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Manuals
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Roland Manuals
Synthesizer
GR-30
Owner's manual
Table Of Contents - Roland GR-30 Owner's Manual
Guitar synthesizer
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Also See for GR-30
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Manual
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Manual
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Manual
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Contents
Table of Contents
Troubleshooting
Bookmarks
Table of Contents
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Table of Contents
About The Symbols In This Text
1
Warning
2
Contents
4
Power Supply
6
Memory Backup
6
Placement
6
Repairs And Data
6
What You Can Do With The Gr-30
7
Panel Descriptions
8
Producing Sounds
11
What You Need
11
Installing The Gk-2A
11
Guitars That Cannot Be Used With The Gk-2A
11
Making Connections
12
Necessary Steps - From Powering Up To Performance
13
About The Play Mode
13
Gr-30 Guitar Out Jack - External Effect Input
13
External Effect Output - Gr-30 Guitar Return Jack
13
Setting Input Sensitivity
14
When You Want To Change To Another Guitar Equipped With The Gk-2A
14
Guitar Tuning (Tuner Function)
15
Matching Pitches Of Other Instruments
15
Playing The Internal Synth Sounds With The Guitar
16
What To Do If There Is No Sound When The Guitar Is Played
16
Selecting And Playing Sounds (Patches)
17
What Is A Patch?
17
Rewritable Patches (User Patches)
17
Read-Only Patches (Preset Patches)
17
Selecting Patches: Four Methods
18
Using The Guitar (Gk-2A) To Select Patches
18
Using The Base Module To Select Patches
18
Using The Base Module Plus An External Footswitch To Select Patches
19
Selecting Patches With An External Midi Foot Controller
20
Changing The Patch Order
21
Controlling Functions And Effects With The Base Module Pedals
22
"Pedal Effect Mode": What It Is, And How To Call It Up
22
Getting The Same Effect While In Play Mode
22
How To Switch To The Pedal Effect Mode
22
Turning On/Off The Arpeggiator And Harmonist Functions
23
Changing Sounds With The Pedals
24
Getting A Pedal Wah Effect (Wah)
24
Changing Pitch Dynamically (Pitch Glide)
24
Holding A Synth Tone After The String Is Stopped (Hold)
24
Calling Up The Tuner Function With A Pedal
25
Three Basic Modes
26
Play Mode
26
Pedal Effect Mode
27
Edit Mode: What It Means, How It Works
28
Getting Into And Out Of Each Mode
28
Adjusting Sounds (Patches)
29
Details Of Putting A Patch Together
29
Sound (Patch) - Composed Of Two Tones
29
The Relationship Between Arpeggiator/Harmonist And Patches)
29
Saving Patches
30
Assigning Patches Before Saving (Write To...)
30
Cautions When Saving
30
Performing A Patch Write
30
Saving Patches From The Gr-30 To Sequencers Or Other Midi Devices (Bulk Dump)
31
Sending System Settings Or Patch Data To An External Midi Device
31
1St/2Nd Tone
32
Selecting And Creating Synth Sounds
32
Selecting Tones: The Raw Material (Tone #)
32
Increasing/Decreasing Attack Time (Attack)
32
Changing Tone Release (Release)
33
Changing Tone Brightness (Brightness)
33
Tone Mix
34
Combining/Layering Two Sounds (Tones)
34
Determining Which Tones Will Be Sounded (Layer)
34
Applying Detune (Subtle Pitch Shift), Transposing By Semitones (Trans 1St/2Nd)
34
Choosing Different Settings For Different Strings (String Select)
35
Changing The Transposition Of The First Tone
35
Determining The Volume Balance Of Two Tones (1:2 Bal)
35
Balancing The Volume Of Two Tones
35
Setting The Volume Level Of Each Patch (Patch Level)
