Roland GR-33 User manual

!1-R_
SYNTHESIZE/l
GR-33
Thank you, and congratulations on your choice of the Roland
GR-33 Guitar Synthesizer.
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Befo.reu.si!l!.fhi~:unitJ~~r~fOH.Y read.thei se<ltions entitled; ..
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Additionally, in order to feel assured that you have gained a
good grasp of
eve~ feature provided by your new unit,
Owner's manual should be read
in its entirety. The manual
should be saved and kept on handas aconvenient 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.

USING THE UNIT SAFELY
INSTRUCTIONS FOR THE PREVENTION OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS
About fil WARNING and filCAUTION Notices
About the Symbols
Used for instructions intended to alert The
D. symbol alerts the user to important instructions
itWARNING
the user to the risk of death or severe
injury
should the unit be used
improperly.
Used for instructions intended
to alert
the user
to the risk of injury or material
damage
should the unit be used
itCAUTION
improperly.
• Material
damage refers to d,1mage or
&
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol
a-t left, it is used for
general cautions, warnings, or alerts to danger.
The 0 symbol alerts the user to items that
must never
be carried
out (are forbidden). The specific thing that
©
must not be dune is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the
unit must never be disassembled.
other adverse effects caused with
respect to the
home
and
all its
furnishings, as well to
domestic
animals or pets.
The e symbol alerts the user to things that
must be
carried out. The specific thing that
must be done is
~
indicated by the design contained within the circle. In
the case of the symbol
at left, it means that the power-
cord plug
must be unplugged from the outlet.
------------------------- ALWAYS OBSERVE THE FOLLOWING ----- -------- ----------------------
itWARNING
• Before using this unit, make sure to read the
instructions below,
and the Owner's Manual.
• Do
not open (or modify in any way) the wut or its t<i\
AC adaptor. \!)I
Do not attempt to repair the unit, or replace parts t<::\
within it (except when this manual provides \.Y
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.
• Never use or store the unit in places that are:
2
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct,
on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
• Exposed to rain;
or are
• Dusty; or are
• Subject to high levels of vibration.
Make sure you always
have the Lmit placed so it is o
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the
input voltage specified on
the AC adaptor's body. Other AC adaptors may
use a different polarity,
or be designed for a
different voltage, so their use could result in
damage, malfunction,
or electric shock.
0
&
•
&WARNING
Do not excessively twist or bend the power cord, t<::\
nor place heavy objects on it. Doing so can \.Y
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
This unit, either alone
or in combination with an t<::\
amplifier and headphones or speakers, may be \.Y
capable of producing sound levels that could
cause
permanent hearing loss. Do not operate for
a long period of time
at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately
stop using the unit, and consult an
audiologist.
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of
any kind (water, soft
drinks, etc.) to penetrate the unit.
Immediately turn the
power off, remove the AC !.\.ff\
adaptor from the outlet, and requestservicing by ~
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
"Information"
page when:
• The
AC adaptor, the power-supply cord, or the
plug has been damaged; or
• Objects have fallen into, or liquid has been
spilled onto the unit; or
• The unit has been exposed to rain (or otherwise
has become wet);
or
• The unit does not appear to operate nonnally or
exhibits a marked change in performance.

i'.'.tWARNING
e 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 w1it.
e Protect the unit from strong impact.
(Do not
drop it!)
• Do not force the wut's power-supply cord to share f::"\
an outlet with an unreasonable number of other \.Y
devices. Be especially careful when using
extension
cords-the total power used by all
devices you have connected to the extension
cord's outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation
on the cord to heat
up and eventually melt through.
• Before using the
unit in a foreign country, consult 11\11'-
with your retailer, the nearest Roland Service L_U
Center, or an authorized Roland distributor, as
listed
on the "Information" page.
i'.'.tCAUTION
• The unit and the AC adaptor should be located so
their location orposition does
not interfere with
their
proper ventilation.
e Always grasp only the plug on the AC adaptor o
cord when plugging into, or unplugging from, an
outlet or this wut.
• Whenever the unit is to remain unused for
an
extended period of time, disconnect the AC
adaptor.
• Try to prevent cords
and cables from becoming
entangled. Also, all cords
and cables should be
placed so they are
out of the reach ofchildren.
0
• Never climb on top of, nor place heavy objects on f::"\
the unit. \.Y
e Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging
from,
an outlet or this unit.
• Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
• Before cleaning the unit,
tum off the power and
unplug the AC adaptor from the outlet (p. 12).
0
0
e Whenever you suspect the possibility of lightning o
in your area, disconnect the AC adaptor from the
outlet.
3

