Roland GR-33 manual

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Buen manual de instrucciones

Las leyes obligan al vendedor a entregarle al comprador, junto con el producto, el manual de instrucciones Roland GR-33. La falta del manual o facilitar información incorrecta al consumidor constituyen una base de reclamación por no estar de acuerdo el producto con el contrato. Según la ley, está permitido adjuntar un manual de otra forma que no sea en papel, lo cual últimamente es bastante común y los fabricantes nos facilitan un manual gráfico, su versión electrónica Roland GR-33 o vídeos de instrucciones para usuarios. La condición es que tenga una forma legible y entendible.

¿Qué es un manual de instrucciones?

El nombre proviene de la palabra latina “instructio”, es decir, ordenar. Por lo tanto, en un manual Roland GR-33 se puede encontrar la descripción de las etapas de actuación. El propósito de un manual es enseñar, facilitar el encendido o el uso de un dispositivo o la realización de acciones concretas. Un manual de instrucciones también es una fuente de información acerca de un objeto o un servicio, es una pista.

Desafortunadamente pocos usuarios destinan su tiempo a leer manuales Roland GR-33, sin embargo, un buen manual nos permite, no solo conocer una cantidad de funcionalidades adicionales del dispositivo comprado, sino también evitar la mayoría de fallos.

Entonces, ¿qué debe contener el manual de instrucciones perfecto?

Sobre todo, un manual de instrucciones Roland GR-33 debe contener:
- información acerca de las especificaciones técnicas del dispositivo Roland GR-33
- nombre de fabricante y año de fabricación del dispositivo Roland GR-33
- condiciones de uso, configuración y mantenimiento del dispositivo Roland GR-33
- marcas de seguridad y certificados que confirmen su concordancia con determinadas normativas

¿Por qué no leemos los manuales de instrucciones?

Normalmente es por la falta de tiempo y seguridad acerca de las funcionalidades determinadas de los dispositivos comprados. Desafortunadamente la conexión y el encendido de Roland GR-33 no es suficiente. El manual de instrucciones siempre contiene una serie de indicaciones acerca de determinadas funcionalidades, normas de seguridad, consejos de mantenimiento (incluso qué productos usar), fallos eventuales de Roland GR-33 y maneras de solucionar los problemas que puedan ocurrir durante su uso. Al final, en un manual se pueden encontrar los detalles de servicio técnico Roland en caso de que las soluciones propuestas no hayan funcionado. Actualmente gozan de éxito manuales de instrucciones en forma de animaciones interesantes o vídeo manuales que llegan al usuario mucho mejor que en forma de un folleto. Este tipo de manual ayuda a que el usuario vea el vídeo entero sin saltarse las especificaciones y las descripciones técnicas complicadas de Roland GR-33, como se suele hacer teniendo una versión en papel.

¿Por qué vale la pena leer los manuales de instrucciones?

Sobre todo es en ellos donde encontraremos las respuestas acerca de la construcción, las posibilidades del dispositivo Roland GR-33, el uso de determinados accesorios y una serie de informaciones que permiten aprovechar completamente sus funciones y comodidades.

Tras una compra exitosa de un equipo o un dispositivo, vale la pena dedicar un momento para familiarizarse con cada parte del manual Roland GR-33. Actualmente se preparan y traducen con dedicación, para que no solo sean comprensibles para los usuarios, sino que también cumplan su función básica de información y ayuda.

Índice de manuales de instrucciones

  • Página 1

    Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of June 1, 2000 (Roland) ARGENTINA Instrumentos Musicales S.A. Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057 BRAZIL Roland Brasil Ltda. R. Coronel Oc[...]

  • Página 2

    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 equipm[...]

  • Página 3

    3 013 ● 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. .......................................................................................................... 014 ● Protect the unit from strong impact. (Do not drop it!)[...]

  • Página 4

    4 Contents Getting Started ........................................................................................ 8 About the Guitar Synthesizer ......................................................................................................... 8 What You Can Do with the GR-33 ................................................................[...]

  • Página 5

    5 Contents Chapter 4 Five Basic Modes ................................................................ 30 Play Mode ......................................................................................................................................... 30 Pedal Effect Mode ...........................................................................[...]

  • Página 6

    6 Contents Chapter 6 Using the Built-in Effects .................................................... 53 About the Effects Processors and Available Effects ................................................................. 53 Making Multi-effects Settings ................................................................................................[...]

