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Manuals
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Roland Manuals
Synthesizer
GR-30
Owner's manual
Roland GR-30 Owner's Manual
Guitar synthesizer
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Also See for GR-30
:
Manual
(104 pages)
,
Manual
(38 pages)
,
Manual
(52 pages)
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Table Of Contents
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Contents
Table of Contents
Troubleshooting
Bookmarks
Table of Contents
About the Symbols in this Text
Warning
Contents
Power Supply
Memory Backup
Placement
Repairs and Data
What You Can Do with the GR-30
Panel Descriptions
Producing Sounds
What You Need
Installing the GK-2A
Guitars that Cannot be Used with the GK-2A
Making Connections
Necessary Steps - from Powering up to Performance
About the Play Mode
GR-30 Guitar out Jack - External Effect Input
External Effect Output - GR-30 Guitar Return Jack
Setting Input Sensitivity
When You Want to Change to Another Guitar Equipped with the GK-2A
Guitar Tuning (Tuner Function)
Matching Pitches of Other Instruments
Playing the Internal Synth Sounds with the Guitar
What to Do if There Is no Sound When the Guitar Is Played
Selecting and Playing Sounds (Patches)
What Is a Patch?
Rewritable Patches (User Patches)
Read-Only Patches (Preset Patches)
Selecting Patches: Four Methods
Using the Guitar (GK-2A) to Select Patches
Using the Base Module to Select Patches
Using the Base Module Plus an External Footswitch to Select Patches
Selecting Patches with an External MIDI Foot Controller
Changing the Patch Order
Controlling Functions and Effects with the Base Module Pedals
"Pedal Effect Mode": What It Is, and How to Call It up
Getting the same Effect While in Play Mode
How to Switch to the Pedal Effect Mode
Turning On/Off the Arpeggiator and Harmonist Functions
Changing Sounds with the Pedals
Getting a Pedal Wah Effect (Wah)
Changing Pitch Dynamically (Pitch Glide)
Holding a Synth Tone after the String Is Stopped (Hold)
Calling up the Tuner Function with a Pedal
Three Basic Modes
Play Mode
Pedal Effect Mode
Edit Mode: What It Means, How It Works
Getting into and out of each Mode
Adjusting Sounds (Patches)
Details of Putting a Patch Together
Sound (Patch) - Composed of Two Tones
The Relationship between Arpeggiator/Harmonist and Patches)
Saving Patches
Assigning Patches before Saving (Write To...)
Cautions When Saving
Performing a Patch Write
Saving Patches from the GR-30 to Sequencers or Other MIDI Devices (Bulk Dump)
Sending System Settings or Patch Data to an External MIDI Device
1St/2Nd Tone
Selecting and Creating Synth Sounds
Selecting Tones: the Raw Material (Tone #)
Increasing/Decreasing Attack Time (Attack)
Changing Tone Release (Release)
Changing Tone Brightness (Brightness)
Tone MIX
Combining/Layering Two Sounds (Tones)
Determining Which Tones will be Sounded (Layer)
Applying Detune (Subtle Pitch Shift), Transposing by Semitones (Trans 1St/2Nd)
Choosing Different Settings for Different Strings (String Select)
Changing the Transposition of the First Tone
Determining the Volume Balance of Two Tones (1:2 BAL)
Balancing the Volume of Two Tones
Setting the Volume Level of each Patch (Patch Level)
What to Do When a Tone Is Supposed to Sound, but Doesn't
Determining and Recording Patch Volumes
Changing the Feel of a Performance (Play Feel)
Changing and Recording Play Feel
8 Types of Effect to be Selected in Step 3
Following the Guitar Sound Shape (Envelope Follow)
Getting a Touch Wah Effect with the Play Feel EF2 Setting
Increasing the Speed of Expression (Acceleration)
Changing Sound Placement (PAN)
Setting and Saving Sound Placement
PAN Values (Display) and the Effects of Their Settings
Turning the Chromatic Functions on and off and Saving It to Patches
Chromatic Settings and Available Effects
Dividing Continuous Pitch Changes into Semitones (Chromatic)
When You Want to Make a Chord Resonate Beautifully
When You Want to Reproduce Piano-Like Pitch Changes
Using the Built-In Effects
About the Effects Processors and Available Effects
Adjusting the Effects (Effect)
Selecting Reverb Type (Reverb Type)
Selecting Chorus Type (Chorus Type)
Selecting Reverb Levels and Times (Reverb Level, Rev/Dly Time)
Determining Reverb Amount and Time and Saving Them to Patches
Selectable Chorus Variations
Temporarily Turning off Effects (Effect Bypass)
What to Do if Built-In Effects Cannot be Heard
Setting and Changing the Way Pedal Effects Work
Foot Pedal
Selecting Wah Types (Wah Type)
Wah Pedal Variations that Can be Selected in Step 3
Selecting Pitch Glide Type (Glide Type)
Mod (Modulation)
Damper Hold/Dpr
Selecting Hold Type (Hold Type)
Sostenuto Hold/Sos
String Hold/Str
Using External Expression Pedals (EV-5 or Other)
To Add Effects
Selecting the Expression Pedal Effect Type
To Switch Effects (Exp Pedal)
The Arpeggiator Function
"Arpeggio Patterns"
Arpeggiator Application Examples
Reproducing Arpeggios from Guitars and Other Instruments
Reproducing Tremolo Effects
Techno (Dance) Arpeggios