..
Contents
Getting Started ........................................................................................8
About the Guitar Synthesizer......................................................................................................... 8
What You Can Do with the GR-33 ................................................................................................. 8
IMPORTANT NOTES ...............................................................................9
Panel Descriptions................................................................................1O
Chapter 1 Producing Sounds ..............................................................13
What You Need................................................................................................................................ 13
Installing the GK-2A ..................................................................................................................... 13
Making Connections ...................................................................................................................... 14
Necessary
Steps-From Powering Up to Performance............................................................15
About Play Mode .......................................................................................................................... 15
Reset to Default Factory Settings (Factory Reset) ..................................................................... 16
Overall Settings for the GR-33 (SYSTEM) ................................................................................. 17
Adjusting the Brightness of the Display (LCD Contrast)........................................................ 17
Setting
Input Sensitivity (PICKUP SENS) ................................................................................. 17
Matching Pitches of
Other Instruments..................................................................................... 18
Adjusting the Guitar Tuning (Tuner Function)........................................................................ 18
Selecting the output device (OUTPUT SELECT) ...................................................................... 19
Turning off the guitar amp simulator (G.AMP SIM) ............................................................... 19
Playing the Internal Synth Sounds with the Guitar................................................................. 20
What To Do if There is No Sound When the Guitar is Played .............................................. 20
Chapter 2 Selecting and Playing Sounds (Patches).......................... 21
What Is a Patch? ............................................................................................................................... 21
Rewritable Patches (User Patches).............................................................................................. 21
Read-only Patches (Preset Patches) ............................................................................................ 21
Selecting a Patch.............................................................................................................................. 21
Using the Guitar (GK-2A) to Select Patches.............................................................................. 21
Using the Base Module to Select Patches .................................................................................. 22
Using the Base Module plus an External Foot Switch to Select Patches............................... 23
Selecting Patches with an External MlDl Foot Conh·oller ...................................................... 24
Changing the Patch Order............................................................................................................. 25
Chapter 3 Controlling Functions and Effects with the Base Module Pedals ..... 26
"Pedal Effect Mode": What It Is, and How to Call It Up ......................................................... 26
Getting the Same Effect While in Play Mode............................................................................ 26
Turning Arpeggiator and Harmonist On/Off............................................................................ 27
Changing Effects with the Pedals................................................................................................ 28
Getting a Pedal Wah Effect (Wah) .............................................................................................. 28
Changing Pitch Dynamically (Pitch Glide) ............................................................................... 28
Holding a Synth Tone After the String is Stopped (Hold)...................................................... 28
Calling Up the Tuner Function with a Pedal............................................................................. 29
4

Contents I
Chapter 4 Five Basic Modes ................................................................30
Play Mode .........................................................................................................................................30
Pedal Effect Mode ........................................................................................................................... 31
Patch Edit Mode: What It Means, How It Works ......................................................................32
System Mode ....................................................................................................................................33
Procedures in Tuner Mode ............................................................................................................33
Getting Into and Out of Each Mode ............................................................................................34
Chapter 5 Setting/Changing Sounds (Patches) .................................35
Details of Putting a Patch Together............................................................................................. 35
What is a "Tone"? ......................................................................................................................... 35
Recording
and Settings of Each Patch........................................................................................ 35
Making separate settings for each string (STRING SELECT).................................................
35
The Relationship Between Arpeggiator/ Harmonist and Patches......................................... 36
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) ..................................................... 38
Changing the Feel of a Performance (PLAY FEEL) ...................................................................39
Following the Guitar Sound Shape (Envelope Follow)........................................................... 40
Increasing the Speed of Expression (Acceleration) ..................................................................40
Changing Sound Placement (PAN) ............................................................................................. 41
Dividing Continuous Pitch Changes into Semitones (CHROMATIC)................................42
When You Want to Make a Chord Resonate Beautifully........................................................ 42
When You Want to Reproduce Piano-like Pitch Changes ...................................................... 42
Selecting Wah Types (WAH TYPE) ............................................................................................. 43
Selecting Pitch Glide Type (GLIDE TYPE)................................................................................44
Selecting Hold Type (HOLD
TYPE) ............................................................................................ 45
Using the CTRL Pedal .................................................................................................................... 46
Using the Expression Pedal...........................................................................................................47
To Add Effects ............................................................................................................................... 47
To Switch Effects (EXP PEDAL) ................................................................................................. 47
Creating Synth Sounds .................................................................................................................. 49
Selecting the basic ingredient (tone) of a sound (SELECT)..................................................... 49
Increasing/Decreasing Attack Time (ATTACK) ...................................................................... 49
Changing Tone Release (RELEASE)........................................................................................... 50
Changing Tone Brightness (BRIGHTNESS).............................................................................. 50
Combining/Layering Two Sounds (Tones)................................................................................ 51
Determining Which Tones Will Be Sounded (LA YER) ........................................................... 51
Applying Detune (Subtle Pitch Shift)......................................................................................... 51
Transposing by Semitones (TRANSPOSE)................................................................................ 51
Determining the Volume Balance of Two Tones (1:2 BALANCE) ........................................ 52
What to do When a Tone is Supposed to Sound, but Doesn't ............................................... 52
5

IContents
Chapter 6 Using the Built-in Effects....................................................53
About the Effects Processors and Available Effects................................................................. 53
Making Multi-effects Settings...................................................................................................... 53
Turning multi-effects on/ off (MULTI-FX SW) ......................................................................... 53
Selecting a Type (MULTI-FX TYPE) ........................................................................................... 54
About Multi-Effects Parameters.................................................................................................. 55
Making Chorus Settings................................................................................................................ 74
Making Reverb Settings ................................................................................................................74
Temporarily Turning Off Effects (EFFECT BYPASS).............................................................. 75
When the Onboard Effects Don't Work...................................................................................... 75
Chapter 7 The Arpeggiator Function ..................................................76
About the Arpeggiator Function .................................................................................................. 76
About "Arpeggio Patterns".........................................................................................................
76
Effective Use of the Hold Function During Arpeggios ...........................................................76
Changing the Sounding of Arpeggios ........................................................................................77
Turning Arpeggiator
On and Off (HAR/ ARP CONTROL) ................................................... 77
Selecting Tones to Be Arpeggiated (HAR/ ARP SELECT) ...................................................... 78
Selecting Arpeggio Patterns (ARP PATTERN)......................................................................... 79
Setting Tempo (ARP TEMPO)..................................................................................................... 79
Using the pedal to set the tempo (Tap Tempo Teach function) ............................................. 79
Chapter 8 Adding Harmonies in a Specific Key (The Harmonist) ....80
About the Harmonist...................................................................................................................... 80
What You Can Do with the Harmonist....................................................................................... 80
Adding Synth Sounds to Guitar Sounds ................................................................................... 80
Creating Harmonies with Two Synth Sounds .......................................................................... 80
Operation................................................................·......................................................................... 81
Turning the Harmonist On and Off (HAR/ ARP CONTROL) ............................................... 81
Selecting Harmony Tones (HAR/ ARP SELECT) ..................................................................... 82
Setting Harmonic Intervals (HARMONY STYLE) ................................................................... 82
Setting Transpose and "HARMONY STYLE" .......................................................................... 83
Setting the Key (HARMONY KEY) ............................................................................................ 84
Changing the Key from an External Pedal or Other Device with MIDI Note Messages (HARMONY REMOTE) ........ 84
Switching Between Major and Minor During a Performance................................................ 85
Chapter 9 Connecting to External Sound Generators and Sequencers ...... 86
About MIDI...................................................................................................................................... 86
Controlling an External MIDI Sound Device ............................................................................ 86
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 [CCO], MIDI [CC32]) ................................................. 89
Applying the Arpeggiator or Harmonist Using an External Sound Device ........................ 90
The Relationship Between Envelope Follow Function and MIDI Message ......................... 91
Controlling External MIDI Devices with the Pedal ................................................................. 91
6