  • Página 7

    7 Contents 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........[...]

  • Página 8

    8 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 a keyboard synthesizer are in essence simply advanced versions of basic on/of[...]

  • Página 9

    9 IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following: Power Supply 301 ● Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). 302 ● The AC adaptor will begin to gen[...]

  • Página 10

    10 Panel Descriptions fig.0-01 1 VOLUME Knob The VOLUME knob adjusts the signal volume output from the MIX OUT jack. The center mark provides an easy reference setting when connecting the GR-33 to an instrument amp or mixer. * The output level from the GUITAR OUT jack is controlled separately. 2 PLAY Button This button selects Play mode. To play so[...]

  • Página 11

    11 Panel Descriptions 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. In System mode and Patch Edit mode, use this knob to[...]

  • Página 12

    12 Panel Descriptions fig.0-02 17 MIX OUT Jacks L(PHONES)/R(MONO) The output of the synthesizer is sent out, or “output,” from here. Ordinarily, two cables are plugged into the L and R jacks, and the signal is then sent to a stereo amplifier. You can use the L (PHONES) jack as a headphone jack for stereo headphones that have a standard 1/4” s[...]

  • Página 13

    13 Chap. 1 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 ● Metal-stringed [...]

  • Página 14

    14 Chapter 1 Producing Sounds Making Connections After setting up the guitar part of your system, connect your other equipment following the examples shown in the connection diagram below. fig.1-01 * To prevent malfunction and/or damage to speakers or other devices, always turn down the volume and turn off the power on all devices before making any[...]

  • Página 15

    15 Chapter 1 Producing Sounds Chap. 1 For settings appropriate to your output device, refer to “Specifying the output device (OUTPUT SELECT)” (p. 19). Necessary Steps—From Powering Up to Performance * Once your connections have been completed (p. 14), turn on power to your various devices in the order specified. By turning on the devices in t[...]

  • Página 16

    16 Chapter 1 Producing Sounds Reset to Default Factory Settings (Factory Reset) The Factory Reset operation undoes any settings you have changed and discards any edits you have made to its patches. If you have settings or patches you wish to preserve, use the Bulk Dump operation (p. 37) to save them to an external MIDI device, such as a sequencer, [...]

  • Página 17

    17 Chapter 1 Producing Sounds Chap. 1 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. 4. When you have finished adjusti[...]

  • Página 18

    18 Chapter 1 Producing Sounds 3. Turn [VALUE] to select Gtr1–Gtr4. The setting you select will be loaded. * With the factory settings, this is set to “Gtr1.” If you wish to create a new input-sensitivity setup, press [PARAMETER] to select “PICKUP SENS,” and then adjust the sensitivity settings for the current guitar’s six strings. 4. Af[...]

  • Página 19

    19 Chapter 1 Producing Sounds Chap. 1 fig.1-12 5. Tune each of the other strings, 5 to 1, to A, D, G, B, and E, respectively. 6. When you are finished tuning, press any foot pedal, [S1] or [S2] on the GK-2A, or [PLAY], to return to Play mode. Selecting the output device (OUTPUT SELECT) In order for the GR-33 to produce the correct output levels, yo[...]

  • Página 20

    20 Chapter 1 Producing Sounds Playing the Internal Synth Sounds with the Guitar After checking the connections to the amplifier you are using, completing the sensitivity setup and tuning your guitar, try playing some sounds. ■ How to Play the GR-33’s Sounds with the Guitar 1. Make sure that the display indicates Play mode (p. 15). 2. Set the GK[...]

  • Página 21

    21 Chap. 2 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 appears in the display when the power is switched on indicates that patch numb[...]

  • Página 22

    22 Chapter 2 Selecting and Playing Sounds (Patches) 3. Use [VALUE] to select “Patch Select.” • Patch Select: You can continuously switch patches with [S1] and [S2] on the GK-2A. • Normal: Normal status. You cannot switch patches on the GK-2A. 4. Press [PLAY] to return to Play mode. 5. Pressing the GK-2A [UP/S2] once brings you to the next h[...]

  • Página 23

    23 Chapter 2 Selecting and Playing Sounds (Patches) Chap. 2 fig.2-06 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). The display starts to flash, and when you step on pedal 3 or 4,[...]

  • Página 24

    24 Chapter 2 Selecting and Playing Sounds (Patches) * Sometimes when pressing and releasing the foot switch to switch banks, you may find that while the bank does change, the patch number may not (light will flash); however, this does not indicate any malfunction. You can also make the setting with the FS-5U polarity switch, as shown in the figure [...]

