Roland Gr-33b User manual

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2

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FEATURES

•Any

bassist

can

play

the

GR-33B,

using

ail

standard

bass

techniques,

hammering,

giissandos,

harmonics,

chopping,

bowing,

etc.

•A

small,

compact

unit

(like

an

effects

box)

with

all

the

electronic-type

foot-controlled

switch

major

functions;

great

for

live

per¬

formances.

•Totally

polyphonic:

one

VCO

for

each

string.

•Instant

and

accurate

transposing

to

two

preset

pitches.

•A

duet

switch

for

a

chorus

effect.

•Synthesizer

ON/OFF

for

each

string.

1

IN!

D

EX

-

N,

STANDARD

CONNECTIONS

MIXED

OUTPUT.3

GUITAR

SYNTHESIZER

OUTPUT

.3

BASIC

SETTING.4

PRODUCING

SOUND.

5

VCF.5

ENVELOPE

GENERATOR.6

VCO

VIBRATO.7

PITCH

SHIFT.8

STRING

SELECTOR

.

9

USING

ATTACHMENTS

...10

SAMPLE

SOUNDS.11—13

SAMPLE

NOTES.14—18

SPECIFICATIONS.19

V_

J

Before

Starting.

•Use

a

transformer

to

produce

the

cor¬

rect

line

voltage

if

the

line

voltage

in

your

area

does

not

match

the

value

specified

on

the

nameplate.

•Keep

away

from

fluorescent

lamps,

neon

lights,

and

high-power

transformers

as

these

will

induce

high

noise

levels

in

the

Guitar

Synthesizer.

•Avoid

the

use

of

this

instrument

in

places

that

are

dusty,

of

high

temperature

or

high

humidity.

•Clean

the

control

panel

with

neutral

detergent.

Use

a

soft,

dry

cloth

for

the

wooden

parts.

Do

not

use

solvents

such

as

paint

thinner.

•The

GR-33B

Bass

Guitar

Synthesizer

has

been

designed

to

work

with

the

G-33

or

G-88

Bass

Guitar

and

will

not

work

with

the

GR-500

and

GR-300.

•The

length

of

the

sound

may

be

shorter

than

normal,

or

the

synthesized

sound

may

be

one

octave

higher

than

normal

with

certain

styles

of

picking

and

stopping

the

strings.

2

STANDARD

CONNECTIO

GUITAR

CONNECTIONS

Connect

the

G-33

or

G-88

as

shown

in

the

drawing

using

the

chrome

guitar

con¬

nector.

The

connector

is

keyed

and

must

be

inserted

correctly

(lock

lever

up)

for

a

proper

fit.

(The

NORMAL

OUTPUT

jack

on

the

Bass

Guitar

is

not

connected

to

the

Bass

Guitar

Synthesizer.)

When

there

is

no

connection

to

the

BASS

GUITAR

OUTPUT

jack

on

the

rear

panel

of

the

Bass

Guitar

Synthesizer,

the

output

at

the

MIX/SYNTH

jack

consists

of

an

equal

mixture

of

the

guitar

and

synthesizer

sounds.

When

both

output

jacks

are

used,

the

out¬

puts

are

separated

with

the

bass

guitar

sound

at

the

OUTPUT

jack

and

the

synthe¬

sizer

sound

at

the

MIX/SYNTH

jack.

These

separate

outputs

can

be

passed

through

separate

effects

devices

and

amplifiers

for

stereo

sound.

3

PRODUCING

SOUND

Set

the

controls

as

shown

on

the

left.

Set

the

external

amplifier

volume

at

the

min¬

imum

level

and

turn

on

all

the

power

switches.

Turn

up

the

volume

control;

play¬

ing

the

bass

guitar

should

produce

the

bass

guitar

sound.

If

needed,

tune

the

Bass

Guitar

in

exactly

the

same

way

as

an

ordinary

electric

bass

is

turned.

To

produce

the

synthesizer

sound,

The

sound

produced

now

is

the

unpro¬

cessed

sound

from

the

synthesizer

VCO’s

(voltage

controlled

oscillators).