Contents I
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 ....................................................................... 93
About "Local Control Off" .......................................................................................................... 94
Creating Realistic Plucked String Instrument Sounds (Data) ................................................ 94
Recording Arpeggiator
and Harmonist Performances............................................................ 94
Reducing the Size of a MIDI Pitch Bend Message.................................................................... 95
Practical Use of MIDI Channels.................................................................................................. 96
What to do When You Have Difficulty Sequencing................................................................ 96
Chapter 1OOther Convenient Functions.............. ~ ............................. 97
Re-assigning Program Change Numbers in the Order of Patches ........................................97
Terminating Transmission of the MIDI Controller No. 7 (Volume) ....................................97
Terminating Transmission of the Bend Range Request Message......................................... 98
Chapter 11 Appendices ........................................................................99
Troubleshooting ..............................................................................................................................99
Error Messages............................................................................................................................... 102
Roland Exclusive Messages.........................................................................................................103
MIDI lmplementation ..................................................................................................................105
MIDI Implementation Chart .......................................................................................................119
Specifications................................................................................................................................. 120
Index..................................................................................................... 121
Tone List..............................................................................................122
Patch List.............................................................................................124
7

,..
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/ off switches, synthesizers cannot really
offer a faithful expression of strings
or wind instruments.
On the other hand, with the guitar, the part of the instrument
that actually vibrates (i.e. the string) is touched directly. As a
result it excels in
~he expressive power that arises from slight
changes
in pitch--changes even smaller than a semitone--or
vibrato or muting. And because guitars are easy to play,
there are
more people playing guitars than keyboards.
With these points in mind, the guitar synthesizer was
developed as
an instrument that, while played like a guitar,
could be used for
sound generation much like other
synthesizers.
The guitar synthesizer is
set up with separate pickups for
each of the guitar's metal strings. These pickups register and
send the frequency
and amplitude information in each
strings's vibration to the synthesizer, which
then in turn
expresses the data as pitch, volume, and tone.
By connecting an external MIDI device (e.g. another sound
generator) via the MIDI OUT connector, you can also export
guitar performance data while simultaneously playing the
instrument's internal
sound generator.
What You Can Do with the GR-33
• While enjoying the experience of playing an ordinary
guitar,
you can choose from a huge palette of
synthesizer sounds-384 in all.
-, You can take solos using synth sounds only, or layered
guitar and synth sounds. You can even switch between
the
two modes as you play.
-, When playing chords, you can enjoy the rich, full
ensemble
sounds that a synthesizer provides.
-, You can switch from electric guitar to other instrument
sounds-acoustic guitar, bass, organ, winds, ethnic
instruments,
and so on-in an instant, without
physically changing instruments.
• When properly installed, the GK-2A divided pickup
(sold separately)
can also be used with an acoustic
guitar strung with metal strings.
• Not
only can you layer two synthesizer tones-and
freely assign sounds to each string-you can also store
fine adjustments
to such settings as brightness and
attack. You can also store differences between the pitch
of the guitar and the synthesizer sounds (p. 49-52).
• With the Synth Harmonist function, you can add
beautiful synthesizer harmonies-in keys you select-
to guitar sounds or to synth sounds (p. 80).
• You can get various arpeggio effects with the built-in
arpeggiator (p. 76).
• By applying effects (reverb, chorus and multi-effects)
to a synthesizer sound, you can make it even richer and
fuller (p. 53).
8
• You can use a variety of panning effects: use two
different synth sounds in stereo, or spread out the six
guitar string sounds from left to right, placing each
sound in its ideal stereo location, and so on (p. 41).
• With the four
tone-switching pedals, you can get
various effects,
such as wah-wah and whammy (p. 28-
29).
• You can use the supplied expression pedal to control
various aspects
of the sound, such as volume and tone,
while you play (p. 47). No additional equipment is
required.
• You can also convert a
guitar performance into MIDI
messages that allow you to play external MIDI sound
generators (p. 86).
•
By recording your playing into a MIDI sequencer, you
can create realistic
plucked stringed instrument
sounds-something that keyboards just can not do as
easily-adding greater expression to melody parts (p.
93).
• Tuning is a snap when you use the guitar tuner
function (p. 18).

