protected, use your computer to

format the USB memory.

* When you format USB memory, all of its contents will be

lost.

The GR-55 can use USB memory that is formatted as FAT. (Normally, when you purchase USB memory, it will be formatted as FAT, so you can start using it immediately.) However, USB memory that was formatted by a computer or other device as something other than FAT (e.g., NTFS) will not be recognized by the GR-55.

Use your computer to format the USB memory in FAT format. (It is not possible to format USB memory using the GR-55.)

* When you format USB memory, all of its contents will be

lost.

Disconnect the USB cable from the USB COMPUTER connector, then try using the AUDIO PLAYER function.

Signal Flow

COMPUTER

(USB)

AUDIO OUT

AUDIO IN

PHONES

OUTPUT

GUITAR

OUT

PATCH SYSTEM

AMP

MOD

MFX

BYPASS

PHRASE

REVERB CHORUSDELAY

OUTPUT LEVEL

LOOP

SELECT

OUTPUT

LINE SELECT

PCM TONE 1

GUITAR TO MIDI

MIDI OUT /

COMPUTER (USB) MIDI OUT

DIVIDED

STRUCTURE

SELECT

GUITAR OUT

TONE

MODELING

PCM TONE 2

SETTING

GK IN

NORMAL PU

NORMAL

PATCH NO.

(PROGRAM CHANGE)

MIDI IN /

COMPUTER

(USB) MIDI IN

MIDI Implementation Chart

GUITAR SYNTHESIZER Model GR-55

Basic Channel

Mode

Note Number

Velocity

After Touch

Pitch Bend

Control Change

Program Change

Function...

Default

Changed

Default

Messages

Altered

True Voice

Note On Note O

Key’s

Ch’s

0, 32

1–31 33–63 64–95

True #

Transmitted Recognized Remarks

1–16 1–16

Mode 3, 4 (M = 6) x

**************

0–127 **************

o x

x x

o o x o

o 0–127

1–16 1–16

Mode 3 x

x x

o o x o

o 0–127

Memorized

*1 *1

Bank Select

Program Number 1–128

Date : September 9, 2010

Version : 1.00

System Exclusive

Common

System Realtime

AUX Messages

Notes

Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY

All Sound OFF

Reset All Controller

Song Position

Song Select

Tune Request

Clock

Commands

Local ON/OFF

All Notes OFF

Active Sense

System Reset

x x x

o x

x x x x o x

*1 Can be received only through the Basic channel.

Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO

x x x

o x

x x x x o x

o: Yes x: No

Main Specications

Roland GR-55: Guitar Synthesizer

Sound Generator

Tones

Eects

Patch Memory

AD Conversion

DA Conversion 24-bit

Sampling Frequency 44.1 kHz

Nominal Output Level

Output Impedance

USB Memory Audio Player File Format: WAV, AIFF

Display Graphic LCD 240 x 64 dots

Connectors

Power Supply DC 9 V

Current Draw 700 mA

Dimensions

Weight 3.3 kg / 7 lbs 5 oz (excluding AC adaptor)

Accessories

Options

PCM 2 tones

Modeling 1 tone

PCM 910 types

Modeling

MFX (Multi-Eects) 20 types

Preamp 42 types

Modulation 14 types

Chorus 7 types

Delay 5 types

Reverb 4 types

EQ 1 type

Guitar mode: 270 (Preset) + 297 (User)

Bass mode: 90 (Preset) + 297 (User)

GK Pickup 24-bit

Normal Pickup

OUTPUT jacks -10 dBu

GUITAR OUT -10 dBu

OUTPUT jacks 2 k ohms

GUITAR OUT 2 k ohms

GK IN connector (13 pins DIN type) GUITAR OUT jack (1/4 inch phone type) OUTPUT L/MONO, R jacks (1/4 inch phone type) PHONES jack (Stereo 1/4 inch phone type) MIDI connectors (IN, OUT) (5-pin DIN type) USB COMPUTER connector (supports USB 2.0 Hi-Speed USB MIDI and USB Audio) USB MEMORY connector (supports USB 2.0 Hi-Speed Flash Memory) DC IN jack

Dimensions of USB memory that can be installed: 60 (length: including connector) x 26 (width) x 13.5 (thickness) mm or smaller

405 (W) x 244 (D) x 78 (H) mm 16 (W) x 9-5/8 (D) x 3-1/8 (H) inches

Maximum height: 405 (W) x 244 (D) x 106 (H) mm 16 (W) x 9-5/8 (D) x 4-3/16 (H) inches

Model with included GK pickup Model for separately sold GK pickup

AC adaptor Owner’s manual Divided pickup (GK-3) GK cable (5 m)

Divided pickup: GK-3 (for guitar), GK-3B (for bass guitar) GK cable: GKC-5 (5 m), GKC-10 (10 m) MIDI foot controller: FC-300 Unit selector: US-20

23 types (guitar mode)

17 types (bass mode)

24-bit + AF method

* AF method (Adaptive Focus method)

This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (S/N) ratio of the A/D and D/A converters.

