Roland GR-30 - 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

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About the Symbols in this Text1
Warning2
Contents4
Power Supply6
Memory Backup6
Placement6
Repairs and Data6
What You Can Do with the GR-307
Panel Descriptions8
Producing Sounds11
What You Need11
Installing the GK-2A11
Guitars that Cannot be Used with the GK-2A11
Making Connections12
Necessary Steps - from Powering up to Performance13
About the Play Mode13
GR-30 Guitar out Jack - External Effect Input13
External Effect Output - GR-30 Guitar Return Jack13
Setting Input Sensitivity14
When You Want to Change to Another Guitar Equipped with the GK-2A14
Guitar Tuning (Tuner Function)15
Matching Pitches of Other Instruments15
Playing the Internal Synth Sounds with the Guitar16
What to Do if There Is no Sound When the Guitar Is Played16
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 Methods18
Using the Guitar (GK-2A) to Select Patches18
Using the Base Module to Select Patches18
Using the Base Module Plus an External Footswitch to Select Patches19
Selecting Patches with an External MIDI Foot Controller20
Changing the Patch Order21
Controlling Functions and Effects with the Base Module Pedals22
"Pedal Effect Mode": What It Is, and How to Call It up22
Getting the same Effect While in Play Mode22
How to Switch to the Pedal Effect Mode22
Turning On/Off the Arpeggiator and Harmonist Functions23
Changing Sounds with the Pedals24
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 Pedal25
Three Basic Modes26
Play Mode26
Pedal Effect Mode27
Edit Mode: What It Means, How It Works28
Getting into and out of each Mode28
Adjusting Sounds (Patches)29
Details of Putting a Patch Together29
Sound (Patch) - Composed of Two Tones29
The Relationship between Arpeggiator/Harmonist and Patches)29
Saving Patches30
Assigning Patches before Saving (Write To...)30
Cautions When Saving30
Performing a Patch Write30
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 Device31
1St/2Nd Tone32
Selecting and Creating Synth Sounds32
Selecting Tones: the Raw Material (Tone #)32
Increasing/Decreasing Attack Time (Attack)32
Changing Tone Release (Release)33
Changing Tone Brightness (Brightness)33
Tone MIX34
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 Tone35
Determining the Volume Balance of Two Tones (1:2 BAL)35
Balancing the Volume of Two Tones35
Setting the Volume Level of each Patch (Patch Level)36
What to Do When a Tone Is Supposed to Sound, but Doesn't36
Determining and Recording Patch Volumes36
Changing the Feel of a Performance (Play Feel)37
Changing and Recording Play Feel37
8 Types of Effect to be Selected in Step 337
Following the Guitar Sound Shape (Envelope Follow)38
Getting a Touch Wah Effect with the Play Feel EF2 Setting38
Increasing the Speed of Expression (Acceleration)38
Changing Sound Placement (PAN)39
Setting and Saving Sound Placement39
PAN Values (Display) and the Effects of Their Settings39
Turning the Chromatic Functions on and off and Saving It to Patches40
Chromatic Settings and Available Effects40
Dividing Continuous Pitch Changes into Semitones (Chromatic)40
When You Want to Make a Chord Resonate Beautifully41
When You Want to Reproduce Piano-Like Pitch Changes41
Using the Built-In Effects42
About the Effects Processors and Available Effects42
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 Patches43
Selectable Chorus Variations43
Temporarily Turning off Effects (Effect Bypass)44
What to Do if Built-In Effects Cannot be Heard44
Setting and Changing the Way Pedal Effects Work45
Foot Pedal45
Selecting Wah Types (Wah Type)45
Wah Pedal Variations that Can be Selected in Step 345
Selecting Pitch Glide Type (Glide Type)46
Mod (Modulation)46
Damper Hold/Dpr47
Selecting Hold Type (Hold Type)47
Sostenuto Hold/Sos47
String Hold/Str48
Using External Expression Pedals (EV-5 or Other)49
To Add Effects49
Selecting the Expression Pedal Effect Type49
To Switch Effects (Exp Pedal)49
The Arpeggiator Function51
"Arpeggio Patterns"51
Arpeggiator Application Examples52
Reproducing Arpeggios from Guitars and Other Instruments52
Reproducing Tremolo Effects52
Techno (Dance) Arpeggios52
Effective Use of the Hold Function During Arpeggios53
Hold Variations Available When Arpeggiator Is on53
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 Arpeggios55