The

VOICE

SELECT

switch

at

the

DUET

position,

adds

the

fundamental

pitches

of

the

bass

guitar

strings

to

the

VCO

sounds

to

produce

a

chorus

effect.

It

is

necessary

to

tune

the

VCO’s

using

the

MASTER

TUNNING,

controls

so

that

they

match

the

pitches

of

the

strings.

For

accurate

tuning

use

at

least

ten

minutes

for

a

warm-up

period

after

first

turn

on

the

power

switch.

Turn

the

BALANCE

control,

counterclock¬

wise

to

increase

the

normal

bass

guitar

sound.

Setting

the

BALANCE

CONTROL,

at

"0”,

will

produce

the

normal

bass

guitar

sound

only.

USING

THE

VCF

Let's

try

the

VCF

(voltage

controlled

filter)

section

next.

Set

the

BALANCE

control

at

‘‘10’’.

Try

slowly

lowering

the

Bass

Guitar

CUTOFF

FREQ

control

to

“0”.

Note

that

the

sound

becomes

softer

with

fewer

harmonics.

The

purpose

of

the

VCF

is

to

control

the

tone

color

of

the

synthesizer

sound.

Next,

raise

the

Bass

Guitar

RESONANCE

con¬

trol

a

little

at

a

time

while

trying

different

positions

of

the

CUTOFF

FREQ

control.

This

produces

an

electronic

type

of

sound

usually

associated

with

synthesizers.

The

two

controls,

CUTOFF

FREQ

and

RESO¬

NANCE

combine

to

control

the

tone

color

of

the

sound

passing

through

the

VCF.

*VCF

Filter

Mode

This

switch

changes

the

roll-off

character¬

istics

of

the

VCF,

either

-12dB/OCT

or

-24dB/OCT,

and

controls

the

envelope

modulation

of

the

VCF.

1

DUET

VCD

TUNES

VCO’S

9.10

■

\

CUTOFF

FREQ

RESONANCE

If

a

foot

volume

pedal

(Roland

FV-20;

sold

separately)

is

connected

to

the

VCF

PEDAL

jack

on

the

rear

panel,

the

VCF

cutoff

frequency

(in

other

words,

the

tone

color

of

the

output

sound)

can

be

controlled

manual

ly

with

your

foot.

%

5

Raise

the

ENV

MOD

control

to

maximum.

Set

the

RESONANCE

control

at

“4”,

and

the

CUTOFF

control

at

“8”.

While

repeatedly

picking

a

string,

try

pressing

the

VCF

MOD

foot

switch.

In

this

mode

of

operation,

the

filtering

action

ot

the

VCF

is

controlled

by

the

picking

of

the

bass

guitar

strings

instead

of

manually,

as

before

to

produce

a

“WOW”

sound.

The

LED’s

for

the

VCF

MOD

light

up

when

the

effect

is

ON,

and

flicker

when

the

ef¬

fect

is

OFF.

The

depth

of

the

modulation

is

determined

by

the

VCF

MOD

knob.

Try

slowly

lowering

the

VCF

MOD

control

to

“0”.

ENVELOPE

GENERATOR

Set

the

ENV

MOD

at

“MAX”,

and

ENV

GEN

“A”,

ATTACK

knob

at

“MIN”

and

DECAY

at

“MAX”.

Try

picking

one

of

the

strings

and

raising

the

ATTACK

control.

This

causes

the

raising

(attack

time)

of

the

“WOW”

sound

become

longer.

Set

the

ENV

GEN

“A”

ATTACK

knob

at

“MIN”

and

DECAY

at

“MIN”.

Try

picking

one

of

the

strings

and

with

raising

the

DECAY.

The

envelope

generator

generates

a

control

voltage

with

time

according

to

the

control

settings.

This

control

voltage

is

used

to

control

the

VCF

cutoff

frequency

point

so

as

to

vary

the

tone

color

during

the

production

of

a

note,

and/or

is

used

to

control

the

VCA

to

give

the

output

sound

its

loudness

contour.

ATTACK

.

T

h

i

s

knob

controls

the

amount

of

time

which

is

required

for

the

voltage

to

reach

its

maximum

level.

