Roland GR-500 User manual
PARAPHONIC
>
Guitar
Synthesizer
Synthesizer
R=500
instRUCTIONS
The
five
separate
sections
which
comprise
the
Roland
GR-500
are
the
Guitar,
Polyensemble,
Bass,
Solo
Melody,
and
External
Synthesizer
Sections.
The
External
Synthesizer
Section
is
essentially
an
interface
to
any
of
the
popular
brands
of
synthesizer.
Each
of
the
five
sections
of
the
GR-500
may
be
played
individually
or
in
any
combination.
Each
section
offers
unlimited
freedom
of
expression
and
unsurpassed
controllability.
Roland
has
created
a
name
for
this
new
level
of
performance
capability.
It
is
the
word
“paraphonic,”
derived
from
“parallel”
plus
“phonic.”
Nearly
all
of
the
controls
on
both
the
Guitar
Controller
(Guitar)
and
the
GR-500
Synthesizer
are
grouped
and
labeled
to
fall
within
these
five
sections.
Output
from
each
of
the
five
sections
of
the
GR-500
Guitar
Synthesizer
can
be
channeled
separately
or
in
combination,
through
any
of
three
independent
output
jacks.
Remarkable
flexibility
is
afforded
by
this
capability
of
connecting
each
output
to
the
amplifiers
most
appropriate
for
its
source.
It
is
also
possible
to
channel
all
sounds
through
a
single
amplifier
by
using
the
MIX
OUT
jack,
which
contains
the
outputs
of
all
five
sections.
A
headphone
jack
also
contains
the
sound
from
all
five
sections,
and
enables
you
to
perform
or
practice
privately.
Synthesizer
GR=5OO
CONTROLS
&
FUNCTIONS
CONTROL
PANEL
GUITAR
SECTION
POLYENSEMBLE
SECTION
BASS
SECTION
SOLO
MELODY
SECTION
9
EXTERNAL
SYNTHESIZER
SECTION
OUTPUT
SELECTOR
`]
THRESHOLD
HEADPHONE
JACK
T
=
HEADPHONE
LEVEL
POWER
SWITCH
REAR
PANEL
OUTPUT
LEVEL
SELECTOR
SWITCHES
JACK
*POWER
CORD
~
=
REMOTE
JACK
SOLO
MELODY
CONTROL
JACKS
EXTERNAL
SYNTHESIZER
INPUT
JACK
EXTERNAL
SYNTHESIZER
CONTROL
JACKS
OUTPUT
JACKS
OUTPUT
SELECTOR
SWITCH
This
three-position
selector
switch
corre-
sponds
to
three
separate
output
jacks
on
the
rear
panel.
It
is
used
to
assign
its
particular
section
to
any
of
these
three
output
jacks.
Note
that
output
at
the
MIX
and
HEADPHONE
jacks
is
a
mixture
of
the
three
output
channels.
THRESHOLD
To
assure
optimum
performance
results
regardless
of
individual
playing
techniques,
this
control
helps
compensate
for
varia-
tions
of
picking,
and
differences
in
intensity
of
picking.
HEADPHONE
JACK/LEVEL
Receives
headphones
and
allows
adjust-
ment
of
headphone
volume
level.
GUITAR
SECTION
Responsible
for
providing
the
sound
of
a
conventional
electric
guitar,
this
section
features
an
equalizer
on/off
switch
(EQ)
and
an
equalizer
frequency
control
(EQ.
FREQ.).
When
the
guitar
volume
of
the
Guitar
Controller
is
set
at
the
proper
level,
an
LED
indicator
for
the
Guitar
Section
illuminates
to
signal
that
guitar
sound
may
bé
produced.
OUTPUT
JACKS
Output
signals
can
be
taken
directly
from
three
separate
channels,
as
determined
by
the
settings
of
the
Output
Selector
Switches
on
the
control!
panel.
This
means
you
can
select
the
amplifier
and
speaker
system
best
suited
for
each
output,
i.e.,
a
bass
amplifier
for
the
Bass
Section.