AC adaptor Owner’s manual

* 0 dBu=0.775 Vrms

* In the interest of product improvement, the specications and/or appearance of this unit are subject to change without prior notice.

Index

ALT-TUNING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 59

AMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 57

Assignments

Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Audio les . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Audio Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

AUTO POWER OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

BACKUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72, 80

Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

CALIB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Connecting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

External Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Controller

Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

COSM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

EDIT screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Eect

Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Editing (Detailed Settings) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

EFFECT parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Error messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

Expression pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

EZ EDIT function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Functional ground terminal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

GK CTL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 55, 76

Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

GK pickups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22, 54, 69

GK SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 58, 69

GK SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 69, 74

GUITAR<->BASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

GUITAR OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59, 70

GUITAR OUT Jack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Internal pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

LCD CONTRAST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

MASTER parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

MFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67, 79

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

MODELING TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

NORMAL PICKUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Nuance parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12, 70, 75

Parameter List

EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

MASTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

MODELING TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

PCM TONE 1/PCM TONE 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 22

Changing the Order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Initializing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Renaming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

PATCH EXCHANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

PATCH INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

PATCH NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

PATCH TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 58

PATCH WRITE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

PCM TONE 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

PCM TONE 1/PCM TONE 2 parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Pedal

Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

PEDAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 55, 76

Audio Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Pedal Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Phrase Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Pickups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Playing Back

Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

POWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Preset patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 22

Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

RESTORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Restoring

Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

GR-55 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Saving

GR-55 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 60

Selecting

GUITAR<->BASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

User Patch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Setting

Eect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

GK Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

GK Pickup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

GUITAR OUT Jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

MASTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Patch Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Pedal/GK Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

V-LINK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Side Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Sound Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Switching

Eect Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

GK Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69, 74

Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Tone

Changing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Connection Destination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Editing (Detailed Settings) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Tone category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Tone Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Top Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 71

Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 71

USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

USB audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

USB driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

USB memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65, 72

USB MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

User patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 22

Virtual expression pedal system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

V-LINK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 59, 68

Wave pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Index

For China

For EU Countries

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

For the U.K.

For EU Countries

For the USA

BLUE: BROWN:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

This product complies with the requirements of EMC Directive 2004/108/EC.

NEUTRAL LIVE

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment o and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna. – Increase the separation between the equipment and receiver. – Connect the equipment into an outlet on a circuit dierent from that to which the receiver is connected. – Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

This equipment requires shielded interface cables in order to meet FCC class B limit. Any unauthorized changes or modications not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment.

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

For C.A. US (Proposition 65

WARNING

This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead.

DECLARATION OF CONFORMITY

Compliance Information Statement

Model Name :

Type of Equipment :

Responsible Party :

Address :

Telephone :

GR-55 Guitar Synthesizer Roland Corporation U.S. 5100 S.Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700

For Canada

)

Information

AFRICA

EGYPT

Al Fanny Trading O ce

9, EBN Hagar Al Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: (022)-417-1828

REUNION

MARCEL FO-YAM Sarl

25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429

SOUTH AFRICA

T.O.M.S. Sound & Music (Pty)Ltd.

2 ASTRON ROAD DENVER JOHANNESBURG ZA 2195, SOUTH AFRICA TEL: (011) 417 3400

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24 Londonderry Road, Ottery 7800 Cape Town, SOUTH AFRICA TEL: (021) 799 4900

ASIA

CHINA

Roland Shanghai Electronics Co.,Ltd.

5F. No.1500 Pingliang Road Shanghai 200090, CHINA TEL: (021) 5580-0800

Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE)

3F, Soluxe Fortune Building 63 West Dawang Road, Chaoyang District, Beijing, CHINA TEL: (010) 5960-2565

HONG KONG

Tom Lee Music

11/F Silvercord Tower 1 30 Canton Rd Tsimshatsui, Kowloon, HONG KONG TEL: 852-2737-7688

Parsons Music Ltd.

8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 852-2333-1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra Mahalaxmi Flats Compound O . Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051

INDONESIA

PT. Citra Intirama

Ruko Garden Shopping Arcade Unit 8 CR, Podomoro City Jl.Letjend. S.Parman Kav.28 Jakarta Barat 11470, INDONESIA TEL: (021) 5698-5519/5520

KOREA

Cosmos Corporation

1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA/ SINGAPORE

Roland Asia Paci c Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

TAIWAN

ROLAND TAIWAN ENTERPRISE CO., LTD.

