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Roland GR-33 Owner's Manual

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Owner's Manual
Thank you, and congratulations on your choice of the Roland
GR-33 Guitar Synthesizer.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 9)
These sections provide important information concerning
the proper operation of the unit.
Additionally, in order to feel assured that you have gained a
good grasp of every feature provided by your new unit,
Owner's manual should be read in its entirety. The manual
should be saved and kept on hand as a convenient reference.
Copyright © 2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.

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  Summary of Contents for Roland GR-33

  • Page 1 Owner’s Manual Thank you, and congratulations on your choice of the Roland GR-33 Guitar Synthesizer. Before using this unit, carefully read the sections entitled: • USING THE UNIT SAFELY (page 2–3) • IMPORTANT NOTES (page 9) These sections provide important information concerning the proper operation of the unit.
  • Page 2 • Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page.
  • Page 3 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.
  • Page 4: Table Of Contents

    Contents Getting Started ...8 About the Guitar Synthesizer... 8 What You Can Do with the GR-33 ... 8 IMPORTANT NOTES ...9 Panel Descriptions...10 Chapter 1 Producing Sounds ...13 What You Need... 13 Installing the GK-2A ... 13 Making Connections ... 14 Necessary Steps—From Powering Up to Performance ...
  • Page 5 Saving Patches ... 36 Cautions When Saving ... 36 Saving Patches From the GR-33 to Sequencers or Other MIDI Devices (Bulk Dump)... 37 Receiving previously saved system or patch data (Bulk Load) ... 37 Naming the Patches (PATCH NAME) ... 38 Setting the Volume Level of Each Patch (PATCH LEVEL)...
  • Page 6 Connecting to an External MIDI Sound Device ... 86 Setting MIDI Channel/Bend Range (BASIC CHANNEL, BEND RANGE)... 86 Changing Patch and Other Parameters by Transmitting MIDI Messages from the GR-33 (MIDI [PC]) ... 88 Selecting Separate Sounds Programmed for Different Strings... 89 Selecting More Than 128 Tones (MIDI [CC0], MIDI [CC32]) ...
  • Page 7 Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE]) ... 92 What to do if an External Module Doesn’t Produce Sound as Expected... 92 Using the GR-33 as an External Sequencer Input Tool ... 93 Connecting to a Sequencer... 93 Input Procedures and Settings for Each Device ...
  • Page 8: Getting Started

    Getting Started About the Guitar Synthesizer The GR-33 guitar synthesizer, though small and compact, is big on functions and high-quality sounds. Say “synthesizer,” and people generally think of the typical kind with a keyboard controller. However, since the keys on...
  • Page 9: Important Notes

    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. Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.
  • Page 10: Panel Descriptions

    (The GR-33 is in Play mode at start-up.) SYSTEM Button This button selects System mode. Press this button to enter System mode. When you are in System mode, you can make settings to the GR-33 itself, as opposed to making settings for specific sounds. TUNER Button This button selects Tuner mode.
  • Page 11: Foot Pedal

    11 BANK/PARAMETER Button Press these buttons in Play mode to switch patch banks. In System mode and Patch Edit mode, these buttons select the parameter to be adjusted. 12 PATCH/VALUE Dial In Play mode, turn this dial to scroll through the different patches or tones in order.
  • Page 12: Power Switch

    GR-33 to control sounds in an external MIDI sound generator module, or to load tone data stored on an external MIDI storage device. This is the switch that turns power to the GR-33 on and off. Connect the AC adapter included with the GR-33 to this jack.
  • Page 13: Chapter 1 Producing Sounds

    Chapter 1 Producing Sounds What You Need The following items are necessary for getting sounds from your GR-33: GR-33 base module, with included accessories (AC adapter, 13-pin cable) Amplifier, speakers, and cables—a completely stereophonic system is preferable—or stereo headphones GK-2A divided pickup...
  • Page 14: Making Connections

    (keyboard amplifier, PA system, etc.) See p. 15 See p. 23 * If you are outputting a mono signal from the GR-33, connect the cable to the R (MONO) jack of the MIX OUT jacks. <Stereo Out> To get the optimal performance from the GR-33, and to fully...
  • Page 15: Necessary Steps-From Powering Up To Performance

    GR-33’s VOLUME knob all the way counterclockwise—thus turning its volume all the way down—and press the power switch on the rear panel to turn on the GR-33. (Pressing the switch again turns the power off.) If you wish, use the procedure described in “Reset to Default Factory Settings (Factory Reset)”...
  • Page 16: Reset To Default Factory Settings (Factory Reset)

    “Factory Reset.” At the time of purchase, the GR-33’s user patches (A11 to D84) are the same as preset patches E11 to H84. These patches, as well as the GR-33’s system settings—...
  • Page 17: Overall Settings For The Gr-33 (System)

    Overall Settings for the GR-33 (SYSTEM) Adjusting the Brightness of the Display (LCD Contrast) Adjusting the Brightness of the Display 1. Press [SYSTEM] to enter System mode. 2. Press [PARAMETER] to select “LCD CONTRAST.” fig.1-06 3. Turn [VALUE] to adjust the contrast.
  • Page 18: Matching Pitches Of Other Instruments