You
will
find
that
each
output
jack
is
equipped
with
a
threstep
output
level
selector
switch.
This
facilitates
the
con-
nection
of
amplifiers
of
nearly
any
type
and
makes
studio
recording
more
con-
venient.
EXTERNAL
SYNTHESIZER
CONTROL
JACKS
Provides
for
the
control
synthesizers.
of
external
POLYENSEMBLE
SECTION
This
totally
polyphonic
section
features
four
voicing
mixer
controls
plus
envelope
controls.
for
ATTACK,
DECAY,
and
SUSTAIN.
When
the
volume
of
the
Guitar
Controller
is
set
at
the
proper
level,
an
LED
indicator
for
this
section
illuminates
to
signal
that
Polyensemble
sound
may
be
produced.
BASS
SECTION
The
following
controls
are
provided
in
this
section:
(1)
Three
voicing
slide
levers,
for
PER-
CUSSION,
SOFT,
HARD.
(2)
Three
envelope
slide
levers,
for
ATTACK,
DECAY,
SUSTAIN.
(3)
Selector
switch
for
PERCUSSION
DECAY
LONG/SHORT
(4)
Three-position
string
selector
(5)
Three-position
TOUCH
SENS
se-
lector
switch.
This
section
employs
a
last-note-priority
system
in
which
the
ultimate
note
sounded
corresponds
with
the
sound
of
the
last
string
played.
(See
page
10.)
When
the
volume
of
the
Guitar
Controller
is
set
at
the
proper
level,
an
LED
indicator
illuminates
for
this
section
to
signal
that
Bass
Section
sound
may
be
produced.
EXTERNAL
SYNTHESIZER
JACK
This
jack
receives
the
audio
output
of
an
external
synthesizer
so
that
its
volume
can
be
controlled
by
the
Guitar
Con-
troller.
SOLO
MELODY
CONTROL
JACKS
VCF
Pedal
Control
Jack
By
connecting
a
volume
pedal,
such
as
the
Roland
FV-2
to
this
jack,
VCF
cutoff
frequency
can
be
controlled
to
obtain
wow-like
effects.
INPUT
External
Source
Input
Jack
By
connecting
an-ordinary
electric
guitar
output
to
this
jack,
the
VCF
and
VCA
of
the
Solo
Melody
Section
can
be
controlled
to
produce
a
great
variety
of
sounds.
Highly
effective
variations
can
be
pro-
duced
by
directing
modulation
(LFO,
VCF
pedal
control)
to
the
VCF
cutoff
frequency.
SOLO
MELODY
SECTION
Having
a
basic
function
similar
to
that
of
a
conventional
synthesizer
module,
this
section
employs
a
last-note-priority
system
in
which
the
ultimate
note
sounded
corresponds
with
the
sound
of
the
last
string
played.
When
the
volume
of
the
Guitar
Controller
is
set
at
the
proper
level,
an
LED
indicator
illuminates
for
this
section
to
signal
that
Solo
Melody
sound
may
be
produced.
LFO
modulation
of
the
VCF
in
this
section
can
be
remotely
controlled
by
an
on/off
switch
located
on
the
guitar.
EXTERNAL
SYNTHESIZER
SECTION
To
greatly
increase
the
performance
possibilities
of
the
Guitar
Synthesizer,
an
external
synthesizer
can
be
controlled
through
this
section.
Examples
of
Roland
synthesizers
recommended
for
this
pur-
pose
are
the
System
700,
the
System
700
Laboratory
Synthesizer;
the
System
100:
Basic
Unit
101
and/or
Expander
102;
and
the
SH-5.
Further,
since
both
plus
and
minus
gate
voltages
are
available
at
the
rear
panel
of
the
GR-500,
most
other
brands
of
synthesizers
may
be
used
also.
REMOTE
JACK
Connection
between
this
jack
and
the
footswitch
jacks
of
the
various
effects
found
on
most
amplifiers
will
allow
these
effects
to
be
remotely
controlled
at
the
guitar,
using
the
Remote
Switch.