  • Página 25

    25 Chapter 2 Selecting and Playing Sounds (Patches) Chap. 2 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, perf[...]

  • Página 26

    26 Chapter 3 Controlling Functions and Effects with the Base Module Pedals “Pedal Effect Mode”: What It Is, and How to Call It Up ■ How to Switch to Pedal Effect Mode 1. Press [SYSTEM] to enter System mode, and set the “S1/ S2 FUNCTION” to “Normal.” For more detailed information and instructions for this procedure, refer to “Selecti[...]

  • Página 27

    27 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Chap. 3 Turning Arpeggiator and Harmonist On/Off 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. To [...]

  • Página 28

    28 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Changing Effects with the Pedals In Pedal Effect mode (p. 26), you can get different effects by pressing Pedals 1 to 4 in the follow way. Getting a Pedal Wah Effect (Wah) You can get several of the most commonly used wah effects by pressing Pedal 1 (WAH). Repeatedly pressing[...]

  • Página 29

    29 Chapter 3 Controlling Functions and Effects with the Base Module Pedals Chap. 3 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.” The Tuner function is called up, and the following appears in the display. fig.3-03 2. Adj[...]

  • Página 30

    30 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” • Create and modify patches, and write them into memory “Patch Edit mode” • Establish settings for the entire GR-33 “Syste[...]

  • Página 31

    31 Chapter 4 Five Basic Modes Chap. 4 Pedal Effect Mode In Pedal Effect mode, buttons and dials work as follows. Additionally, you can change the nature of the available effects by pressing Pedals 1 to 4 in each patch. You can also change and re-record effects settings in User Patches A11 to d84. [BANK/PARAMETER] Button Goes forward and back throug[...]

  • Página 32

    32 Chapter 4 Five Basic Modes Patch Edit Mode: What It Means, How It Works In this mode, you can program patches. Patch Edit mode is divided into three sections: COMMON, TONE, and EFFECTS. fig.4-01 • COMMON This is where you name a Patch or set up pedal effects. • TONE This is where you set up the tones that serve as the basis for synth sounds.[...]

  • Página 33

    33 Chapter 4 Five Basic Modes Chap. 4 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: [BANK/PARAMETER] Button Use these buttons to select the parameter that yo[...]

  • Página 34

    34 Chapter 4 Five Basic Modes Getting Into and Out of Each Mode Here we will explain how to get into and out of each of the five modes: Play mode, Pedal Effect mode, Patch Edit mode, System mode and Tuner 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 follo[...]

  • Página 35

    35 Chap. 5 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 What is a “Tone”? As shown in the above figure, you can select any two of the 384 built-in tones—the raw material for synth sounds—and use them in a patch. The two tones in a patch [...]

  • Página 36

    36 Chapter 5 Setting/Changing Sounds (Patches) The Relationship Between Arpeggiator/ Harmonist and Patches When you are playing, you can use the arpeggiator or the harmonist. For each patch, you can select one of these functions (p. 78, 82) and also determine whether or not it will be active (p. 77, 81) when the patch is selected. Likewise, you can[...]

  • Página 37

    37 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Saving Patches From the GR-33 to Sequencers or Other MIDI Devices (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 op[...]

  • Página 38

    38 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. When writing the received patch, you can specify the desired destination, so you are not for[...]

  • Página 39

    39 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 • When both the first and second tones are present. • When the Reverb send level or Chorus send level is set to a high level. • When a high volume level is a characteristic of the tone itself. • When the brightness setting value is high. • When wah effects are applied. Changing the Fe[...]

  • Página 40

    40 Chapter 5 Setting/Changing Sounds (Patches) The eight types “Accl Normal,” “Accl Finger,” “Accl Hard,” “Accl Soft,” “Accl Tapping,” “Accl No Dynamics,” “Accl Envelope1,” and “Accl Envelope2” add the Accel function to the previously listed eight types. Notes will sound more quickly than the first eight types. For d[...]

  • Página 41

    41 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Changing Sound Placement (PAN) You can pan each of a patch’s two tones to its own stereo location. For example, you can pan one tone to the far left in the stereo field, and the other to the far right. You can also create complex stereo movement using a variety of pre-programmed stereo effect[...]

  • Página 42

    42 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. This is call[...]