    The master tuning (basic pitch) set at the factory for the GR- 33’s sounds and internal tuner is A = 440.0 Hz. If you need to match the GR-33’s tuning to the tuning of another instrument—or if you want to change the master tuning for any other reason—perform the following steps.
  • Page 19: Selecting The Output Device (Output Select)

    Selecting the output device (OUTPUT SELECT) In order for the GR-33 to produce the correct output levels, you must select the type of device to which its outputs are connected (MIX OUT). fig.1-14 1. Press [OUTPUT SELECT] and select the appropriate setting.
  • Page 20: Playing The Internal Synth Sounds With The Guitar

    (p. 14). • Make sure the volume on both the GR-33 and the GK-2A are up. Also, make sure that the guitar/synth switch is not set to GUITAR.
  • Page 21: Chapter 2 Selecting And Playing Sounds (Patches)

    Chapter 2 Selecting and Playing Sounds (Patches) What Is a Patch? “Patch” is the term for the GR-33’s tones that can be called up at any time with a foot switch or other device. There are 256 patches stored in the GR-33. As an example, the “A11” that...
  • Page 22: Using The Base Module To Select Patches

    <Using the Pedal> With the GR-33 in the state just described, you can get various pedal effects (explained later). For example hold, pitch glide, and the like can be obtained, by stepping on the base unit’s four pedals.
  • Page 23: Using The Base Module Plus An External Foot Switch To Select Patches

    fig.2-06 While holding down S1 3. While pressing [S1] on the GK-2A, step on [BANK (pedal 4) or [BANK ] (pedal 3). As long as the [S1] button is held down, pedal 4 works as a [BANK ] (BANK UP), and pedal 3 as a [BANK (BANK DOWN).
  • Page 24: Selecting Patches With An External Midi Foot Controller

    The patch number displayed will be “001,” rather than “A11.” 8. Set the MIDI send channel of the MIDI foot controller to match the channel of the GR-33 (p. 86; the factory setting is channel Mono 11). 9. Use the MIDI foot controller to switch patches externally, operating the controller according to the instructions in the owner’s manual.
  • Page 25: Changing The Patch Order

    Changing the Patch Order When sequencing patches while performing a piece, or while you are on stage, if the patches are from the same group/ bank (for example A11 to A14), you can switch patches very smoothly by using the pedals on the base module. To change the order of the patches, perform the patch write (p.
  • Page 26: Chapter 3 Controlling Functions And Effects With The Base Module Pedals

    “Pedal Effect Mode”: What It Is, and How to Call It Up About Pedal Effect Mode By using the four pedals on the GR-33, you can turn on and off the Arpeggiator (and Harmonist) function, and get effects such as synth sound hold and wah pedal.
  • Page 27: Turning Arpeggiator And Harmonist On/Off

    For details, refer to p. 80. The GR-33 comes with Multi-Effects, Arpeggiator, and Harmonist functions that can be turned on and off using the pedals. * The MULTI-FX Bypass, Arpeggiator and Harmonist can be turned on or off individually for each Patch.
  • Page 28: Changing Effects With The Pedals

    String is Stopped (Hold) Press Pedal 3 (HOLD) to activate the Hold function. When you use this effect, the synthesizer sound continues to play even after the guitar string has stopped vibrating. You can select from a number of variations — hold the...
  • Page 29: Calling Up The Tuner Function With A Pedal

    Chapter 3 Controlling Functions and Effects with the Base Module Pedals Calling Up the Tuner Function with a Pedal 1. While pressing [S1] on the GK-2A, step on Pedal 1 (TUNER). * Perform this operation with “S1/S2 FUNCTION” set to “Normal.”...
  • Page 30: Chapter 4 Five Basic Modes

    Chapter 4 Five Basic Modes The three main modes of the GR-33 allow you to: • Select tones and perform “Play mode” • Get effects such as wah or hold using the pedal on the base module “Pedal Effect mode”...
  • Page 31: Pedal Effect Mode

    Goes forward and back through banks. [PLAY] Button Returns you to Play mode. [SYSTEM] Button Switches to System mode (settings for the GR-33 itself). [TUNER] Button Switches to Tuner mode (p. 18). [WRITE] Button Writes the contents of a patch (p. 36).
  • Page 32: Patch Edit Mode: What It Means, How It Works

    Use these buttons to select the parameter that you wish to adjust. [PLAY] Button Returns you to Play mode. [SYSTEM] Button Switches to System mode (settings for the GR-33 itself). [TUNER] Button Switches to Tuner mode (p. 18). [WRITE] Button Writes the contents of a patch (p. 36).
  • Page 33: System Mode

    System Mode In this mode you can make settings for the entire GR-33 — i.e., settings that do not change when you switch patches — such as input sensitivity and display brightness. In System mode, the buttons and dials work as follows:...
  • Page 34: Getting Into And Out Of Each Mode

    Pedal Effect mode. For modes other than Pedal Effect mode, you can press a single button on the GR-33 to enter the desired mode from any other mode. The following diagram shows the buttons corresponding to each mode, and the state of the three-digit display for each mode.
  • Page 35: Chapter 5 Setting/Changing Sounds (Patches)