IMPORTANT NOTES
In addition to the items listed under "USING THE UNIT SAFELY" on page 2, please read and observe the following:
Power Supply
• 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).
• The AC
adaptor will begin to generate heat after long
hours of consecutive use. This is normal,
and is not a
cause for concern.
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
Placement
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or
move it farther away from the source ofinter-
ference.
• This device
may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
• Do
not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside
an enclosed
vehicle,
or otherwise subject it to temperature extremes.
Excessive
heat can deform or discolor the unit.
• To avoid possible breakdown,
do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
Maintenance
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove
stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards,
be sure to wipe
the unit thoroughly with a soft, dry cloth.
• Never
use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility
of discoloration and/ or
deformation.
Repairs and Data
• Please be aware that all data contained in the unit's
memory may be lost when the unit is sent for repairs.
Important data should always be backed up in another
MIDI device (e.g., a sequencer),
or written down on paper
(when possible). During repairs, due care is taken to avoid
the loss of data. However, in certain cases (such as
when
circuitry related to memory itself is out oforder), we
regret that it may
not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.
Memory Backup
• This unit contains a battery which powers the unit's
memory circuits while the main
power is off. When this
battery becomes weak, the message
shown below will
appear in the display. Once you see this message, have the
battery replaced
with a fresh one as soon as possible to
avoid the loss
of all data in memory. To have the battery
replaced, consult
with vour retailer, the nearest Roland
Service Center,
or an a~thorized Roland distributor, as
listed
on the "Information" page.
"Battery Low!"
Additional Precautions
• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation ofthe unit. To protect yourselfagainst
the risk of loosing
important data, we recommend that
you periodically save a backup copy of important
data
you have stored in the unit's memory in another MIDI
device (e.g., a sequencer).
• Unfortunately, it maybe impossible to restore the contents
of data
that was stored in another MIDI device (e.g., a
sequencer) once it has been Josi. Roland Corporation
assumes no liability concerning such loss of data.
• Use a reasonable
amount of care when using the unit's
buttons, sliders, or othercontrols;
and when using its jacks
and connectors. Rough handling can lead to malfunctions.
• Never strike or
apply strong pressure to the display.
• When connecting / disconnecting all cables, grasp the
connector
itself-never pull on the cable. TI1is way you
will avoid causing shorts,
or damage to the cable's
internal clements.
• To avoid disturbing
your neighbors, try to keep the unit's
volume
at reasonable levels. You may prefer to use
headphones, so you
do not need to be concerned about
those
around you (especially when it is late at night).
• When you need to transport the unit, package it in the box
(including
padding) that itcame 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 ofconnection cable, please note the
following precautions.
0 Some connection cables contain resistors. Do not use
cables
that incorporate resistors for connecting to this
unit. The use ofsuch cables can cause the sound level
to be extremely low,
or impossible to hear. For infor-
mation
on cable specifications, contact the manufac-
h1rer oi the cable.
9

1
Panel Descriptions
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.
* T/1e output level from the GUITAR OUT jack is controlled
st'Parately.
2 PLAY Button
This button selects Play mode.
To
play sounds, press this button to enter Play mode.
(The GR-33 is in Play
mode at start-up.)
3 SYSTEM Button
This button selects System mode.
Press this
button to enterSystem mode. When you are
in System mode, you can make settings to the GR-33
itself,
as opposed to making settings for specific
sounds.
4 TUNER Button
This button selects Tuner mode.
When you press this button, the Tuner function will be
turned on, and you can tune your instrument.
5 WRITE Button
10
Use this button to write a patch (Patch Write).
This
button also confirms the Factory Reset and Bulk
Dump operations.
IRciandj
6 COMMON Button
Press this button to access Patch Edit mode's
COMMON settings-COMMON settings apply to an
entire patch, as opposed to the settings that apply to its
individual tones or effects.
Press this button to enter Patch Edit mode and adjust
settings such as the patch
name and patch pedal
functions.
7 TONE Button
Press this button to access Patch Edit mode's TONE
settings-TONE settings shape the sound of the
individual tones that make
up a patch.
8 EFFECTS Button
Press this button to access Patch Edit mode's EFFECTS
settings-these settings allow you to adjust the patch's
reverb, chorus,
and multi-effect.
9 STRING SELECT Button
When selecting and activating the tones to be played in
a patch
(LA YER), and when setting transposition
(TRANSPOSE)
and otherindividual-string settings, use
this knob to select the sh·ing
you wish to set up.
10 OUTPUT SELECT Button
This button selects the output device connected to MIX
OUT jacks.

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
adjust
parameter values.
13 Three-digit Display
In Play mode, the three-digit display shows the
currently selected patch's number.
In System mode, Patch Edit mode,
and Pedal Effect
mode, thls display
shows "SYS," "Edt," or "PdL,"
respectively, to indicate the current mode. For
parameters
that can be set independently for each
string, the display indicates the currently selected
string's number.
14 Display
In Play mode, the main display shows the currently
selected patch's
name and the current Harmonist/
Arpeggiator stah1s.
In other modes, the display shows the value and stah1s
of the currently selected item,
or "parameter." Various
messages also
appear on this display.
15 Foot Pedal
These are four foot-operated switches. In Play mode,
together with the GK-2A's
"Sl," they primarily switch
patches. After pressing the GK-2A's "S2" to go into
Pedal Effect
mode, you can step on a switch to activate
performance effects such as wah, pitch glide,
and hold.
16 Expression Pedal
Use this pedal to control a variety of things, including
the volume, tone
and pitch of the current synth sotmd,
and the arpeggiator tempo.
• When you operate the expression pedal, please be ~
careful not to get your fingers pinched between u.;,.-
the movable part and the panel.
In
households with small children, an adult
should provide supervision until the child is 1i'
capable of following all the rules essential for the ~
safe operation ofthe unit.
Panel Descriptions I
11