FROM
GUITAR
This
connector
links
the
Guitar
Con-
troller
and
the
GR-500
Synthesizer.
TUNING/WIDTH
These
controls
are
factory
adjusted
and
should
be
altered
only
by
a
qualified
service
technician.
ASSEMBLING
CAUTIONS
FOR
USING
SYNTHESIZERS
The
tilt
angle
of
the
Avoid
using
the
synthesizer
in
very
high
or
low
temperature
GR-500
Synthesizer
may
r
Al
x:
A
be
adjusted
freely
by
locations.
Also
keep
it
away
from
heaters
and
coolers
since
loosening
these
boits.
this
type
of
equipment
tends
to
affect
circuit
and
pitch
stability.
Avoid
using
synthesizers
in
very
dusty
or
high-humidity
places.
Use
a
soft
cloth
when
wiping
the
GR-500
Synthesizer
Control
Panel.
Avoid
using
thinners
and/or
solvents.
Salt
can
damage
the
exteriors
as
well
as
the
internal
circuitry
of
synthesizers.
Using
the:
Roland
Guitar
Synthesizer
while
or
immediately
after
eating
salty
snacks
can
cause
problems
with
conductivity
of
jacks.
STAND
R
STAND
L
The
stand
for
the
GR-500
is
available
as
an
option.
CONNECTING
THE
GR-500
SYNTHESIZER
AND
THE
GUITAR
CONTROLLER
ASIC
CONNECTION
METHODS
Adding
8
conventional
electric
guitar
4
Connect
the
guitar
to
eT
OLO
MELODY
EXT
IN.)
Connect
to
FROM
GUITAR.
1
'
|
FOOT
VOLUME
a
FV-
vcrPEDAL
CH?
CONTROL
JACK
rauf
emr
nm
HI
11111
1
SYNTHESIZER
GR-500
GUITAR
CONTROLLER
GUITAR
AMPLIFIER
JC
SERIES
USING
A
SINGLE
ROLAND
JAZZ
CHORUS
AMPLIFIER
Set
Bass
Section
Output
Selector
Switch
at
1"
and
connect
Output
Considerable
variety
of
sound
can
be
achieved
by
employing
the
Jack
“1”
directly
to
the
“Channel
1”
input
of
the
amplifier.
Reverb
and
Chorus
effects
of
the
JC
Amplifier.
In
addition,
effect
Set
Output
Selector
Switches
of
the
other
sections
to
“2”
and
connect
devices
may
be
used
between
the
guitar
synthesizer
and
the
amplifier.
the
Output
Jack
"2''
directly
to
“Channel
2”
input
of
the
amplifier.
3
VARIATION
1
@USING
A
GUITAR
AMPLIFIER
__
AND
A
BASS
AMPLIFIER
f
(ooo
EFFECT
UNIT
BASS
AMPLIFIER
GUITAR
AMPLIFIER
GR-500
Set
Bass
Section
Output
Selector
Switch
at
“1”
and
connect
Output
to
guitar
amplifier.
Jack
''1"'
to
bass
amplifier.
By
adding
effect
units
between
the
GR-500
and
the
guitar
amplifier,
Set
switches
of
other
sections
to
”2“
and
connect
Output
Jack
"2"
variations
of
sound
are
possible.
VARIATION
2
@STUDIO
RECORDING
When
taking
output
from
MIX
channel,
Output
Selector
Switch
may
be
set
to
any
position.
Monaurat
Recording
2
Stereo
ECHO
MACHINE
RE
SERIES
Recording
00)
OR
DIGITAL
CHORUS
DC.50
o o
oo
DO)
CHORUS
ENSEMBLE
CE-1
ESE)
For
studio
recording
it is
suggested
*
Recording
through
mixer
that
direct
connection
be
made
from
is
also
possible.
any
of
the
four
rear
panel
OUTPUT.
(KMSA,
KM4)
jacks
directiy
to
the
studio
board.