    Chapter 5 Setting/Changing Sounds (Patches) Details of Putting a Patch Together Every patch is constructed as shown in the following figure. fig.5-01 128 Preset Patches 128 User Patches A11 – D84 2nd TONE 1st TONE Tone Selection #1 – #384 (Piano, Organ, etc.) Tone Adjustment •Attack...
  • Page 36: The Relationship Between Arpeggiator/Harmonist And Patches

    (p. 75). * You do not have to manually save the System mode parameters that apply to the entire GR-33. Changes made to these settings are saved automatically, and are stored even after the power is turned off.
  • Page 37: Saving Patches From The Gr-33 To Sequencers Or Other Midi Devices (Bulk Dump)

    (Bulk Dump) Settings for all user patches—as well as all system settings— can be transferred in and out of the GR-33 using MIDI. You can also save patches externally to equipment that can record MIDI data. For this kind of operation, the GR-33 uses MIDI messages called “System Exclusive messages,”...
  • Page 38: Naming The Patches (Patch Name)

    Chapter 5 Setting/Changing Sounds (Patches) 7. Press [PLAY] to return to Play mode. * If you send data for a single patch to the GR-33, you will need to perform the Patch Write operation (p. 36) on the GR-33 to store the patch in a patch memory location.
  • Page 39: Changing The Feel Of A Performance (Play Feel)

    (i.e. the string) is touched directly, allowing subtle control of the power with which it is played. To let the guitar synthesizer make maximum use of this feature, it is necessary to set the “playing response.”...
  • Page 40: Following The Guitar Sound Shape (Envelope Follow)

    When you are making selections in PLAY FEEL (p. 39), when items containing “Accl” in the lower right corner of the display are selected, the GR-33’s “Acceleration Function” is turned on. When put in this mode, the average speed from picking to sound is higher than usual.
  • Page 41: Changing Sound Placement (Pan)

    * You can hear the selected panning effect only through equipment that can produce stereo sound— and is connected to the GR-33’s MIX OUT using two cables—or when using stereo headphones. * The PAN setting made here is ignored if you have a monaural...
  • Page 42: Dividing Continuous Pitch Changes Into Semitones (Chromatic)

    Chapter 5 Setting/Changing Sounds (Patches) Dividing Continuous Pitch Changes into Semitones (CHROMATIC) The GR-33 faithfully reproduces the slight pitch changes and in-between notes you get from fingering your guitar’s strings. However, should the need arise, you can also limit this subtle pitch response to semitone changes only.
  • Page 43: Selecting Wah Types (Wah Type)

    Wah1–5: This adds an effect that resembles a guitar wah pedal to the synthesizer sound. With this unique effect added to the sound, stepping on the pedal gives the tone a brighter “wah” sound, and when the pedal is released, the sound becomes darker, with an “oww”...
  • Page 44: Selecting Pitch Glide Type (Glide Type)

    Chapter 5 Setting/Changing Sounds (Patches) * If you use wah once, the sound from a patch with a muffled sound may continue, or some other kind of peculiarity may change, even after releasing the wah pedal. If this happens, switch to another patch, and then call up the desired patch again to return to the original sound.
  • Page 45: Selecting Hold Type (Hold Type)

    Selecting Hold Type (HOLD TYPE) With the Hold function on pedal 3 in Pedal Effect mode, for the qualities such as the sustaining of a tone’s sounding, there are fifteen ready-made variations that can be selected according to the particular purpose, and saved to patches. Selecting Hold Type 1.
  • Page 46: Using The Ctrl Pedal

    Chapter 5 Setting/Changing Sounds (Patches) Sostenuto All: This sostenuto hold works on all internal and external MIDI sound generators. Sostenuto 1st: This sostenuto hold works only on the first internal sound generator. Sostenuto 2nd: This sostenuto hold works only on the second internal sound generator.
  • Page 47: Using The Expression Pedal

    Using the Expression Pedal By using the expression pedal (EXP pedal) attached to the GR-33, you can add various effects to synth sounds. You can choose from among eighteen effects that can be controlled with the EXP pedal, including pitch, volume, arpeggiator tempo and the like.
  • Page 48 1 to 31, or from 64 to 95. Use this when you want to control external effects processors or parameters in external devices. This has no effect on the GR-33’s internal sound generators. * After selecting “Pan (Normal)” or “Pan (Cross Tones),” you may notice a slight noise as you move the EXP pedal—this is...
  • Page 49: Creating Synth Sounds

    Creating Synth Sounds You can select from among the 384 built-in sounds that provide the foundation for the GR-33’s patches, choosing a “1st tone” (first tone) and a “2nd tone” (second tone). Following the steps below, let’s actually select some tones and assemble a patch.
  • Page 50: Changing Tone Release (Release)

    Chapter 5 Setting/Changing Sounds (Patches) Changing Tone Release (RELEASE) With the “RELEASE” setting, you can change the decay of the 1st (or 2nd) tone you selected with 1ST SELECT (or 2ND SELECT). By increasing the release time, the sound fades away more gradually at the end of a note, even after the strings stop vibrating.
  • Page 51: Combining/Layering Two Sounds (Tones)