Effective Use of the Hold Function During Arpeggios
Hold Variations Available When Arpeggiator Is on
An Example of Using Hold Set to "Dpr"
"Sos" (Sostenuto)
"Lt. A" (Latch Hold Type A)
"Lt. B" (Latch Hold Type B)
Hearing the Difference between "L.A" and "Lt.b"
Changing the Sounding of Arpeggios
Turning Arpeggiator on and off
Selecting Tones to be Arpeggiated (Arpeggio SEL)
Verifying How Arpeggio SEL Works
Setting Tempo and Synching Tempo to the External Device (A-TEMPO)
Overwriting the Settings for a Desired Patch
Verifying How A-TEMPO Works
Overwriting A-TEMPO for a Desired Patch
Tap Tempo
Adjusting Sound Length (A-Duration)
Verifying How A-Duration Works
Selecting Notes and Rhythm (A-Rhythm)
Overwriting A-Duration for a Desired Patch
Verifying Hoa A-Rhythm Works
Overwriting A-Rhythm for a Desired Patch
Copying Other Patch Arpeggio Patterns
Copying Arpeggio Patterns from Another Patch
Creating an Arpeggio Pattern
Programming One Note at a Time: the "Step" Method
The Feel of Tape Recording: the "Real Time" Method
An Example of Real-Time Input
Inputting with a Computer or Sequencer
Creating Patterns with a Sequencer
What to Do if You Have Difficulty Producing Patterns
Adding Harmonies in a Specific Key (the Synth Harmonist)
About the Harmonist
What You Can Do with the Harmonist
Adding Synth Sounds to Guitar Sounds
Creating Harmonies with Two Synth Sounds
Turning the Harmonist on and off
Selecting Harmony Tones (Harmony SEL)
Setting Harmonic Intervals (H-Style)
Verifying How Harmony SEL Works
An Example of How to Change H-Style
Setting Transpose and "H-Style"
An Example: Transposing the Melody down an Octave
Setting the Key (H-Key)
An Example of Changing H-Key
About the Key Display
Changing the Key from External Pedal or Other Device with MIDI Note Messages (H-Remote)
Switching between Major and Minor During a Performance
Changing the Harmonist Key with an External MIDI Pedal
Connecting to External Sound Generators and Sequences
About MIDI
Controlling an External MIDI Sound Device
Connecting to an External MIDI Sound Device
The Flow of a MIDI Messages, and Necessary Settings (Channel, Bend Range)
Bend Range (MIDI "Bend Range")
About Messages that Notify the External MIDI Instument of the Bend Range and Prompt Change
Setting the Channel (and Sending Mode) and Bend Range
Transmitting in Mono Mode or Poly Mode
Changing Patch and Other Parameters by Transmitting MIDI Messages from the GR-30 (PG CHNG#)
Changing the Program Change Number Sent to the External Device During Patch Selection
When Your Want to Have Separate Sounds Programmed for Different Strings
Selection of more than 128 Tones (MIDI Bank Select)
Sending MIDI Bank Select Messages
How to Apply the Arpeggiator or Harmonist Using an External Sound Device
The Relationship between Envelope Follow Function and MIDI Message
About Pedal Control for External MIDI Devices
Transposing Performance Data for an External Sound Generator (Transpose)
What to Do if an External Module Doesn't Produce Sound as Expected
Using the GR-30 as an External Sequencer Input Tool
Input Procedures and Settings for each Device
Connecting to a Sequencer
About "Local Control Off"
Creating Realistic Plucked String Instrument Sounds (Data)
How to Record Arpeggiator and Harmonist Performances
Reducing the Size of a MIDI Pitch Bend Message
About the Bend Data Thin Function
Recording Harmonist Effects on a Sequencer
Practical Use of MIDI Channels
What to Do When You Have Difficulty Sequencing
Other Convenient Functions
Restoring the Settings to Their Defaults (Initializing)
Recordering the Program Change Numbers from the Beginning
Using the GR-30 as an Expansion Sound Device for Keyboards or Other MIDI Devices (Poly Mode Reception)
Using the GR-30 with a Numbre of Guitars (Guitar Select)
Getting Ready and Changing Guitars
Characteristics of Operation During Polyphonic Receive
Terminating Transmission of the MIDI Controller No. 7 (Volume)
Terminating Transmission of the Bend Range Request Message
Appendices
Troubleshooting - During Normal Play with Just the GR-30
Troubleshooting - When Changing Patch Settings
Troubleshooting - When Playing the GR-30 Sound Generator with a MIDI Keyboard or Other Instrument
Troubleshooting - When Sending Performance Data from the GR-30 to an External MIDI Device (Sound Generator or Sequencer)
Specifications
Roland Exclusive Messages
Data Format for Exclusive Messages
Address-Mapped Data Transfer
One-Way Transfer Procedure
Example of Message Transactions
MIDI Implementation
Recognized Receive Data
Transmitted Data
Exclusive Communications
Parameter Address Map
MIDI Implementation Chart
Parameter List (Blank Chart)
Index
Tone List
Preset Patch List
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Preset Patch List
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Table of Contents
Troubleshooting
Appendices
85
Troubleshooting - When Changing Patch Settings
87
Troubleshooting - When Sending Performance Data from the GR-30 to an External MIDI Device (sound generator or Sequencer)
88
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