36
What To Do When A Tone Is Supposed To Sound, But Doesn't
36
Determining And Recording Patch Volumes
36
Changing The Feel Of A Performance (Play Feel)
37
Changing And Recording Play Feel
37
8 Types Of Effect To Be Selected In Step 3
37
Following The Guitar Sound Shape (Envelope Follow)
38
Getting A Touch Wah Effect With The Play Feel Ef2 Setting
38
Increasing The Speed Of Expression (Acceleration)
38
Changing Sound Placement (Pan)
39
Setting And Saving Sound Placement
39
Pan Values (Display) And The Effects Of Their Settings
39
Turning The Chromatic Functions On And Off And Saving It To Patches
40
Chromatic Settings And Available Effects
40
Dividing Continuous Pitch Changes Into Semitones (Chromatic)
40
When You Want To Make A Chord Resonate Beautifully
41
When You Want To Reproduce Piano-Like Pitch Changes
41
Using The Built-In Effects
42
About The Effects Processors And Available Effects
42
Adjusting The Effects (Effect)
42
Selecting Reverb Type (Reverb Type)
42
Selecting Chorus Type (Chorus Type)
43
Selecting Reverb Levels And Times (Reverb Level, Rev/Dly Time)
43
Determining Reverb Amount And Time And Saving Them To Patches
43
Selectable Chorus Variations
43
Temporarily Turning Off Effects (Effect Bypass)
44
What To Do If Built-In Effects Cannot Be Heard
44
Setting And Changing The Way Pedal Effects Work
45
Foot Pedal
45
Selecting Wah Types (Wah Type)
45
Wah Pedal Variations That Can Be Selected In Step 3
45
Selecting Pitch Glide Type (Glide Type)
46
Mod (Modulation)
46
Damper Hold/Dpr
47
Selecting Hold Type (Hold Type)
47
Sostenuto Hold/Sos
47
String Hold/Str
48
Using External Expression Pedals (Ev-5 Or Other)
49
To Add Effects
49
Selecting The Expression Pedal Effect Type
49
To Switch Effects (Exp Pedal)
49
The Arpeggiator Function
51
"Arpeggio Patterns"
51
Arpeggiator Application Examples
52
Reproducing Arpeggios From Guitars And Other Instruments
52
Reproducing Tremolo Effects
52
Techno (Dance) Arpeggios
52
Effective Use Of The Hold Function During Arpeggios
53
Hold Variations Available When Arpeggiator Is On
53
An Example Of Using Hold Set To "Dpr"
53
"Sos" (Sostenuto)
53
"Lt. A" (Latch Hold Type A)
54
"Lt. B" (Latch Hold Type B)
54
Hearing The Difference Between "L.a" And "Lt.b"
54
Changing The Sounding Of Arpeggios
55
Turning Arpeggiator On And Off
55
Selecting Tones To Be Arpeggiated (Arpeggio Sel)
55
Verifying How Arpeggio Sel Works
55
Setting Tempo And Synching Tempo To The External Device (A-Tempo)
56
Overwriting The Settings For A Desired Patch
56
Verifying How A-Tempo Works
56
Overwriting A-Tempo For A Desired Patch
56
Tap Tempo
57
Adjusting Sound Length (A-Duration)
57
Verifying How A-Duration Works
57
Selecting Notes And Rhythm (A-Rhythm)
58
Overwriting A-Duration For A Desired Patch
58
Verifying Hoa A-Rhythm Works
58
Overwriting A-Rhythm For A Desired Patch
58
Copying Other Patch Arpeggio Patterns
59
Copying Arpeggio Patterns From Another Patch
59
Creating An Arpeggio Pattern
60
Programming One Note At A Time: The "Step" Method
60
The Feel Of Tape Recording: The "Real Time" Method
61
An Example Of Real-Time Input
61
Inputting With A Computer Or Sequencer
62
Creating Patterns With A Sequencer
62
What To Do If You Have Difficulty Producing Patterns
63
Adding Harmonies In A Specific Key (The Synth Harmonist)
64
About The Harmonist
64
What You Can Do With The Harmonist
65
Adding Synth Sounds To Guitar Sounds
65
Creating Harmonies With Two Synth Sounds
65
Turning The Harmonist On And Off
65
Selecting Harmony Tones (Harmony Sel)
66
Setting Harmonic Intervals (H-Style)