    (p. 35). Transposing by Semitones (TRANSPOSE) Ordinarily in the GR-33, the pitch of the synth sound is the same as the guitar’s. When the need arises, you can change this pitch relationship, offsetting it by semitones—this is called “transpose.” By transposing, you can change the synthesizer’s sound by different intervals—an octave, fifth,...
  • Page 52: Determining The Volume Balance Of Two Tones (1:2 Balance)

    Chapter 5 Setting/Changing Sounds (Patches) 3. Use [STRING SELECT] to select the string you wish to set up. For more detailed information about the “STRING SELECT” button, refer to “Making separate settings for each string (STRING SELECT)” (p. 35). * When you want to make settings to all of strings together, choose “ALL.”...
  • Page 53: Chapter 6 Using The Built-In Effects

    Reverb is an effect that simulates the reverberation you get when performing in a room or hall with good acoustics. With the GR-33’s built-in reverb, you also get delay (an effect that repeats a sound, sort of like a mountain echo).
  • Page 54: Selecting A Type (Multi-Fx Type)

    Chapter 6 Using the Built-in Effects Selecting a Type (MULTI-FX TYPE) Multi Effects provides 40 different effects types (MULTI-FX TYPE). For each of these effect types, you can specify parameter values. By changing these parameters, various effects can be applied. Parameters for each effects type are given on the following pages.
  • Page 55: About Multi-Effects Parameters

    About Multi-Effects Parameters 1: STEREO-EQ (Stereo equalizer) This is a stereo equalizer which allows you to adjust the tone quality using a low range, two mid-range, and a high range control. fig.6-05 L in 4-Band EQ R in 4-Band EQ LOW FREQ (Low frequency) 200 Hz/400 Hz Select the frequency (200 Hz/400 Hz) at which the low frequency range will be adjusted.
  • Page 56 Chapter 6 Using the Built-in Effects 3: DISTORTION Distortion produces a more intense distortion than the Overdrive effect. fig.6-07 L in Distortion Simulator R in DRIVE 0–127 # Adjust the amount of distortion. The volume will change together with the amount of distortion. PAN (Output pan) L64–0–R63 Specify the stereo location of the output sound.
  • Page 57 BAND4 (Band 4 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 1250 Hz. BAND5 (Band 5 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 2000 Hz. BAND6 (Band 6 gain) -15–+15 dB Specify the gain (amount of boost or cut) at 3150 Hz.
  • Page 58 Chapter 6 Using the Built-in Effects LOW SLOW (Low frequency slow rate) 0.05–10.0 Hz Specify the low-speed (SLOW) rotational speed of the low- range rotor. HIGH FAST (High frequency fast rate) 0.05–10.0 Hz Specify the high-speed (FAST) rotational speed of the high- range rotor.
  • Page 59 PAN (Output pan) L64–0–R63 Specify the stereo location of the output sound. A setting of L64 is far left, 0 is center, and R63 is far right. POST GAIN 0/+6/+12/+18 dB Specify the level of the output sound. LOW GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the low frequency range.
  • Page 60 Chapter 6 Using the Built-in Effects 13: SPACE-D Space-D is a multiple chorus that applies two-stage modulation in stereo. It does not produce a sense of modulation, but creates a transparent chorus effect. fig.6-17 Balance D L in Balance E Space D Balance E Space D...
  • Page 61 15: STEREO-FL (Stereo Flanger) This is a stereo flanger (the LFO has the same phase for left and right). This produces a metallic resonance reminiscent of a jet airplane taking off and landing. A filter is provided so that you can adjust the tone of the flanger sound. fig.6-19 Balance D L in...
  • Page 62 Chapter 6 Using the Built-in Effects LOW GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the low frequency range. Positive (+) settings will emphasize (boost) the low frequency range. HIGH GAIN -15–+15 dB Specify the gain (amount of boost or cut) for the high frequency range.
  • Page 63 18: MOD-DELAY (Modulation Delay) Modulation-delay is an effect which adds modulation to the delay sound. It produces a flanger-like effect. fig.6-22 When Feedback Mode parameter is Normal: Balance D L in Delay Modulation Balance E Feedback Feedback Delay Modulation Balance E R in Balance D When Feedback Mode parameter is Cross:...
  • Page 64 Chapter 6 Using the Built-in Effects DELAY CENTER (Delay time center) Specify the delay time from the original sound until the center delay sound is heard. * The setting values are the same as for DELAY LEFT. FEEDBACK (Feedback level) -98%–+98% # Specify the proportion (%) of the delay sound that is to be returned to the input.
  • Page 65 HF DAMP 200/250/315/400/500/630/800/1000/1250/1600/2000/2500/3150/ 4000/5000/6300/8000 (200–8000 Hz), Bypass Specify the frequency at which the high frequency range of the delayed sound returned to the input will be cut. If you do not want the sound to be cut, select Bypass. BALANCE (Effect balance) D100:0E–D0:100E Specify the volume balance between the original sound and the delay sound.
  • Page 66 Chapter 6 Using the Built-in Effects FINE B (Fine pitch B) -100–+100 Adjust the pitch shift amount in 2-cent units (1 cent = 1/ 100th of a semitone) for pitch shift B. PRE DELAY A (Pre delay time A) 0.0–500 ms Specify the time delay from the original sound until the pitch shift A sound is heard.
  • Page 67 24: REVERB Reverb adds reverberation to the original sound, simulating an acoustic space. fig.6-27 2-Band L in Balance D Balance E Reverb Balance E 2-Band R in Balance D TYPE (Reverb type) Room1/Room2/Stage1/Stage2/Hall1/Hall2 Specify the type of reverb. Room1: Short reverberation with high density Room2: Short reverberation with low density Stage1:...
  • Page 68 Chapter 6 Using the Built-in Effects 26: OD CHO (Overdrive This effect connects an overdrive and chorus in series. fig.6-29 L in Balance D Overdrive Chorus R in Balance D OD DRIVE 0–127 # Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion.
  • Page 69 28: OD DLY (Overdrive This effect connects an overdrive and a delay in series. fig.6-31 L in Balance D Overdrive Delay Feedback R in Balance D OD DRIVE 0–127 # Specify the amount of distortion for the overdrive. The volume will change together with the amount of distortion. OD PAN (Overdrive pan) L64–0–R63 Specify the stereo location of the overdrive sound.
  • Page 70 Chapter 6 Using the Built-in Effects 32: EH CHO (Enhancer This effect connects an enhancer and a chorus in series. fig.6-35 L in Enhancer Chorus R in Enhancer EH SENS (Enhancer sensitivity) 0–127 Specify the sensitivity of the enhancer. EH MIX (Enhancer mix level) 0–127 Specify the volume of the overtones generated by the enhancer, relative to the original sound.
  • Page 71 34: EH DLY (Enhancer This effect connects an enhancer and delay in series. fig.6-37 L in Enhancer Balance D Delay Feedback R in Enhancer Balance D EH SENS (Enhancer sensitivity) 0–127 Specify the sensitivity of the enhancer. EH MIX (Enhancer mix level) 0–127 Specify the volume of the overtones generated by the enhancer, relative to the original sound.
  • Page 72 Chapter 6 Using the Built-in Effects LEVEL (Output level) 0–127 Specify the output volume. 36: FL DLY (Flanger This effect connects a flanger and a delay in series. fig.6-39 Balance D L in Feedback Balance E Flanger Balance E R in Balance D FL PRE DLY (Flanger pre delay time) 0.0–100 ms Specify the time delay from the original sound until the...
  • Page 73 FL FEEDBACK (Flanger feedback level) -98–+98 % Specify the proportion (%) of the flanger sound that is to be returned to the input. Positive (+) settings will return the sound to the input with the original phase, while negative (-) settings produce an inverted phase.
  • Page 74: Making Chorus Settings