IPanel Descriptions
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
Land 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" stereo
plug-leave the R (MONO) jack unplugged.
You
cannot simultaneously use the R (MONO) jack as a
mono output while using the L(PHONES) jack as a
headphone jack.
When there
is nothing connected to the GUITAR OUT
jack, the sow1d of the
guitar itself is also mixed into
these
outputs.
* In order to fully experience the quality of tlzefactory-i11stal/ed
patches, we recommend using a stereo amplifier or stereo
headphones. Wizen co11necti11g the GR-33 to a 1110110 amp, use
only the R (MONO) jack.
18 GUITAR RETURN Jack L/R(MONO)
When using the GUITAR OUT jack (see below) as an
external effect send, use this jack to return the signal.
The synthesizer
sound and the guitar sound with
effects are output together from the MIX OUT jacks.
19 GUITAR OUT Jack
Use this jack when you want the guitar sound to be
output from the GR-33 separately from the synth
sound. Connect the jack to your guitar amp or guitar
effects devices.
20 BANK SHIFT Jack
12
Use this jack for connecting a patch bank expansion
foot switch to the GR-33.
You
can connect two Boss FS-SU foot switches using a
PCS-31 cable (each sold separately). Expansion foot
switches control different functions in all
modes except
Play mode.
21 GK IN Connector
Use this special 13-pin branch cable, included with the
GR-33, to connect the GK-2A
divided pickup (sold
separately).
* For connection to aguitar designed.for use with asynthesizer,
consult
the guitar's manufacturer or your dealer.
22 MIDI Connectors (MIDI IN/OUT)
Plug MIDI cables into these jacks to c01mect the GR-33
to an external MIDI device. Do this
when you want the
GR-33 to control
sounds in an external MIDI sow1d
generator module, or to load tone
data stored on an
external MIDI storage device.
23 Power Switch
This is the switch that turns power to the GR-33 on and
off.
24 AC Adapter Jack/Cord Hook
Connect the AC adapter included with the GR-33 to
this jack.
Hang the adapter cord on the cord hook to
help
prevent the accidental pulling out of the cord from
the jack while you are playing.
* llse ONLY
the AC ada11tcr included with this guitar
synthesizer.
The explanations in this manual include illustrations that
depict
what should typically be shown by the display.
Note, however, that
your tmit may incorporate a newer,
enhanced version of the system (e.g., includes newer
sounds), so what you actually see in the display may not
always match
what appears in the manual.
~ ,

,.
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, nnd
cnbles-a completely stereophonic system is preferable-tlr stereo headphones
• GK-2A divided pickup
• Metal-stringed
guitar with GK-2A properly installed
In addition to the above items, you should also have the following items on hand if needed:
• Guitar amplifier,
guitar effects (for adding to guitar sounds)
• External bank shift switches (Boss
FS-SU, optional) -to use two foot switches, a branch cable (stereo x 1 ~ mono x 2, 1/ 4"
phone plugs) is required (p. 23)
• MIDI foot controller (FC-200 or similar unit, optional) (p. 24)
Installing the GK-2A
Before you can use your guitar with the GR-33, the GK-2A
must first be properly installed on the guitar.
Following the
procedure outlined in the GK-2A owner's
manual, attach the GK-2A's pickup as shown in the picture.
* Be sure the Divided Pickup is correctly oriented: the cord from
the Pickup s/zould emerge from under tl1c sixth string.
* Assembly instructions for use of the GK-2A with tlze other
device may appear in the GK-2A owner's manual. Installation
jtlr use with the GR-33fol/ows t/1e same lagic.
To confirm the quality of the GK-2A installation, please take
special note of the following points:
• Make
sure that the space between each string and its
pickup is exactly 1 mm when you press the top fret. (Do
not allow the string to
get too close to the pickup.)
• Do
not allow the space between the guitar bridge and the
GK-2A pickups to exceed
20 mm.
• Make
sure that the placement of each of the pickups' six
yokes (pole pieces) in relation to each string is correct.
For more detailed instructions, please refer to the GK-2A
owner's manual.
Guitars That Cannot Be Used with the
GK-2A
While the compact design of the GK-2A allows its
installation on many different guitars, please note the
following types of guitars
on which itcannot be used:
a. 12-string, pedal steel, and other specially stnmg guitars;
nylon-strung, gut-strung,
and similar guitars; bass
guitars. (The GK-2A will not operate successfully if
installed on such instruments.)
b. Guitars which, due to their physical design, lack the
space for
proper mounting of the GK-2A.
Regarding situation "b." above: You
may be able to install
the GK-2A after a minor modification of the guitar. Please
consult the dealer
where you purchased your GK-2A.
~
Some guitar manufacturers are currently shipping guitars
that can be connected directly to the GR series
with a 13-pin
cable, without the use of a GK-2A. For more information,
please ask your dealer
or these guitar manufacturers.
*
Take care when dealing with guitars I/rat have more than 25
frets. or 11m1sually lziglz t1111i11gs, as tire response around Ilic
11pper frets may not lie sufftr:ientfor takingf111/ advantage of
the GR-33.
13
I