  • Página 43

    43 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Selecting Wah Types (WAH TYPE) There are 35 types, in seven groups, of wah effects you can get by stepping on and releasing pedal 1 in Pedal Effect mode, with differing ranges of tone change and different speeds, and along with one type of modulation (vibrato), there are a total of 36 variation[...]

  • Página 44

    44 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. * When the wah is “clo[...]

  • Página 45

    45 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 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 Typ[...]

  • Página 46

    46 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. Sostenuto 1&2: This sostenuto hold [...]

  • Página 47

    47 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 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. You can also us[...]

  • Página 48

    48 Chapter 5 Setting/Changing Sounds (Patches) Pan (Normal) (Normal Pan): “PAN” (p. 41) settings in the patch are ignored, and stereo placement is controlled by the EXP pedal. Both of the patch’s tones are panned together. Both tones are panned right when the pedal is pressed forward, and left when the pedal is brought back. Pan (Cross Tones)[...]

  • Página 49

    49 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 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. Selecting[...]

  • Página 50

    50 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. With a short r[...]

  • Página 51

    51 Chapter 5 Setting/Changing Sounds (Patches) Chap. 5 Combining/Layering Two Sounds (Tones) Determining Which Tones Will Be Sounded (LAYER) You can determine how the 1st and 2nd tones will be combined using the TONE “LAYER” parameter in Patch Edit mode. This parameter allows you to activate only the 1st tone, only the 2nd, or both. LAYER, comb[...]

  • Página 52

    52 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.” 4. Turn [VA[...]

  • Página 53

    53 Chap. 6 Chapter 6 Using the Built-in Effects About the Effects Processors and Available Effects The GR-33 has the following three onboard effect processors. a. MULTI-FX (Multi-effects) b. CHORUS c. REVERB The overall structure of the EFFECTS as follows. fig.6-00 Chorus and Reverb coneects in series. MULTI-FX is Multi-effects which contains 40 ty[...]

  • Página 54

    54 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. 1: STEREO-EQ ( [...]

  • Página 55

    55 Chapter 6 Using the Built-in Effects Chap. 6 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 LOW FREQ (Low frequency) 200 Hz/400 Hz Select the frequency (200 Hz/400 Hz) at which the low freque[...]

  • Página 56

    56 Chapter 6 Using the Built-in Effects 3: DISTORTION Distortion produces a more intense distortion than the Overdrive effect. fig.6-07 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. A setting of L64 is fa[...]

  • Página 57

    57 Chapter 6 Using the Built-in Effects Chap. 6 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. BAND7 (Band 7 gain) -15–+15 dB Specify [...]

  • Página 58

    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. LOW FAST (Low frequency fast rate) 0.05–10.0 Hz Specify the hi[...]

  • Página 59

    59 Chapter 6 Using the Built-in Effects Chap. 6 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.[...]

  • Página 60

    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 PRE DELAY (Pre delay time) 0.0–100 ms Specify the delay time from the original sound until the chorus sound is heard. RATE 0.05?[...]

  • Página 61

    61 Chapter 6 Using the Built-in Effects Chap. 6 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 FILTER TYPE Off/LPF/HPF [...]

  • Página 62

    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. Positive (+) settings will emphasize (boost) the hig[...]

  • Página 63

    63 Chapter 6 Using the Built-in Effects Chap. 6 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 FB MODE (Feedback mode) Normal/Cross Specify the input destination to which the delay sound will be returned. Normal: The left delay sound will be return[...]

  • Página 64

    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. Positive (+) se[...]

  • Página 65

    65 Chapter 6 Using the Built-in Effects Chap. 6 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)[...]

  • Página 66

    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. PRE DELAY B (Pre delay time B) 0.0–500 ms Sp[...]

  • Página 67

    67 Chapter 6 Using the Built-in Effects Chap. 6 24: REVERB Reverb adds reverberation to the original sound, simulating an acoustic space. fig.6-27 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: Reverberation with he[...]

  • Página 68

    68 Chapter 6 Using the Built-in Effects 26: OD ➔ CHO (Overdrive ➔ Chorus) This effect connects an overdrive and chorus in series. fig.6-29 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 o[...]

  • Página 69

    69 Chapter 6 Using the Built-in Effects Chap. 6 28: OD ➔ DLY (Overdrive ➔ Delay) This effect connects an overdrive and a delay in series. fig.6-31 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 [...]

  • Página 70

    70 Chapter 6 Using the Built-in Effects 32: EH ➔ CHO (Enhancer ➔ Chorus) This effect connects an enhancer and a chorus in series. fig.6-35 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 sou[...]