This

is

called

an

attack

time.

DECAY.

.

.

.

..

T

h

i

s

knob

controls

the

amount

of

time

required

for

voltage

to

fall

to

the

level.

This

time

is

called

a

decay

time.

CUTOFF

FREQ.

k

k

k

CUTOFF

FOEQ

CUTOFF

FREQ

CUTOFF

FREQ

AAA

RESONANCE

RESONANCE

RESONANCE

11

—18

VCF

FILTER

MODE

MIN

MAX

ENV

MOO

EIUVGEIM

A

I

B

MtN

MAX

ATTACK

VIlN

MAX

DECAY

T/iaj

ATTACK

min

max

DECAY

VCF

MOO

EIMVA/B-

a

m

6

The

Envelope

Generator

has

two

chan¬

nels,

A

and

B,

both

with

the

same

func¬

tion.

Controls

are

provided

for

attack

and

decay,

and

the

selected

envelope

curve

can

be

used

for

modulating

the

VCF

or

the

VCA.

Channel

A

or

B

may

be

selected

by

a

foot

switch.

It

is

impossible

to

use

the

different

envelopes

for

both

the

VCF

and

the

VCA.

The

LED

indicates

which

chan¬

nel

has

been

selected.

When

the

power

source

is

turned

ON,

A

is

automatically

selected.

VCO

VIBRATO

Next,

let’s

try

different

ways

of

modulating

or

controlling

the

VCO’s.

First

is

vibrato,

which

is

a

slight

wavering

of

pitch.

Vibratos

can

be

produced

in

the

normal

bass

guitar

way

by

using

the

finger

to

vary

the

tension

on

the

string,

or

it

can

be

produced

elec¬

tronically

for

a

wide

number

of

effects.

Set

the

VIB

DEPTH

(vibrato

depth)

knob

on

the

Bass

Guitar

at

"10”.

This

may

or

may

not

produce

the

vibrato

effect,

if

not,

touch

the

upper

metal

end

(Touch

Plate

A)

of

the

divided

pickup

of

the

Bass

guitar

to

turn

the

vibrato

effect

ON.

To

turn

it

OFF,

touch

the

opposite

end

(Touch

Plate

B)

of

the

pickup.

The

vibrato

will

decay

slowly

after

releasing

the

touch

plate.

With

the

vibrato

ON,

try

various

positions

for

both

the

VIB

DEPTH

control

on

the

Bass

Guitar

and

the

LFO

RATE

(LFO

=

low

frequency

oscillator)

and

the

LFO

DELAY

control

on

the

Bass

Guitar

Synthesizer

and

note

the

effects.

VIB

DEPTH

controls

the

depth

of

the

vibrato

effect

and

the

LFO

RATE

controls

the

speed

of

the

vibrato.

The

LFO

DELAY

control

determines

the

delay

time

of

the

delay

vibrato.

20

o

VCAMC

30

INDICATOR

p

*3*

MODULATION

SWITCH

23—31

LFO(VIB)DEPTH

I

-TOUCH

PLATE

/

Turns

the

VIBRATO

/

effect

on.

-TOUCH

PLATE

Turns

VIBRATO

effect

OFF,

or

for

touch-Vibrato.

SLOW

FAST

Mirvj

MAX

RATE

DELAY

7

The

electronic

vibrato

affects

only

the

VCO’s.

IN

the

DUET

mode,

the

combina¬

tion

of

the

non-vibrato

fundamental

strings

pitches

with

the

vibrato

VCO

pitches

pro-

dues

the

chorus

effect

sound.

The

Bass

Guitar

OWNER’S

MANUAL

con¬

tains

additional

information

on

the

vibrato

ON/OFF

function.

PITCH

SHIFT

Another

VCO

effect

is

pitch

shift,

an

effect

where

the

VCO’s

can

be

shifted

to

pitches

other

than

the

string

pitches.

Set

the

VOICE

SELECT

switch

at

the

“DUET”,

the

fundamental

pitches

will

be

the

same

as

the

string

pitches,

and

the

VCO’s

can

be

tuned

to

other

pitches

so

that

one

instru¬

ment

produces

the

effect

of

a

very

large

group.