Turning Arpeggiator on and off55
Selecting Tones to be Arpeggiated (Arpeggio SEL)55
Verifying How Arpeggio SEL Works55
Setting Tempo and Synching Tempo to the External Device (A-TEMPO)56
Overwriting the Settings for a Desired Patch56
Verifying How A-TEMPO Works56
Overwriting A-TEMPO for a Desired Patch56
Tap Tempo57
Adjusting Sound Length (A-Duration)57
Verifying How A-Duration Works57
Selecting Notes and Rhythm (A-Rhythm)58
Overwriting A-Duration for a Desired Patch58
Verifying Hoa A-Rhythm Works58
Overwriting A-Rhythm for a Desired Patch58
Copying Other Patch Arpeggio Patterns59
Copying Arpeggio Patterns from Another Patch59
Creating an Arpeggio Pattern60
Programming One Note at a Time: the "Step" Method60
The Feel of Tape Recording: the "Real Time" Method61
An Example of Real-Time Input61
Inputting with a Computer or Sequencer62
Creating Patterns with a Sequencer62
What to Do if You Have Difficulty Producing Patterns63
Adding Harmonies in a Specific Key (the Synth Harmonist)64
About the Harmonist64
What You Can Do with the Harmonist65
Adding Synth Sounds to Guitar Sounds65
Creating Harmonies with Two Synth Sounds65
Turning the Harmonist on and off65
Selecting Harmony Tones (Harmony SEL)66
Setting Harmonic Intervals (H-Style)66
Verifying How Harmony SEL Works66
An Example of How to Change H-Style66
Setting Transpose and "H-Style"67
An Example: Transposing the Melody down an Octave67
Setting the Key (H-Key)68
An Example of Changing H-Key68
About the Key Display68
Changing the Key from External Pedal or Other Device with MIDI Note Messages (H-Remote)69
Switching between Major and Minor During a Performance69
Changing the Harmonist Key with an External MIDI Pedal69
Connecting to External Sound Generators and Sequences70
About MIDI70
Controlling an External MIDI Sound Device70
Connecting to an External MIDI Sound Device70
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 Change71
Setting the Channel (and Sending Mode) and Bend Range71
Transmitting in Mono Mode or Poly Mode72
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 Selection72
When Your Want to Have Separate Sounds Programmed for Different Strings73
Selection of more than 128 Tones (MIDI Bank Select)73
Sending MIDI Bank Select Messages73
How to Apply the Arpeggiator or Harmonist Using an External Sound Device75
The Relationship between Envelope Follow Function and MIDI Message75
About Pedal Control for External MIDI Devices75
Transposing Performance Data for an External Sound Generator (Transpose)76
What to Do if an External Module Doesn't Produce Sound as Expected76
Using the GR-30 as an External Sequencer Input Tool77
Input Procedures and Settings for each Device77
Connecting to a Sequencer77
About "Local Control Off"78
Creating Realistic Plucked String Instrument Sounds (Data)78
How to Record Arpeggiator and Harmonist Performances78
Reducing the Size of a MIDI Pitch Bend Message79
About the Bend Data Thin Function79
Recording Harmonist Effects on a Sequencer79
Practical Use of MIDI Channels80
What to Do When You Have Difficulty Sequencing80
Other Convenient Functions81
Restoring the Settings to Their Defaults (Initializing)81
Recordering the Program Change Numbers from the Beginning81
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 Guitars82
Characteristics of Operation During Polyphonic Receive82
Terminating Transmission of the MIDI Controller No. 7 (Volume)83
Terminating Transmission of the Bend Range Request Message84
Appendices85
Troubleshooting - During Normal Play with Just the GR-3085
Troubleshooting - When Changing Patch Settings87
Troubleshooting - When Playing the GR-30 Sound Generator with a MIDI Keyboard or Other Instrument87
Troubleshooting - When Sending Performance Data from the GR-30 to an External MIDI Device (Sound Generator or Sequencer)88
Specifications89
Roland Exclusive Messages90
Data Format for Exclusive Messages90
Address-Mapped Data Transfer90
One-Way Transfer Procedure90
Example of Message Transactions91
MIDI Implementation92
Recognized Receive Data92
Transmitted Data94
Exclusive Communications95
Parameter Address Map96
MIDI Implementation Chart98
Parameter List (Blank Chart)99
Index100
Tone List104
Preset Patch List108

Roland GR-30 - 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

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