9F-5, No. 112 Chung Shan North Road Sec. 2 Taipei 104, TAIWAN R.O.C. TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

100-108 Soi Verng Nakornkasem, New Road,Sumpantawong, Bangkok 10100, THAILAND TEL: (02) 224-8821

VIET NAM

VIET THUONG CORPORATION

386 CACH MANG THANG TAM ST. DIST.3, HO CHI MINH CITY, VIET NAM TEL: (08) 9316540

OCEANIA

AUSTRALIA/ NEW ZEALAND

Roland Corporation Australia Pty.,Ltd.

38 Campbell Avenue Dee Why West. NSW 2099, AUSTRALIA

For Australia TEL: (02) 9982 8266 For New Zealand TEL: (09) 3098 715

CENTRAL/LATIN AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055 (1123) Buenos Aires, ARGENTINA TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park Wildey, St.Michael, BARBADOS TEL: (246) 430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 211 Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9

Medellin, COLOMBIA TEL: (574) 3812529

COSTA RICA

JUAN Bansbach Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211

CURACAO

Zeelandia Music Center Inc.

Orionweg 30 Curacao, Netherland Antilles TEL: (305) 5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3 Ens.La Esperilla Santo Domingo, DOMINICAN REPUBLIC TEL: (809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma Guayaquil - ECUADOR TEL: (593-4) 2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final Alameda Juan Pablo II, Edi cio No.4010 San Salvador, EL SALVADOR TEL: 262-0788

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala, GUATEMALA TEL: (502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, HONDURAS TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle 97232 Le Lamantin, MARTINIQUE F.W.I. TEL: 596 596 426860

Gigamusic SARL

10 Rte De La Folie 97200 Fort De France MARTINIQUE F.W.I. TEL: 596 596 715222

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F., MEXICO TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, NICARAGUA TEL: (505) 277-2557

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101

PARAGUAY

Distribuidora De Instrumentos Musicales

J.E. Olear y ESQ. Manduvira Asuncion, PARAGUAY TEL: (595) 21 492147

PERU

Audionet

Distribuciones Musicales SAC Juan Fanning 530 Mira ores Lima - PERU TEL: (511) 4461388

TRINIDAD

AMR Ltd

Ground Floor Maritime Plaza Barataria TRINIDAD W.I. TEL: (868) 638 6385

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335

VENEZUELA

Instrumentos Musicales Allegro,C.A.

Av.las industrias edf.Guitar import #7 zona Industrial de Turumo Caracas, VENEZUELA TEL: (212) 244-1122

EUROPE

BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811

CROATIA

ART-CENTAR

Degenova 3. HR - 10000 Zagreb, CROATIA TEL: (1) 466 8493

CZECH REP.

CZECH REPUBLIC DISTRIBUTOR s.r.o

Voctárova 247/16 180 00 Praha 8, CZECH REP. TEL: (2) 830 20270

DENMARK

Roland Scandinavia A/S

Skagerrakvej 7 Postbox 880 DK-2100 Copenhagen, DENMARK TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial Finland

Vanha Nurmijarventie 62 01670 Vantaa, FINLAND TEL: (0) 9 68 24 020

GERMANY/AUSTRIA

Roland Elektronische Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090

GREECE/CYPRUS

STOLLAS S.A. Music Sound Light

155, New National Road Patras 26442, GREECE TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

2045 Torokbalint, FSD Park, building 3., HUNGARY TEL: (23) 511011

IRELAND

Roland Ireland

E2 Calmount Park, Calmount Avenue, Dublin 12, Republic of IRELAND TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd. Kontor Norge

Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo, NORWAY TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

ul. Kty Grodziskie 16B 03-289 Warszawa, POLAND TEL: (022) 678 9512

PORTUGAL

Roland Iberia, S.L. Branch O ce Porto

Edifício Tower Plaza Rotunda Eng. Edgar Cardoso 23, 9ºG 4400-676 Vila Nova de Gaia, PORTUGAL TEL: (+351) 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1, 535500 Gheorgheni, ROMANIA TEL: (266) 364 609

RUSSIA

Roland Music LLC

Dorozhnaya ul.3,korp.6 117 545 Moscow, RUSSIA TEL: (495) 981-4967

SERBIA

Music AP Ltd.

Sutjeska br. 5 XS - 24413 Palic, SERBIA TEL: (024) 539 395

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18. SK - 940 01 Nové Zámky, SLOVAKIA TEL: (035) 6424 330

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35 08005 Barcelona, SPAIN TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE

Mårbackagatan 31, 4 tr. SE-123 43 Farsta, SWEDEN TEL: (0) 8 683 04 30

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 975-9987

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a. Nedecey Str. 30 UA - 89600 Mukachevo, UKRAINE TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha Building Road 3931, Manama 339, BAHRAIN TEL: 17 813 942

IRAN

MOCO INC.