Set

the

Bass

Guitar

Synthesizer

and

Bass

Guitar

for

the

standard

settings

shown

on

page

4,

but

with

the

BALANCE

control

fully

clockwise.

Press

the

PITCH

“A”

foot

switch

and

take

note

of

the

LED

above

the

switch

and

the

LED

above

the

switch

lights.

While

producing

sound,

try

tuning

the

PITCH

“A”

knob

up

and

down

and

note

that

this

now

controls

the

VCO

pitches.

Try

tuning

the

VCO’s

to

a

perfect

on

octave

below

the

fundamental

string

pitch.

For

this,

the

PITCH

“A”

knob

will

be

set

somewhere

near

“

-3”.

Next,

try

PITCH

“B”

by

pressing

the

PITCH

“B”

foot

switch

and

adjusting

the

PITCH

“B”

knob

so

as

to

produce

the

interval

of

a

major

fifth

the

fundamental.

The

VCO

tuning

can

now

be

switched

in¬

stantly

and

accurately

between

these

two

preset

pitches

and

unison

by

pressing

the

appropriate

PITCH

foot

switch.

Pressing

PITCH

“A”

produces

the

“A”

tuning;

pressing

again

cancels

the

“A”

tuning.

Pressing

PITCH

“B”

produces

the

“B”

tuning,

and

pressing

again

cancels

it.

It

is

possible

to

switch

from

“A”

to

“B”

or

from

“B”

to

“A”

without

passing

through

unison

by

merely

pressing

the

new

pitch

foot

switch.

The

UNLATCH/LATCH

switch

below

each

PITCH

knob

controls

the

latching

function

of

the

related

PITCH

foot

switch.

At

LATCH,

the

pitch

change

function

will

alternate

between

the

foot

switch

as

described

in

the

preceding

paragraph.

At

UNLATCH,

the

tuning

function

will

be

ON

only

while

the

foot

switch

is

held

down

and

OFF

when

it

is

released.

8

STRING

SELECTOR

When

using

the

bass

guitar

and

synthe¬

sizer

sounds

simultaneously

(Bass

Guitar

BALANCE

control

somewhere

near

center),

the

STRING

SELECT

switches

can

be

used

to

determine

which

strings

are

to

produce

the

synthesizer

sounds.

There

are

four

switches,

one

for

each

string.

Only

those

switches

that

are

ON

will

produce

synthesizer

sounds.

These

switches

can

be

used

where

it

is

desired

to

play

a

melody

or

a

bass

line

against

guitar

chords,

for

example,

or

for

other

ef¬

fects

where

the

synthesizer

notes

are

to

be

relatively

independent

of

the

bass

guitar

notes.

When

playing

the

arpeggio

with

the

VCF

and

VCA

modulation

on,

if

the

string

of

the

first

sound

is

still

vibrating

when

the

sec¬

ond

note

is

played,

the

sound

of

the

first

note

will

be

affected.

If

this

effect

is

not

desired,

play

the

string

of

the

second

note

after

the

vibrations

of

the

string

of

the

first

note

have

been

stopped.

9

•USING

ATTACHMENTS

Attachments

can

be

connected

between

the

Guitar

Synthesizer

and

the

external

amplifier.

Since

the

GR-33B

is

a

synthe¬

sizer,

try

devices

designed

for

use

with

synthesizers,

such

as

phase

shifters,

flangers,

chorus

and

echo

machines.

GR-33B

+

SPV-355

When

a

solo

type

synthesizer

sound

is

desired,

try

the

Roland

P/V

Synthesizer

SPV-355.

Use

the

NORMAL

OUTPUT

on

the

Bass

Guitar,

or

use

the

GUITAR

OUT¬

PUT

FROM

THE

GR-33B.

10

ECHO

CHAMBER

psSsaj

Ii

ANALOG

ECHO

PHASER

%

m

™

FLANGER

HH

sbf

-

“

CHORUS

EQUALIZER

REVERB

P/V

SYNTH

9

V:

°

°

°

C'

■

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