    * After performing the Patch Write operation, you will automatically return to Play mode. Making Reverb Settings With the GR-33 you can pick one of eight types (REVERB TYPE), and then freely make your own settings to reverb amount and length. Depending on the type you select, delay (an effect that repeats a sound, sort of like a mountain echo), is also available.
  • Page 75: Temporarily Turning Off Effects (Effect Bypass)

    Hall1: Reverb with clear reverberation. Hall2: Reverb with rich reverberation. Delay: Standard delay Pan Delay: A delay effect with echoes that pan left and right. REV SEND LEVEL (Reverb/Delay Send Level) Specifies the volume of the reverb (or delay). Increasing this setting will raise the volume. REVERB TIME (Reverb/Delay Time) When the REVERB TYPE is “Delay”...
  • Page 76: Chapter 7 The Arpeggiator Function

    On the GR-33, the sequence of played strings (“5, 4, 3, 4...”) is called an “arpeggio pattern,” or sometimes simply “pattern.” The GR-33 contains 50 preset arpeggio patterns. For each patch, you can select any one of the preset arpeggio patterns.
  • Page 77: Changing The Sounding Of Arpeggios

    With a latch hold, however, pressing the pedal once begins the hold, and pressing the pedal again ends it. On the GR-33, a latch hold is available only when using Arpeggiator. When Arpeggiator is playing and Pedal 3 (HOLD) is pressed, the GR-33 holds the arpeggio being played at the moment the pedal is pressed.
  • Page 78: Selecting Tones To Be Arpeggiated (Har/Arp Select)

    Chapter 7 The Arpeggiator Function * Alternatively, when one of the arpeggiator setting items “HAR/ARP CONTROL,” “HAR/ARP SELECT,” or “ARP PATTERN” are selected, you can use pedal 4 (CTRL) to turn the arpeggiator on/off. * The arpeggiator on/off setting is independent for each patch. When you execute the Patch Write operation, the status at that time (on or off) will be reproduced the next time you recall that patch.
  • Page 79: Selecting Arpeggio Patterns (Arp Pattern)

    Selecting Arpeggio Patterns (ARP PATTERN) The GR-33 contains 50 preset arpeggio patterns. For each patch, you can select any one of the preset arpeggio patterns. For more detailed information about arpeggio patterns, please refer to “About “Arpeggio Patterns” (p. 76).”...
  • Page 80: Chapter 8 Adding Harmonies In A Specific Key (The Harmonist)

    Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) The GR-33 lets you use the TONE “TRANSPOSE” setting (p. p. 51) to shift the pitch of the 1st and 2nd tones relative to the guitar’s pitch, creating an always-parallel harmony.
  • Page 81: Operation

    Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Operation Turning the Harmonist On and Off (HAR/ARP CONTROL) Using pedal 4 (CTRL) to turn Harmonist on/off If you wish to turn Harmonist on/off while you perform, make the following settings. 1.
  • Page 82: Selecting Harmony Tones (Har/Arp Select)

    Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Selecting Harmony Tones (HAR/ ARP SELECT) The “HAR/ARP SELECT” (Harmony/Arpeggio select) parameter for each patch determines whether the 1st tone, the 2nd tone, or an external sound generator produces the harmony.
  • Page 83: Setting Transpose And "Harmony Style

    Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) The various settings produce the following intervals between the melody and the harmony. fig.8-05 Key=C HARMONY tonic b2nd 2nd b3rd 3rd 4th b5th 5th #5th 6th b7th 7th STYLE + 7th 9 10 10 10 + 6th...
  • Page 84: Setting The Key (Harmony Key)

    The Harmonist key (HARMONY KEY) can be changed at any time during a performance by sending a MIDI note message to the GR-33 from an external MIDI device such as optional FC-200 MIDI foot controller or PK-5 MIDI pedal keyboard.
  • Page 85: Switching Between Major And Minor During A Performance

    If you are using the FC-200, press the “MODE” button on the pedal to switch to the Note mode. No matter what mode the GR-33 is in, it will receive MIDI Note On messages and switch HARMONY KEY to the corresponding note.
  • Page 86: Chapter 9 Connecting To External Sound Generators And Sequencers

    MIDI OUT External MIDI Sound Device The GR-33 can also serve as a convenient input tool for a MIDI sequencer (a device for recording performances). This chapter explains how to make such steps using external devices (and how to use MIDI functions).
  • Page 87 The latest setting is automatically stored in memory, even after the power is switched off. If the sending Bend Range on the GR-33 is set to “0,” an effect similar to setting COMMON “CHROMATIC” (p. 42) to “Type3” is obtained for the sounds from the external MIDI sound generator.
  • Page 88: Changing Patch And Other Parameters By Transmitting Midi Messages From The Gr-33 (Midi [Pc])

    The number of the Program Change message that is sent can be freely changed and saved to the patches on the GR-33. (At the time of purchase, Program Change numbers 1 through 128 are assigned sequentially to patches A11 through D84.)
  • Page 89: Selecting Separate Sounds Programmed For Different Strings

    * The “bank” referred to here is an extended Program Change message set forth in the MIDI specification, and has absolutely nothing to do with the GR-33’s bank number (the second place of the display that is, the “Bank” in “Bank Shift,” “Bank Up, and “Bank Down”).
  • Page 90: Applying The Arpeggiator Or Harmonist Using An External Sound Device

    A MIDI foot controller such as the FC-200 or Boss FC-50 may be connected (p. 24), using the foot controller to switch patches on the GR-33. In that case, Program Change messages and the like written to the called-up patch for the...
  • Page 91: The Relationship Between Envelope Follow Function And Midi Message

    MIDI OUT. This makes it possible to use the pedal to control only the external MIDI sound generator. * When the GR-33 receives Control Change No. 4, the synth sound of the GR-33’s internal sound generator changes according to the function assigned to the expression pedal at that time.
  • Page 92: Transposing Performance Data For An External Sound Generator (Midi [Transpose])

    • Make sure that a sound generator which cannot simultaneously receive six MIDI channels is receiving data from the GR-33 in the Mono mode (p. 88). Procedure for Setting MIDI [TRANSPOSE] 1. Select the patch whose setting you want to change, and press [COMMON] to enter Patch Edit mode.
  • Page 93: Using The Gr-33 As An External Sequencer Input Tool

    Chapter 9 Connecting to External Sound Generators and Sequencers Using the GR-33 as an External Sequencer Input Tool By connecting the GR-33 to a MIDI sequencer (a performance-recording and playback device), even guitarists who don’t play keyboards can perform real-time recording to the sequencer.
  • Page 94: About "Local Control Off

    MIDI loop connection is not being used. Creating Realistic Plucked String Instrument Sounds (Data) Using the GR-33 to input parts for guitars and similar string instruments, including harps, koto, and others, makes it possible to achieve voicing and an expressive feeling of dispersions for separately plucked strings that cannot be reproduced with keyboard input.
  • Page 95: Reducing The Size Of A Midi Pitch Bend Message

    3. Use [VALUE] to select “On.” 4. Press [PLAY] to return to Play mode. * This is the setting items for the GR-33 (System mode), and not patch settings, so there is no need to perform a Patch Write operation. The latest setting is automatically stored in memory, even after the power is switched off.
  • Page 96: Practical Use Of Midi Channels

    (p. 86) To achieve faster sound generation and smooth pitch changes, the GR-33 transmits pitch as a combination of Note messages and Pitch bend messages. This means that if the sequencer’s microscope (event list) screen shows only Note messages, what appears on-screen may differ from what is actually performed.
  • Page 97: Chapter 10 Other Convenient Functions