VARIATION
3
*
CONNECTING
EXTERNAL
SYNTHESIZERS
CV
IN
TRIG
IN
ECHO
MACHINE
MODEL
101
EXT
SYNTH
IN
PITCH
VOLT,
Pd
31v9+
130A
H2JId
|
[e
ar
OO
OO
GUITAR
AMPLIFIER
GUITAR
AMPLIFIER
4
{panpot
position)
MIXER
The
Threshold
Control
functions
to
compensate
for
individual
differences
in
performance
technique,
or
other
variables.
Examples
of
these
differences
are
pick
playing
as
opposed
to
finger
playing,
picking
intensity,
hardness
of
the
pick,
picking
region,
string
gauge,
and
bridge height
(clearance
between
string
and
divided
pickup).
Because
of
these
factors,
trigger
failure
can
occur.
This
results
in
intermittent
sounding
of
notes.
The
Threshold
Control
is
used
to
adjust
trigger
sensitivity.
OPERATING
THRESHOLD
1
Adjust
the
bridge
and
other
parts
of
the
Guitar
Controller
so
that
you
can
play
it
comfortably.
Clearance
between
the
hum-
bucking
pickup
and
the
strings
can
be
adjusted
freely.
The
clearance
between
the
divided
pickup
and
the
strings
should
be
adjusted
with
the
22nd
fret
held
down:
approximately
1.0mm
for
the
first
string
and
approximately
1.5
mm
for
the
sixth
string.
STRING
HUMBUCKING
DIVIDED
PICKUP
PICKUP
*
As
clearance
between
divided
pickup
and
string
gets
smaller,
sensitivity
increases;
and
vice
versa.
2
When
the
Threshold
Control
is
set
at
“0”,
trigger
failure
and
missed
notes
will
result
unless
a
considerably
strong
picking
technique
is
used.
When
set
to
“10”,
sound
is
produced
with
light
picking
or
even
finger
playing.
But
if
a
strong
picking
technique
is
used,
intermittent
sounding
of
tones
will
again
occur.
As
you
play
a
variety
of
single
tones
and
chords,
turn
the
Threshold
Control
clockwise,
gradually,
to
determine
the
optimum
setting
for
consistent
triggering
of
tones.
It is
important
to
play
both
single
notes
and
chords
when
making
this
adjustment.
The
Guitar
Section
produces
the
sound
of
conventional
electric
guitars.
By
combining
the
exclusive
humbucking
pickup
on
the
Guitar
Controller
with
a
unique
equalizer
system,
however,
a
much
greater
variety
of
tone
colors
can
be
created.
Further,
by
careful
adjustment
of
the
tone
controls
of
external
amplifiers
and
effect
devices
used
in
conjunction
with
the
GR-
500,
the
Guitar
Section
alone
is
capable
of
producing
a
variety
of
sound
far
beyond
that
of
conventional
guitars.
OUTPUT
SELECTOR
—
INDICATOR
EQUALIZER
ON/OFF
SWITCH
EQUALIZER
FREQUENCY
OPERATING
THE
GUITAR
SECTION
1
(GR-500)
After
connecting
cords,
set
all
knobs
and
switches
to
the
^
OFF
position.
Connect
an
external
amplifier
or
effect
device
to
one
of
the
output
jacks
on
the
rear
pgnel.
Locate
the
Output
Selector
Switch
above
the
Guitar
Section
on
the
control
panel,
and
set
this
switch
to
correspond
with
the
output
jack
you
have
chosen
on
the
rear
panel.
When
the
output
selector
is
set
to
"'1'',
for
example,
the
output
signal
appears
at
the
CH
1
Output
Jack
on
the
rear
panel.
Note
that
if
you
have
chosen
to
use
the
MIX
Output
Jack,
the
Output
Selector
Switch
may
be
set
at
any
position.
(GR-500)
Turn
Power
Switch
ON.
EQUALIZER
ON/OFF
SWITCH
When
this
switch
is
on,
the
equalizer
of
the
Guitar
Section
is
activated.
When
off,
the
Guitar
Controller
sound
will
still
be
produced,
but
the
equalizer
is
bypassed.