IChapter 1 Producing Sounds
Making Connections
After setting up the guitar part nf your system, connect your other equipment following the examples shown in the connection
diagram below.
Synthesizer amp
Stereo set,
radio-cassette player. etc. (keyboard amplifier,
PA system, etc.) Guitar with
GK-2N
To AUX, LINE INL lt ... :::::::::~:- ••
Stereo
headphones
The (L) MIX OUT jacks can also
be used
as dual stereo headphone
jacks.
Also
be aware that you cannot
simultaneously use one jack as a
LINE OUT while using the other
as a headphone jack -that is,
you can't use a monaural plug
and a stereo plug at the same
time.
• To prevent malfunction and/or damage to speakers or other
dez,ices, always turn down tlze volume and tum off the power
011 all devices before maki11g any connections.
•
Raise the volume of the amplifier only after you tum 011 the
power to all connected devices.
• To prevent tlie inadvertent disruption of power to your unit-
as a result of the plug being pulled out accidcntally--and to
avoid applyi11g undue stress to the ACadapta jack, anclzor the
power cord using the cord hook as shown in the illustration.
14
MODEL GR·33
SER.NO.
Roland
MA.DE IN JAPAN
other GR-compatible guitar
•·.
-\•
tJ
R
Seep. 15 Seep. 23 AC adaptor
(BRC series)
! ! !
• If you are outputting a mono signal from the GR-33, co1111cct
the ca/1/e to the R (MONO) jack of the MIX OUT jacks.
~
<Stereo Out>
To get the optimal performance from the GR-33, and to fully
experience the quality of its patches, connect your
setup to a
stereo (two-channel) amplifier/speaker system, or to stereo
headphones. Stereo equipment is the best
way to hear the
fullness of the GR-33's sound.

r ~
<Output>
Outputting the guitar sound and synth sound separately
You can connect a general-purpose shielded cable to the
GUITAR OUT jack to
add external guitar effects or to
send your guitar sound to your guitar amplifier. With
this arrangement,
you can control the sound ofthe guitar
exactly the same
way you would if the guitar were not
connected to the GR-33. The synthesizer
sound -
without the guitar
sound mixed in-will be output from
the
MIX OUT jacks.
Outputting the guitar sound and synth sound together
Connect cables only to the MJX OUT jacks-do not
connect a cable to the GUITAR OUT jack. The
sound of
the guitar itself will be
output along with the synth
sound from the
MIX OUTjacks. TI1is way, both guitar
and synthesizer
sounds can be played through a single
stereo (or mono, if necessary) amp.
Applying an external effect only to the guitar sound
and outputting it along with the synth sound
Make the following connections.
GR-33 GUITAR
OUT Jack
J
External Effect Input
External Effect Output
.].
GR-33 GUITAR RETURN Jack
The synthesizer
sound and the guitar sound with effects
are
output together from the MIX OUT jacks.
Listening through headphones
Make sure nothing is
plugged into the L (MONO) MIX
OUT jack, and connect a set of stereo headphones to the
R(PHONES) jack.
* Yo11 cannot si1111,!ta11eo11s/y use the R (MONO) jack as a
LINE OUT
while using the L (PHONES) jack as a
headphone jack-that is, you can't use a monaural plug
and a
stereo plug at the same time.
~
For settings appropriate to your output device, refer to
"Specifying the
output device (OUTPUT SELECT)" (p. 19).
.J
Chapter 1 Producing Sounds I
Necessary Steps-From
Powering Up to Performance
* Once your connections lw1>e Liem completed (p. 14), tum on
power to your rnrious devices in the order specified. By
fuming 011 the dcuiccs in the wrong order, you risk cn11si11g
111alfu11ction and/or damage to speakers and other devices.
After you have finished checking your connections, tum the
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
tum 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)" (p. 16)
to return the GR-33's
settings to their original values before beginning.
*
This unit is equipped with a protection circuit. A briefinterval
(a few seconds) after power up is required before tile unit will
operate 1wr111ally.
About Play Mode
After turning on the GR-33, confirm that "A11" appears in
the three-digit display window. ·n1is is the
number of the
currently selected patch. Each patch contains a pair of tones
that can you can switch with a pedal, etc.
during
performance.(-, For details, seep. 21.)
Patch Name
GROUP BANK NUMBER
~
USEF.: F'l=tTCH 1
17 I
17 I I
I
l=tF'.F'
t t
Currently Selected Patch
(A11) Harmonist (HAR)
or
Arpeggiator (ARP)
r
~ <About Play Mode>
•
When a patch number-such as the "A11" that appears
right after the
power is h1rned on-is shown in the
display,
you are in Play mode. You will typically be in
Play
mode as you perform. Play mode is the basic state
of the GR-33.
Until you are familiar with
how everything in the GR-33
works, remember this: You can always return to Play
mode by turning the power off and then on again.
(For more about how the dials and buttons work in Play
mode, please
seep. 30.)
15
I

IChapter 1 Producing Sounds
Reset to Default Factory Settings (Factory Reset}
r 1t <About Factory Reset>
•
The procedure for restoring the GR-33's internal settings
to the state they were in
when the unit left the factory is
called a "Factory Reset."
At the timeof purchase, the GR-33's user patches (All to
D84) are the same as preset patches
El 1 to H84. These
patches, as well as the GR-33's system
settings-
including pickup sensitivity and the MIDI channels used
for sending
and receiving MIDI data--can be returned to
their original factory-fresh state.
\. .J
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, before performing
the Factory Reset operation.
16
• Performing a Factory Reset
1. Press [SYSTEM] to enter System mode.
2. Press [PARAMETER] to select "FACTORY RESET."
,- t IC
::,::,;:::,
Fi:tCTOF.:'·,-' F.:ESET
i:tll
3. Tum [VALUEJ to select the parameter-or group of
parameters-you wish to reset.
• All:
Restores all settings to their original state.
System:
The Systemsettings will be restored to their factory
settings.
User Patch:
Patch settings will be restored to their original state.
• PCNumber:
Program Change numbers are re-assigned according to
the
current order of the patches.
For more detailed information
about the "PC Number," refer
to "Re-assigning Program Change Numbers in the
Order of
Patches" (p. 97).
4. When you have selected the desired parameters, press
[WRITE].
The message "Sure ?" appears, asking you to confirm
that you
want to go ahead and perform the Factory Reset
operation.
C LIC,
_, ;:::/ _,
Sure ·-::·
Pre;:;.;:;. 1.,JF.: I TE
5. To execute the operation, press [WRITE] again.
"Now Writing ... " appears in the display. In a moment,
the GR-33 automatically returns to Play mode,
completing the factory Reset.
To cancel the operation, press [PLAY].
* T/1is means that the processi11g of data is i11 progress. Ona
yo11 press [WRITE/, be sure not to tum off the power until to
return to Play mode.