NO.16 End of Nike St. Shariaty Ave, Roberouye Cerah Mirdamad Teheran, IRAN TEL: (021)-2288-2998

ISRAEL

Halilit P. Greenspoon & Sons Ltd.

8 Retzif Ha'alia Hashnia St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666

JORDAN

MUSIC HOUSE CO. LTD. FREDDY FOR MUSIC

P. O. Box 922846 Amman 11192, JORDAN TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI & SONS CO.

Al-Yousi S ervice Center P.O.Box 126 (Safat) 13002, KUWAIT TEL: 00 965 802929

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine Bldg., Achra eh, P.O.Box: 16-5857 Beirut, LEBANON TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1 Al Noor Street, Ruwi SULTANATE OF OMAN TEL: 2478 3443

QATAR

AL-EMADI TRADING & CONTRACTING CO.

P.O. Box 62, Doha, QATAR TEL: 4423-554

SAUDI ARABIA

aDawliah Universal Electronics APL

Behind Pizza Inn Prince Turkey Street aDawliah Building, PO BOX 2154, Alkhobar 31952, SAUDI ARABIA TEL: (03) 8643601

SYRIA

Technical Light & Sound Center

PO Box 13520 Bldg No.49 Khaled Abn Alwalid St. Damascus, SYRIA TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.33 Beyoglu, Istanbul, TURKEY TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg., No. 14, Ground Floor, Dubai, U.A.E. TEL: (04) 3360715

NORTH AMERICA

CANADA

Roland Canada Ltd. (Head O ce)

5480 Parkwood Way Richmond B. C., V6V 2M4, CANADA TEL: (604) 270 6626

Roland Canada Ltd. (Toronto O ce)

170 Admiral Boulevard Mississauga On L5T 2N6, CANADA TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

As of Oct. 1, 2010 (ROLAND)

* 5 1 0 0 0 1 8 7 8 7 - 0 3 *

Roland GR-55 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

USING THE UNIT SAFELY

IMPORTANT NOTES

Main Features

Settings

Preparations for Using the GR-55

Connections

Selecting Guitar or Bass (GUITAR<->BASS)

Adjusting the Pickups (GK SETTING)

Adjusting Your Guitar Pickup

Adjusting Your Bass Pickup

Specifying the Output System (OUTPUT SELECT)

Tuning Your Instrument (the Tuner Function)

Quick Guide

Selecting and Playing Sounds

Adjusting the Output Level

Selecting a Sound (Patch)

Playing Your Guitar

Creating an Original Sound

Using the EZ EDIT Function to Create a Sound

Saving the Sound You Created

Reference

Panel Descriptions

Front Panel

About the Top Screen

About the EDIT Screen

Rear Panel

Side Panel

How the GR-55 Works

Editing the Tones (TONE)

Changing the Tone

Tone Category

Editing the Tone

Editing a Tone (Detailed Settings)

Parameter List (PCM TONE 1/PCM TONE 2)

Parameter List (MODELING TONE)

Changing the Structure/Specifying the Connection Destination

Parameter List (EFFECT)

DELAY

REVERB

CHORUS

Patch Settings (MASTER)

Controller Settings (ASSIGN)

Patch Tempo Setting (PATCH TEMPO)

GK Pickup Settings for Each Patch (GK SET)

GUITAR OUT Jack Settings (GUITAR OUT)

Pedal and GK Control Settings (PEDAL/GK CTL)

Changing the Tuning of Each String (ALT-TUNING)

V-LINK Settings (V-LINK)

Parameter List (MASTER)

PEDAL/GK CTL

ASSIGN

PATCH TEMPO

GK SET

GUITAR OUT

ALT-TUNING

V-LINK

Saving a Patch (PATCH WRITE)

Saving a Patch (PATCH WRITE)

Renaming a Patch

Changing the Order of Patches (PATCH EXCHANGE)

Initializing the Settings of a Patch (PATCH INITIALIZE)

Controller Assignments

Controllers Whose Assignment Can Be Changed

Making a Pedal Have the Same Operation for All Patches

Changing the Pedal Assignments for Each Patch

Specifying the Parameter to be Controlled by the Controller

Using Phrase Loop

Using the GR-55 as an Audio Player

Copying Audio Files From Your Computer to USB Memory

Playing Back Audio

Inserting the USB Memory

Using the Pedal to Control the Audio Player

Connecting External Equipment

Connecting a Computer via USB

Connecting the GR-55 to a Computer