EQUALIZER
FREQUENCY
Operating
as
a
"preset
tone
control,"
this
adjustment
serves
a
completely
different
function
than
that
of
the
equalizer
of
the
Guitar
Controller.
Equalizer
frequency
is
a
kind
of
band
pass
filter;
its
peak
frequency
may
be
changed
freely
by
the
frequency
control
for
variations
of
tone
colors.
When
the
control
is
set
at
HIGH,
the
sound
is
hard
and
metallic.
When
set
at
LOW,
more
“bottom”
is
heard.
LEVEL
Low
High
FREQUENCY
CONTROL
Frequency
TUNING
Tuning
the
Guitar
Controller
is
accomplished
in
the
same
manner
as
with
conven-
tional
guitars.
BE
SURE
THE
EQUAL-
IZER
IS
TURN-
ED
OFF.
J
CONNECTING
ATTACHMENTS
AND
EFFECT
DEVICES
When
you
use
effect
and
sound
modification
devices
in
conjunction
with
the
Guitar
Section,
connect
these
devices
directly
to
the
desired
Output
Jack
on
the
rear
panel.
Then
set
the
Output
Selector
Switch
of
the
Guitar
Section
to
correspond
with
the
channel
you
have
selected.
Connect
to
INPUT.
pr
of
Mus
arı)
Ea
PS
0)
(o)
Connect
to
INPUT.
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EFFECT
remos
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BEYA
GR500
GUITAR
AMP
J
Kr)
Set
GUITAR/DUAL/SYNTHESIZER
Selector
Switch
to
GUITAR.
Set
guitar
Volume
and
Master
Volume
to
proper
levels.
Be
sure
the
LED
function
indicator
for
the
Guitar
Section
illuminates.
The
Guitar
Section
is
now
ready
to
produce
sound.
Set
the
equalizer
on/off
switch
to
the
desired
position,
When
set
to
ON,
the
equalizer
is
active.
Set
Guitar
Tone
Control
and
Equalizer
Mode
Selector
to
the
desired
position.
The
totally
polyphonic
Polyensemble
Section
offers
the
ability
to
sembles
of
sound
such
as
a
brass
chorus,
or
a
string
section.
simultaneously
produce
a
combination
of
tones
such
as
a
chord.
All
controls
for
this
section
are
grouped
together
under
"'P''
With
four
voicing
mixers
and
a
three-control
envelope
generator,
on
the
control
panel.
no
special!
playing
technique
is
required
to
create
startling
en-
INDICATOR
9—
—
VOICING
MIXER
ENVELOPE
GENERATOR
OPERATING
THE
POLYENSEMBLE
SECTION
1
!
Connect
an
external
amplifier
or
effect
device
to
one
of
theOutput
Jacks
on
the
rear
panel.
Locate
the
Output
Selector
Switch
above
the
Polyensemble
Section
on
the
control
panel,
and
set
this
switch
to
correspond
with
the
outbut
jack
you
have
chosen
on
the
rear
panel.
When
the
Output
Selector
is
set
to
“2”,
for
example,
the
output
signal
appears
at
the
CH
2
Output
Jack
on
the
rear
panel.
Note
that
if
you
have
chosen
to
use
the
MIX
Output
Jack,
the
Output
Selector
Switch
may
be
set
at
any
position.
Guitar
Controller
Set
the
GUITAR/DUAL/SYNTHESIZER
Selector
Switch
to
SYNTHESIZER.
Qa
Controler)
Set the
Polyensemble
Section
ON/OFF
switch
to
ON
and
raise
the
Volume
and
Master
Volume
controls
to
their
proper
levels.
FOR
THE
TIME
BEING,
KEEP
ON/OFF
SWITCHES
OF
THE
OTHER
SECTIONS
OFF.
VOICING
MIXER
These
are
slider
controls
which
determine
the
tone
quality
of
the
Polyensemble
Section.
It
contains
four
sound
sources:
“F”
(fundamental);
"L"
(low);
“M”
(middle);
and
“H”
(high).
These
sounds
can
be
attained
individually
‘or
in
any
combination.