    When using the GR-33 in combination with a processor that cannot block out Control Change No. 7 messages, follow the steps below to prevent the GR-33 from sending this type of data. MIDI IN*...
  • Page 98: Terminating Transmission Of The Bend Range Request Message

    If it is necessary for some reason to stop the transmission of these messages—such as when you wish to reduce the number of messages sent to a sequencer as you change patches on the GR-33—follow the steps below to turn off this function. 1. Press [SYSTEM] to enter System mode.
  • Page 99: Chapter 11 Appendices

    The pitch stays the same even when the Master Tune setting is changed. The only sounds that immediately change in pitch when the GR-33’s Master Tune setting is changed are synth sounds controlled by an external MIDI instrument. Except when the patch “CHROMATIC”...
  • Page 100 “aliasing noise.” It may be audible when using the slide technique or the Pitch Shift function, but it is not a defect. The GR-33 is designed to minimize such noise during guitar play. Pitch doesn’t change smoothly Is COMMON “CHROMATIC”...
  • Page 101 Change the setting to a value from “1” to “128.” (p. 88) The external sound generator plays only one string (some strings can’t be heard) Is the GR-33 using the Mono mode to send data to a sound generator which cannot simultaneously receive data on six MIDI channels? For such sound generators, send data in the Poly mode (p.
  • Page 102: Error Messages

    To start playing sounds rapidly and achieve smooth changes in pitch, the GR-33 transmits pitch as a combination of Note messages and Pitch Bend messages. This means that if only the Note messages are examined on the sequencer’s microscope (event...
  • Page 103: Roland Exclusive Messages

    Roland Exclusive Messages 1. Data Format for Exclusive Messages Roland’s MIDI implementation uses the following data format for all Exclusive messages (type IV): Byte Description Exclusive Status Manufacturer ID (Roland) Device ID Model ID Command ID [BODY] Main data End of exclusive •MIDI status: F0H, F7H...
  • Page 104 The MIDI standards inhibit non real-time messages from interrupting an Exclusive one. This fact is inconvenient for devices that support a “soft-thru” function. To maintain compatibility with such devices, Roland has limited the DT1 to 256 bytes so that an excessively long message is sent out in separate ‘segments’.
  • Page 105: Midi Implementation

    0H - FH (0 - 15) 0=ch.1 15=ch.16 vv=Control Value: 00H - 7FH (0 - 127) 00H = Reset, 01H-3FH=OFF, 40H-7FH=ON * Can be received only through the Basic channel. * Having received this message, the GR-33 acts as if the onboard WAH(foot switch) is operated.
  • Page 106: Program Change

    00H - 7FH (0 - 127) 00H-3FH=OFF, 40H-7FH=ON * Can be received only through the Basic channel. * Having received this message, the GR-33 acts as if the CTRL pedal is operated when the Arpeggio is held. General Effect 1 (Reverb Send Level)
  • Page 107: System Exclusive Message

    ...ee = Data: 00H - 7FH (0 - 127) F7H: EOX (End Of Exclusive) * For more details, refer to the page of "Roland Exclusive message" and Section 3 or after. 2. Transmitted Data Channel voice messags Note Off...
  • Page 108 System Exclusive message STATUS DATA BYTES STATUS iiH,ddH,...,eeH F0H: System Exclusive ii=ID Number: 41H (65) dd,...,ee=Data: 00H-7FH (0-127) F7H: EOX (End of Exclusive/System Common Message) * For more details, refer to the page “Roland exclusive message” and Section3 or after.
  • Page 109 Data Set 1: DT1 (12H) The GR-33 transmits this message in the following conditions. If the address matches with one of the parameter base addresses of the GR-33, the received data is stored at the specified address of the memory.
  • Page 110 | 00 00 1D | Identity Reply Bytes 30H 01H 00H 00H 00H 00H 00H 00H * When an Identity Request is received, the GR-33 will transmit the above Identity Reply. 0ccc cccc0ddd dddd CCDD 0uuu uuuu0vvv vvvv UUVV *4-1|...
  • Page 111 F0 41 10 00 30 11 00 00 00 00 00 00 00 24 5C F7 /Example using DT1/ To change BEND RANGE to 12 and BEND DATA THIN to Off, send the following message to the GR-33. F0 41 10 00 30 12 00 00 00 04 06 00 76 F7 * 4-2 Patch(Total size = 01H 00H) +———————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————+...
  • Page 112 Chapter 11 Appendices |——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————| | 00 00 41 |always 00| (reserved) |——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————| | 00 00 42 | 0000 - | 1ST SELECT | 00 00 43 | 017F | |——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————| | 00 00 44 | 0E - 72 | 1ST ATTACK |——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————| | 00 00 45 | 0E - 72 | 1ST RELEASE |——————————+—————————+———————————————————————————————————+——————————————————————————————————————————————————————————————————————————|...
  • Page 113 +—————————————————————————————————————————————————————————————————————————————————————————————————————————————+ | MULTI-FX TYPE | MULTI-FX PARAMETER |——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————| | 1. STEREO-EQ 1. LOW FREQ 2. LOW GAIN 3. HIGH FREQ 4. HIGH GAIN 5. P1 FREQ 6. P1 Q 7. P1 GAIN 8. P2 FREQ 9. P2 Q | 10. P2 GAIN |#11.
  • Page 114 Chapter 11 Appendices |# 7. LEVEL 8. - 9. - | 10. - | 11. - | 12. - |——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————| | 10. LIMITER 1. THRESHOLD 2. RELEASE 3. RATIO 4. PAN 5. POST GAIN 6. LOW GAIN 7. HIGH GAIN |# 8.
  • Page 115 2. DELAY LEFT 3. DELAY RIGHT 4. FEEDBACK 5. HF DAMP |# 6. RATE 7. DEPTH 8. PHASE 9. LOW GAIN | 10. HIGH GAIN | 11. BALANCE | 12. LEVEL |——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————| | 19. 3-TAP-DELAY 1. DELAY LEFT 2. DELAY RIGHT 3.
  • Page 116 Chapter 11 Appendices 8. LEVEL 9. - | 10. - | 11. - | 12. - |——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————| | 27. OD->FL |# 1. OD DRIVE 2. OD PAN 3. FL PRE DLY 4. FL RATE 5. FL DEPTH 6. FL FEEDBACK 7.
  • Page 117 3. CHO DEPTH 4. - 5. CHO BALANCE 6. DLY TIME 7. DLY FEEDBACK 8. DLY HF DAMP 9. DLY BALANCE | 10. LEVEL | 11. - | 12. - |——————————————————————————+————————————————————————+—————————+———————————————————————————————————————————————| | 36. FL->DLY 1. FL PRE DLY |# 2. FL RATE 3.
  • Page 118 | 50| Finale +——————————————————+ /Example using RQ1/ To extract all the data of patch A12, send the following message to the GR-33. F0 41 10 00 30 11 01 01 00 00 00 00 01 00 7D F7 /Example using DT1/ If you want to set as the following the chorus parameter of temporary patch, create data as the following and send it to your GR-33.
  • Page 119: Midi Implementation Chart