Chapter 1 Producing Sounds I
Overall Settings for the GR-33 (SYSTEM)
Adiusting 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."
5
-LIC
_,.=,
LCD COr-ff Pi=tST
3. Tum [VALUE] to adjust the contrast.
4. When you have finished adjusting the display, press
[PLA
YI to return to Play mode.
Setting Input Sensitivity (PICKUP
SENS)
With the power turned on, adjust the input sensitivity of
each string according to
how the GK-2A is mounted and to
match your
own picking strength. Since these settings are
stored
automatically-and will not be lost even if the power
is turned off-it is not necessary to reset the sensitivity each
time you play.
• Procedure for Setting Input Sensitivity
1. Press [SYSTEM] to enter System mode.
2. Press [PARAMETER) to select "PICKUP SENS."
Sensitivity-setting is activated, and the following
appears in the display window:
IS!:151
PI Cf:::UP SEt·lS
1-5:
t D
String Num!r t Level Meter
Input Sensitivity
3. When String 6 of the guitar is played, the string
number in the display automatically switches
to "6."
The level meter shown in the display will light from the
left, showing how strongly the string
is played. 11,e
current input-sensitivity setting for the string will also be
displayed next to the string number.
4. Use[VALUE] to adjust the sensitivity so that the square
indicator lights when you play most strongly in actual
performance.
PI Cf=::IJP SEt·lS
6-1: [>[>lilt-
D
PICKUP SEt-~5
6-5: [>[>[>[>[>[>[::-[::-[::-1
PI Cf<I_IP 5Et·6
6-8: ~~~~~~~~~D~
Sensitivity: lo
Sensitivity: hi
If the indicator furthest to the left is lit, the level is set too
high, so
tum [VALUE) to lower the sensitivity.
* If
tl1e sensitivity is set too high, there may lie dropouts in tlze
sound, or the response to dynamic changes in your playing
may be reduced. Setting sensitivity too low may also result in
problems, so make this mt;us/111e11/ carefully.
S. Adjust Strings 5 to 1 using the same technique.
6. When you have finished, press [PLA YI to return to Play
mode.
In any of the following situations, please be
sure to readjust the sensitivity settings!
• When using a guitar for which you have not yet made
sensitivity adjustments
• After performing a Factory Reset (p. 16)
• When you change the mounting of the GK-2A to
accommodate a change in the guitar, such as
when string
height
has been readjusted
• When you replace a string with one of a different
gauge
In some rare cases, the sensitivity meter may show too high a
reading even with sensitivity at its lowestsetting. If this does
occur, widen the space slightly between the GK-2A's
separate
pickups and the strings.
Using Multiple Guitars (GUITAR SELECT)
You can store four separate string-sensitivity setups that can
be called
up to match any of four guitars you are currently
using.
• Calling Up the Different Sensitivity Settings
1. Press [SYSTEM] to enter System mode.
2. Press [PARAMETER] to select "GUITAR SELECT."
,- LI,-
=,_,=,
GU I THF.'. SELECT
Gt.d
17
I

IChapter 1 Producing Sounds
3. Turn [V ALUEJ to select Gtrl-Gtr4.
The setting
you select will be loaded.
• Witli tl1cfactory sctti11gs, this is set to "Girl."
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. After setting each string's sensitivity, press [PLAY] to
return to Play mode.
Create four different input-sensitivity setups for
Gtrl-
Gtr4 to store the sensitivity settings for four different
guitars.
*
Tlie last-selected sensitivity setup is the one c11rrently in effect.
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.
• Changing the Master Tune Setting
1. Press [SYSTEM] to enter System mode.
2. Press [PARAMETERJ to select "MASTER TUNE."
C LI C:
.:J .:J _,
MASTEF.'. TUt·4E
4*~1. ~3 Hz
3. Tum [VALUE] to select the desired pitch. The pitch can
be changed
to any frequency from 427.4 to 452.6 Hz.
4. Press [PLAY] to return to Play mode.
* The pitch of the syntliesi:er sow1d does not change when you
cha11ge the GR-33's Master Tune setting-the syn/Ir sound
continues
to follow tlie tuning of the guitar. Therefore, after
adjusting the master tuning, you should 11se the Tuner
fimctio11 to re-t1111e your g11itar to the new basic pitch, a11d the
pitch of the synth sounds will play in the new t11ning.
18
Adiusting the Guitar Tuning
(Tuner Function)
To accurately set a guitar's pitch, use the GR-33's built-in
tuner to tune the guitar. This
tuner works exactly the same
way other ttmers on the market do.
• Tuning the Guitar
1. While pressing [51] on the GK-2A, step on the first foot
pedal-[l] (TUNER) -or press [TUNER!.
The Tuner function is called up, and the following
appears in the display.
c,-
LlU
t
String Numbers 1 to 6
Tuner 440.0 Hz
[:· [':·[:·[:-[:·[:·0,c],:],:J-:lJ <]
2. Play String 6 on the guitar.
The string
number automatically switches to "6."
The note
to which String 6 is currently tuned-notes are
tuned by semitones-is shown in the second position on
the display.
("D#'' in the figure shown below.)
E,
-I Cl
0
t
Pitch name
Tuner 440.0 Hz
[> [>[>[>l!li-[>D<]<J<J<J<J <J
("D#" -The marking in the third place denotes sharp)
3. Turn the string's tuning peg while playing String 6
until the screen
shows the name of the note to which
you want to tune the string.
C,.-
oc
T1.mer 44~Z1.(1 Hz
[> t>t[>[>[>D<J<J<J·::J-::J <J
4, Make fine adjustments to the string's tuning peg until
the mark illuminated in the display moves to the center
position and both side.
When the center indicator lights, String 6 is tw1ed
precisely
to "E."