66
Verifying How Harmony Sel Works
66
An Example Of How To Change H-Style
66
Setting Transpose And "H-Style"
67
An Example: Transposing The Melody Down An Octave
67
Setting The Key (H-Key)
68
An Example Of Changing H-Key
68
About The Key Display
68
Changing The Key From External Pedal Or Other Device With Midi Note Messages (H-Remote)
69
Switching Between Major And Minor During A Performance
69
Changing The Harmonist Key With An External Midi Pedal
69
Connecting To External Sound Generators And Sequences
70
About Midi
70
Controlling An External Midi Sound Device
70
Connecting To An External Midi Sound Device
70
The Flow Of A Midi Messages, And Necessary Settings (Channel, Bend Range)
71
Bend Range (Midi "Bend Range")
71
About Messages That Notify The External Midi Instument Of The Bend Range And Prompt Change
71
Setting The Channel (And Sending Mode) And Bend Range
71
Transmitting In Mono Mode Or Poly Mode
72
Changing Patch And Other Parameters By Transmitting Midi Messages From The Gr-30 (Pg Chng#)
72
Changing The Program Change Number Sent To The External Device During Patch Selection
72
When Your Want To Have Separate Sounds Programmed For Different Strings
73
Selection Of More Than 128 Tones (Midi Bank Select)
73
Sending Midi Bank Select Messages
73
How To Apply The Arpeggiator Or Harmonist Using An External Sound Device
75
The Relationship Between Envelope Follow Function And Midi Message
75
About Pedal Control For External Midi Devices
75
Transposing Performance Data For An External Sound Generator (Transpose)
76
What To Do If An External Module Doesn't Produce Sound As Expected
76
Using The Gr-30 As An External Sequencer Input Tool
77
Input Procedures And Settings For Each Device
77
Connecting To A Sequencer
77
About "Local Control Off"
78
Creating Realistic Plucked String Instrument Sounds (Data)
78
How To Record Arpeggiator And Harmonist Performances
78
Reducing The Size Of A Midi Pitch Bend Message
79
About The Bend Data Thin Function
79
Recording Harmonist Effects On A Sequencer
79
Practical Use Of Midi Channels
80
What To Do When You Have Difficulty Sequencing
80
Other Convenient Functions
81
Restoring The Settings To Their Defaults (Initializing)
81
Recordering The Program Change Numbers From The Beginning
81
Using The Gr-30 As An Expansion Sound Device For Keyboards Or Other Midi Devices (Poly Mode Reception)
82
Using The Gr-30 With A Numbre Of Guitars (Guitar Select)
82
Getting Ready And Changing Guitars
82
Characteristics Of Operation During Polyphonic Receive
82
Terminating Transmission Of The Midi Controller No. 7 (Volume)
83
Terminating Transmission Of The Bend Range Request Message
84
Appendices
85
Troubleshooting - During Normal Play With Just The Gr-30
85
Troubleshooting - When Changing Patch Settings
87
Troubleshooting - When Playing The Gr-30 Sound Generator With A Midi Keyboard Or Other Instrument
87
Troubleshooting - When Sending Performance Data From The Gr-30 To An External Midi Device (Sound Generator Or Sequencer)
88
Specifications
89
Roland Exclusive Messages
90
Data Format For Exclusive Messages
90
Address-Mapped Data Transfer
90
One-Way Transfer Procedure
90
Example Of Message Transactions
91
Midi Implementation
92
Recognized Receive Data
92
Transmitted Data
94
Exclusive Communications
95
Parameter Address Map
96
Midi Implementation Chart
98
Parameter List (Blank Chart)
99
Index
100
Tone List
104
Preset Patch List
108
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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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