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    71 Chapter 6 Using the Built-in Effects Chap. 6 34: EH ➔ DLY (Enhancer ➔ Delay) This effect connects an enhancer and delay in series. fig.6-37 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[...]

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    72 Chapter 6 Using the Built-in Effects LEVEL (Output level) 0–127 Specify the output volume. 36: FL ➔ DLY (Flanger ➔ Delay) This effect connects a flanger and a delay in series. fig.6-39 FL PRE DLY (Flanger pre delay time) 0.0–100 ms Specify the time delay from the original sound until the flanger sound is heard. FL RATE (Flanger rate) 0.0[...]

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    73 Chapter 6 Using the Built-in Effects Chap. 6 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. You can set a value from -98% t[...]

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    74 Chapter 6 Using the Built-in Effects Making Chorus Settings Here’s how to adjust parameters such as modulation depth and speed for the chorus sound. ■ Procedure for Setting Chorus 1. Select the patch for which Chorus is to be set, and press [EFFECTS] to go into Patch Edit mode. 2. Use [PARAMETER] to select the CHORUS-related parameter. For a[...]

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    75 Chapter 6 Using the Built-in Effects Chap. 6 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. REV[...]

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    76 Chapter 7 The Arpeggiator Function The GR-33 is equipped with an Arpeggiator function that is uniquely suited to guitar performances. When turned on, Arpeggiator takes over when a chord is strummed, and plays the chord’s notes for you in simple or complex ways. The arpeggiator can be create a basic backing using synthesizer sounds as you play [...]

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    77 Chapter 7 The Arpeggiator Function Chap. 7 Latch TypeA (Latch hold type A): With an ordinary hold function, pressing the pedal starts the hold, and releasing the pedal ends it. 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 Arpeggi[...]

  • Página 78

    78 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 st[...]

  • Página 79

    79 Chapter 7 The Arpeggiator Function Chap. 7 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).” ■ Selecting Arpeggio Pat[...]

  • Página 80

    80 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. However, to create harmonies that are more musically useful, the differences in pitch between notes must[...]

  • Página 81

    81 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 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. Press [COMMON] to enter Patch Edit mode. 2. Use [PARAMETER] to select “CTRL PEDAL[...]

  • Página 82

    82 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. ■ Setting Harmony Select 1. Select the patch for which Harmonist s[...]

  • Página 83

    83 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 The various settings produce the following intervals between the melody and the harmony. fig.8-05 * When HARMONY STYLE is “+3,” and HARMONY KEY is set to “minor,” the harmony is made in a minor scale. Setting Transpose and “HARMONY STYLE” Transpose settings include [...]

  • Página 84

    84 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Setting the Key (HARMONY KEY) The “HARMONY KEY” setting selects the key in which the patch’s melody is to be played, such as C or Gm (G minor). ■ Setting the Harmony Key 1. Select the patch for which the Harmony key setting is to be modified, and press [EFFECTS] to go into Patc[...]

  • Página 85

    85 Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) Chap. 8 7. Refer to the owner’s manual for the external device, and send MIDI note messages to the GR-33. 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 s[...]

  • Página 86

    86 Chapter 9 Connecting to External Sound Generators and Sequencers Connecting an external sound generator to the GR-33 makes it possible to play sounds not included the 384 built-in tones, and to create fatter sounds by combining notes from the GR- 33 and the external device. The GR-33 can also serve as a convenient input tool for a MIDI sequencer[...]

  • Página 87

    87 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 * For a detailed explanation of Mono mode and Poly mode, see the subsequent section, “Transmitting in Mono Mode or Poly Mode.” * When using the GR-33 in combination with a multitimbral sound module (a sound generator offering a number of performance parts) or a sequence[...]

  • Página 88

    88 Chapter 9 Connecting to External Sound Generators and Sequencers “GUITAR,” a value of zero is sent to the external sound generator on the Control Change message No. 7, and sound from the external sound generator also stops. When “MIX” or “SYNTH” is selected, values corresponding to the state of the GK-2A volume or the expression peda[...]

  • Página 89

    89 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 Conversely, if there is a patch which should be played using only the external sound generator, just set the GR-33 patch “LAYER” setting (p. 51) to “Mute.” * It’s not possible to alter the correspondences between Program Change numbers received by the GR-33 and th[...]