[::-
[>[>[>[>[>D<l<l<l<l<l
[::-
[> [> [>[>[> D -111 <J<J<l <J
["·
.. ·
[>[>[>[> [>1-!ll<J<J<J<]
I[::-
[::-[::-[::-[::-•1-111-::J-::J-::]-::J
[> [>[> [> [>. l<]<J<J <]<]
[>
[>[>[>~=-l!i-D<l<l<l<l<l
Iii-
[>[> [>[> [> D<l <]<]<]<]
-4
)to, h;gh
<J
<J
-::11
Just Tuned
<]
)~,~
<]
<]
Chapter 1 Producing Sounds I
5. Tune each of the otherstrings, 5 to 1, to A, D, G, B, and
E, respectively.
6. When you are finished tuning, press any foot pedal,
[Sl) 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,
you must select the type of device to which its outputs are
connected
(MIX OUT).
1. Press [OUTPUT SELECT) and select the appropriate
setting.
TI1e currently selected setting will light.
• GUITAR AMP:
Select this when using a dedicated guitar amp.
• LINE:
Select this when using a keyboard amp, general-purpose
instrument
amp, mixer, MTR, or headphones.
The GR-33's sound generator
is a PCM synthesizer that can
reproduce a wide range of timbres. To optimally capture its
rich synthesizer sounds, use a keyboard amp,
other general
instrument amplifier, PA system, or other
such equipment
instead of a g11itar amplifier if possible.
* Changing
the OUTPUT SELECT setting will not affect the
settings that a,-c stored in caclt patch.
Turning off the guitar amp
simulator (G.AMP SIM)
TI1e GR-33 has a built-in guitar amp simulator (G.AMP SIM).
If OUTPUT SELECT is set to "LINE," the guitar
amp
simulator will be applied only to the guitar sound itself. This
allows you to create the illusion of the original guitar
sound
being played through a guitar amp, even when it is being fed
directly into another device.
If
you are not using the GR-33's internal guitar amp
simulator-if you are using an external amp simulator effect
device, for
example-set the GR-33 as follows.
• Turning the Amp Simulator Off
1. Press [SYSTEM] to enter System mode.
2. Press [PARAMETER] to select "G.AMP SIM"
Cl
I,-
.=, =1 =,
(:i. HMP SIM
3. Tum [VALUE] to select"Off."
• Off:
TI1e amp simulator will not be used.
• On:
On
TI1e amp simulator will be used when OUTPUT SELECT
is set to "LINE."
4. Press [PLAY] to return to Play mode.
*
Wizen you 011cc again wish to use the amp si11111/ator, select
"011" in Step 3.
19
I

IChapter 1 Producing Sounds
Playing the Internal Synth Sounds with the Guitar
After checking the cmrnections 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-2A's selector switch to "SYNTH."
3. Tum SYNTH VOL on the GK-2A counterclockwise to
raise the volume to a
suitable level.
4. Set the VOLUME knob on the GR-33 to its center
position.
5. When you press Pedal 3, the number in the display
changes
to "Al3,'' and the corresponding patch (sound)
is selected.
You are now ready to play. Play your guitar while gradually
turning up the volume on your amplifier, and you will hear
the selected
patch-patch A13-from the GR-33's internal
sound generator.
0 To Hear the Normal Guitar Sound ...
Set the GK-2A's selector switch to "MIX." If you then
switch to "GUITAR," the synthesizer sound generator
will be muted, and only the
sound of the guitar will
remain.
0 To Change the Volume of the Synth Sound Generator ...
Adjust the volume using either the SYNTH VOL knob
on the GK-2A or the GR-33's VOLUME knob.
@
Turning the GR-33's VOLUME knob changes the overall
volume
output from the MIX OUT jacks. Thus, when the
guitar
sound is included in the MIX OUT signal, both guitar
and synthesizer sound levels are changed. (The guitar
sound
output from the GUITAR OUT jack is not affected. The guitar
volume is also unchanged
when you use the GK-2A's
SYNTH VOL knob.)
What To Do if There is No Sound When the Guitar is Played
First, check the following:
• Check to see that amplifier
and other equipment volume
levels are correct,
and confirm that all the equipment is
properly corrnected (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.
O When the Sound of a Specified Patch Fails to Play on
All the Strings (or on a Particular String)
• Try pressing the expression pedal (p. 11) as far down as
it will go.
• When using a monaural connection to your amp,
be sure
to connect your cable
to the R (MONO) jack of the GR-33
MIX OUT jacks.
• Confirm that the synth
sounds have not been muted for
any strings in the TONE "LAYER" parameter in Patch
Edit mode (p.
51).
~
If the volume levels of the strings vary widely, please recheck
your input sensitivity (PICKUP SENS) settings (p. 17).
20