    MIDI Implementation Chart GUITAR SYNTHESIZER Model GR-33 Function... Default Basic Channel Changed Default Mode Messages Altered Note True Voice Number : Note ON Velocity Note OFF After Key's Touch Ch's Pitch Bend 0, 32 6, 38 Control Change 100, 101 1–31, 64–95...
  • Page 120: Specifications

    Chapter 11 Appendices Specifications GR-33: GUITAR SYNTHESIZER Sound generator 1 Part (Mono mode M=6/Poly mode switchable) Maximum Polyphony 48 voices Tones Patches User: Preset: Display 16 segments 6 characters backlit LCD 7 segments 3 characters LED Effects MULTI-FX (40 types)
  • Page 121: Index

    Index Acceleration ... 40 ARP PATTERN ... 79 ARP TEMPO ... 79 Arpeggiator ... 76 Arpeggio Patterns ... 76, 79 ATTACK ... 49 BASIC CHANNEL ... 86 Bend Data Thin Function ... 95 BEND RANGE ... 86 BEND REQ SW ... 98 BRIGHTNESS ...
  • Page 122: Tone List

    Tone List Name <PIANO> <ETHNIC> GR Piano Cool Piano Dark Piano Old Upright Piano&String Piano&Choir <E.PIANO> <PERCUSSION SOLO> SA Rhodes StageRhd Sft StageRhd Hrd <AC.GUITAR> StageRhd Vsw PopE.Pno Sft PopE.Pno Hrd PopE.Pno Vsw BritePop EP Detuned EP E.P.&Strings E.P.&SynVox <ORGAN> E.Org w/Pdl Bee3 slw/fst Bee3 Organ...
  • Page 123 Name Horn Sect <HARD LEAD> Big Brass BrassSect x4 BrassFalloff <SYN.BRASS> Mellow Horn OBXP Brass MG Brass <SYNTH> Saws Brass Brassy Saw Synth Brass1 Synth Brass2 Solo SynBrs <SOFT LEAD> OB Lead 1 OB Lead 2 Sqr Lead 1 P5 Pipe JP-8 Square Sqr Lead 2 Synth Square...
  • Page 124: Patch List

    Patch List Group A (E) Group B (F) PatchName JAZZ SCAT DIDGERI FLT JANGLE PAD GR-300 LEAD 12ST GUITAR 303 TEKNO GR STRINGS E.ORGAN/PDL ROMANTIC PAD FRETLESS BS DAFT WAVE Cmaj-STRINGS NYLON STR GT MIDI PIANO DIST. GUITAR E.SITAR TABLA&SITAR DIDGERI PIPE TABLA+VoxKit SALSA SPLIT...
  • Page 125 MEMO...
  • Page 126 MEMO...
  • Page 127 IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. BLUE: NEUTRAL BROWN: LIVE 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.
  • Page 128 Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. TAIWAN AFRICA AFRICA ROLAND TAIWAN ENTERPRISE CO., LTD. EGYPT Room 5, 9fl. No. 112 Chung Shan Al Fanny Trading Office N.Road Sec.2, Taipei, TAIWAN,...