  • Página 90

    90 Chapter 9 Connecting to External Sound Generators and Sequencers 8. Press [WRITE] to perform the Patch Write operation (p. 36). * After performing the Patch Write operation, you will automatically return to Play mode. * If you don’t want to save the Patch, press [PLAY] to return to Play mode. When you call up a patch for which the settings des[...]

  • Página 91

    91 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 The Relationship Between Envelope Follow Function and MIDI Message Patches that use the Envelope Follow function (p. 36)—in other words, patches for which “Envelope1” or “Envelope2” has been selected for the COMMON “PLAY FEEL” setting in the Patch Edit mode—[...]

  • Página 92

    92 Chapter 9 Connecting to External Sound Generators and Sequencers Transposing Performance Data for an External Sound Generator (MIDI [TRANSPOSE]) When using an external sound generator, notes in the bass (or treble) range not on the guitar can be sent by changing the COMMON setting “MIDI [TRANSPOSE]” in the Patch Edit mode to transpose the ou[...]

  • Página 93

    93 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 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. Connecting to a Sequencer Use MIDI cab[...]

  • Página 94

    94 Chapter 9 Connecting to External Sound Generators and Sequencers About “Local Control Off” While the GR-33’s internal sound generator and guitar controller are connected together, it is set to “Local On.” In contrast to this, “Local Off” is when the GR-33’s internal sound generator and guitar controller are separated, and only MI[...]

  • Página 95

    95 Chapter 9 Connecting to External Sound Generators and Sequencers Chap. 9 * As in Example 1 above, it is perfectly all right to record the arpeggios themselves with “Arpeggio Ext,” then return this data unchanged from MIDI OUT on the sequencer (to a patch for which first and second tone arpeggios are off) to re-create the arpeggios. However, [...]

  • Página 96

    96 Chapter 9 Connecting to External Sound Generators and Sequencers Practical Use of MIDI Channels fig.9-16 A single MIDI system has 16 channels, and ordinarily 16 instrument parts can exist.With a guitar synthesizer, however, each of the six strings takes up one channel. This means that, for instance, two-part input with the guitar synth to an ens[...]

  • Página 97

    97 Chap. 10 Chapter 10 Other Convenient Functions Re-assigning Program Change Numbers in the Order of Patches If you have repeatedly changed the original settings of patches and re-written them to different memory locations, or have otherwise reordered the patches, the Program Change numbers “(MIDI [PC])” assigned to the patches no longer corre[...]

  • Página 98

    98 Chapter 10 Other Convenient Functions ■ Terminating Transmission of the MIDI Controller No. 7 1. Press [SYSTEM] to enter System mode. 2. Press [PARAMETER] to select “VOL SEND SW.” fig.10-04 3. Turn [VALUE] to select “Off.” 4. Press [PLAY] to return to Play mode. * This is a system-wide setting, and not a patch setting, so there is no n[...]

  • Página 99

    99 Chap. 11 Chapter 11 Appendices Troubleshooting During Normal Play with Just the GR-33 No synth sounds are heard when the guitar is played ● If the unit’s volume knob turned down too low? → Adjust the volume to an appropriate level. ● Is the volume on the GK-2A turned down too low? Is the GK-2A’s selector switch set to GUITAR? → Set t[...]

  • Página 100

    100 Chapter 11 Appendices ● Is the TONE “1:2 BALANCE” setting (p. 52) set to “50” or “-50”? → Change the setting to a value closer to “0” and check operation. The built-in effects don’t work ● Is the EFFECTS setting item “REV SEND LEVEL” (p. 75), “CHO SEND LEVEL” (p. 74) set to “0,” or “MULTI- FX SW” (p. 53) [...]

  • Página 101

    101 Chapter 11 Appendices Chap. 11 Settings cannot be made independently for individual strings ● Is the setting one that cannot be made for individual strings? → The seven settings that can be made independently for each of the strings using the [STRING SELECT] button are TONE “Layer,” “1ST TRANSPOSE,” and “2ND TRANSPOSE,” COMMON ?[...]

  • Página 102

    102 Chapter 11 Appendices Pitch doesn’t change smoothly ● Is data being sent in the Poly mode? When transmitting in the Poly mode, pitch changes during chord performances are in semitone steps (p. 88). → Play with single notes, or use the Mono mode to send data. ● Is the Bend Data Thin function (p. 95) in use? → Do not use the Bend Data T[...]

  • Página 103

    103 Chapter 11 Appendices Chap. 11 Roland Exclusive Messages 1. Data Format for Exclusive Messages Roland’s MIDI implementation uses the following data format for all Exclusive messages (type IV): •MIDI status: F0H, F7H An Exclusive message must be flanked by a pair of status codes, starting with a Manufacturer ID immediately after F0H (MIDI ve[...]

  • Página 104

    104 Chapter 11 Appendices * The size of the requested data does not indicate the number of bytes that will make up a DT1 message, but represents the address fields where the requested data resides. * Some models are subject to limitations in data format used for a single transaction. Requested data, for example, may have a limit in length or must b[...]

  • Página 105

    105 Chapter 11 Appendices Chap. 11 MIDI Implementation Model: GR-33 Date: Jul. 21, 2000 Version: 1.01 1. Recognized Receive Data ■ Channel Voice Message ● Note Off STATUS SECOND THIRD 8nH kkH vvH 9nH kkH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 kk=Note Number: 00H - 7FH (0 - 127) vv=Velocity: 00H - 7FH (0 - 127) ● Note On S[...]

  • Página 106

    106 Chapter 11 Appendices ❍ Hold1 STATUS SECOND THIRD BnH 40H vvH n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 vv=Control Value: 00H - 7FH (0 - 127) 00H-3FH=OFF, 40H-7FH=ON * Can be received only through the Basic channel when this channel is set to POLY1- POLY16. ❍ General Purpose #5 STATUS SECOND THIRD BnH 50H vvH n=MIDI Channel Nu[...]

  • Página 107

    107 Chapter 11 Appendices Chap. 11 ● OMNI OFF STATUS SECOND THIRD BnH 7CH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 * Can be received only through the Basic channel. * Will act the same as All Note Off. ● OMNI ON STATUS SECOND THIRD BnH 7DH 00H n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 * Can be received only thro[...]

  • Página 108

    108 Chapter 11 Appendices ❍ General Purpose #2 STATUS SECOND THIRD BnH 11H vvH n=MIDI Channel Number: 0H - FH (0 - 15) 0=ch.1 15=ch.16 vv=Control Value: 00H - 7FH (0 - 127) 00H-3FH=Major, 40H-7FH=Minor * Transmitted when an external pedal is used to switch the harmony key between Major/ Minor. ❍ General Purpose #3 STATUS SECOND THIRD BnH 12H vv[...]

  • Página 109

    109 Chapter 11 Appendices Chap. 11 3. Exclusive Communications The GR-33 can transmit or receive system and patches parameters using system exclusive messages. Model ID of exclusive message available on the GR-33 is 00H 30H.Device ID is fixed at 10H. When the GR-33 receives an Identify Request inquiry message, it will transmit an Identity Reply. ?[...]

  • Página 110

    110 Chapter 11 Appendices ● Inquiry Message ❍ Identity Request Bytes Comments F0H Exclusive Status 7EH ID number (Universal Non-realtime Message) 10H Device ID 06H SubID#1 01H SubID#2 F7H EOX (End of Exclusive) * The 7FH (Broadcast) device ID is also supported. * Identity request can be received when Bulk Load is standby in System mode. * When [...]

  • Página 111

    111 Chapter 11 Appendices Chap. 11 |——————————+—————————+———————————————————————————————————+—————————————————————————————————————————————————?[...]

  • Página 112

    112 Chapter 11 Appendices |——————————+—————————+———————————————————————————————————+————————————————————————————————————————————————————?[...]

  • Página 113

    113 Chapter 11 Appendices Chap. 11 +————————————————————————————————————————————————————————————————————————————————————————————————————————?[...]

  • Página 114

    114 Chapter 11 Appendices | |# 7. LEVEL | 00 - 7F | 0 - 127 | | | 8. - | - | - | | | 9. - | - | - | | | 10. - | - | - | | | 11. - | - | - | | | 12. - | - | - | |——————————————————————————+————————————————————————+—————————+———[...]

  • Página 115

    115 Chapter 11 Appendices Chap. 11 | | 2. DELAY LEFT | 00 - 7E | 0.0 - 500 [msec] | | | 3. DELAY RIGHT | 00 - 7E | 0.0 - 500 [msec] | | | 4. FEEDBACK | 00 - 62 | -98 - 98 [%] | | | 5. HF DAMP | 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600, | | | | | 2000,2500,3150,4000,5000,6300,8000[Hz], Bypass| | |# 6. RATE | 00 - 7D | 0.05 - 10.0 [Hz] | [...]

  • Página 116

    116 Chapter 11 Appendices | | 8. LEVEL | 00 - 7F | 0 - 127 | | | 9. - | - | - | | | 10. - | - | - | | | 11. - | - | - | | | 12. - | - | - | |——————————————————————————+————————————————————————+—————————+—————————?[...]

  • Página 117

    117 Chapter 11 Appendices Chap. 11 | | 3. CHO DEPTH | 00 - 7F | 0 - 127 | | | 4. - | - | - | | | 5. CHO BALANCE | 00 - 64 | D100:0E - D0:100E | | | 6. DLY TIME | 00 - 7E | 0.0 - 500 [msec] | | | 7. DLY FEEDBACK | 00 - 62 | -98 - +98 [%] | | | 8. DLY HF DAMP | 00 - 11 | 200,250,315,400,500,630,800,1000,1250,1600, | | | | | 2000,2500,3150,4000,5000,6[...]

  • Página 118

    118 Chapter 11 Appendices * 4)Arpeggio pattern number corresponds to each Pattern name as follows. +——————————————————+ |No.| Pattern Name | |———+——————————————| | 1| Arpeggio 1 | | 2| Arpeggio 2 | | 3| Arpeggio 3 | | 4| Arpeggio 4 | | 5| Arpeggio 5 | | 6| Arpeggio 6 | | 7| Arpeg[...]

  • Página 119

    119 Chapter 11 Appendices Chap. 11 MIDI Implementation Chart Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Prog Change System Exclusive System Common System Real Time Aux Message Notes Transmitted Recognized Remarks Default Changed Default Messages Altered True Voice Note ON Note OFF Key's Ch'[...]

  • Página 120

    120 Chapter 11 Appendices Specifications GR-33: GUITAR SYNTHESIZER ● Sound generator 1 Part (Mono mode M=6/Poly mode switchable) ● Maximum Polyphony 48 voices ● Tones 384 ● Patches User: 128 Preset: 128 ● Display 16 segments 6 characters backlit LCD 7 segments 3 characters LED ● Effects MULTI-FX (40 types) Chorus Reverb ● Connectors/J[...]

  • Página 121

    121 Index A Acceleration ................................................................... 40 ARP PATTERN .............................................................. 79 ARP TEMPO .................................................................. 79 Arpeggiator .................................................................... 76 Arpeggio Pat[...]

  • Página 122

    122 No. Name No. Name No. Name No. Name Tone List <PIANO> 1 GR Piano 2 Cool Piano 3 Dark Piano 4 Old Upright 5 Piano&String 6 Piano&Choir <E.PIANO> 7 SA Rhodes 8 StageRhd Sft 9 StageRhd Hrd 10 StageRhd Vsw 11 PopE.Pno Sft 12 PopE.Pno Hrd 13 PopE.Pno Vsw 14 BritePop EP 15 Detuned EP 16 E.P.&Strings 17 E.P.&SynVox <ORGA[...]

  • Página 123

    123 Tone List No. Name No. Name No. Name No. Name 192 Horn Sect 193 Big Brass 194 BrassSect x4 195 BrassFalloff <SYN.BRASS> 196 Mellow Horn 197 OBXP Brass 198 MG Brass 199 Saws Brass 200 Brassy Saw 201 Synth Brass1 202 Synth Brass2 203 Solo SynBrs <SOFT LEAD> 204 OB Lead 1 205 OB Lead 2 206 Sqr Lead 1 207 P5 Pipe 208 JP-8 Square 209 Sqr[...]

  • Página 124

    124 Patch List Group A (E) No. PatchName A11 JAZZ SCAT A12 DIDGERI FLT A13 JANGLE PAD A14 GR-300 LEAD A21 ★ 12ST GUITAR A22 ★ 303 TEKNO A23 GR STRINGS A24 E.ORGAN/PDL A31 ROMANTIC PAD A32 FRETLESS BS A33 DAFT WAVE A34 ● Cmaj-STRINGS A41 ★ NYLON STR GT A42 MIDI PIANO A43 ● DIST. GUITAR A44 E.SITAR A51 TABLA&SITAR A52 DIDGERI PIPE A53 T[...]

  • Página 125

    125 MEMO[...]

  • Página 126

    126 MEMO[...]

  • Página 127

    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 equipm[...]

  • Página 128

    Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. As of June 1, 2000 (Roland) ARGENTINA Instrumentos Musicales S.A. Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057 BRAZIL Roland Brasil Ltda. R. Coronel Oc[...]