ENVELOPE
GENERATOR
Three
slider
controls
function
to
determine
the
manner
in
which
the
sound
rises
and
fades.
The
lever
on
the
left
controls
ATTACK,
or
the
time
required
for
the
sound
to
rise
to
its
full
intensity.
The
center
lever
governs
DECAY
time,
or
the
time
re-
quired
for
the
sound
to
decay
to
a
“predetermined”
level.
The
setting
of
the
lever
on
the
right
determines
the
SUSTAIN
level,
or
the
predetermined
volume
to
which
the
sound
will
ultimately
decay.
Be
sure
the
LED
indicator
for
the
Pol-
yensemble
Section
illuminates,
The
Pol-
yensemble
Section
is
now
ready
to
produce
sound.
Set
the
SUSTAIN
level
control
of
the
en-
velope
generator
to
the
desired
position.
Set
the
slide
lever
controls
of
the
voicing
mixer
to
their
desired
positions.
When
using
headphones,
connect
them
to
the
Headphone
Jack
on
the
control
panel
and
adjust
the
Headphone
Volume
Level.
POLYENSEMBLE
SECTIO
WHAT
IS
AN
ENVELOPE
GENERATOR?
Three
of
the
essential
qualities
by
which
we
distinguish
a
sound
are
pitch,
timbre,
and
envelope
(rise
and
fade
of
a
sound).
Pitch,
or
course,
is
represented
by
frequency.
Timbre
is
determined
by
the
harmonic
content,
or
pattern
of
overtones
present.
Enve-
ATTACK
TIME
İn
analyzing
the
particular
envelope
of
a
plucked
guitar
string
(Fig.
P-1),
it
takes
about
0.02
seconds
from
the
instant
the
stríng
is
picked
until
the
string
vibration
(and
therefore
its
volume
level)
reaches
maximum
intensity.
This
is
the
attack
time.
GUITAR
STRING
ENVELOPE
PA,
INSTANT
STRING
1S
PICKED
MAX
LEVEL
01
05
0.05
10
20
TIME
(SEC)
DECAY
TIME
ATTACK
TIME
When
the
ATTACK
slide
lever
is
raised,
no
sound
will
be
produced
the
instant
the
string
is
picked;
instead,
the
sound
level
wil
gradually
increase
to
maximum.
On
reaching
its
peak
intensity,
it
will
instantly
fade
out.
(see
Fig.
P.2).
L
ENVELOPE
|
P2.
LEVE
10
o
—
-—
ATTACK
DECAY
SUSTAIN
INSTANT
STRING
IS
PICKED
DECAY
TIME
Upon
completion
of
the
ATTACK
phase
of
the
envelope,
or
the
moment
the
sound
has
reached
its
peak
level,
the
DECAY
phase
begins.
(Fig.
P-1)
DECAY
time,
or
the
time
required
for
the
sound
to
decay,
is
controlled
by
the
center
lever.
As
this
lever
is
raised,
DECAY
time...
the
time
required
for
the
sound
to
fade
.
.
.
is
increased
and
an
envelope
close
to
that
of
a
conventional
guitar
is
obtained
(see
illustration
in
Fig.
P-3).
ENVELOPE
|
P3.
ATTACK
DECAY
SUSTAIN
ATTACK
TIME
Approx.
17
100
SEC
level.
SUSTAIN
LEVEL
The
sound
produced
by
quitar
strings
will
fade
away
after
a
certain
length
of
time,
even
if
the
string
is
picked
intensely
(Fig.
P-1).
This
is
not
true
in
the
case
of
such
as
an
organ
where
sound
is
maintained
as
long
as
a
key
is
held
down
(Fig.
P-4).
This
"continuing"
of
a
sound
is
referred
to
as
SUSTAIN,
and
the
volume
level
at
which
the
tone
continues
to
sound
is
called
the
SUSTAIN
LEVEL,
Raising
of
the
SUSTAIN
Lever
increases
the
volume
level
at
which
the
sound
is
maintained
during
the
SUSTAIN
phase
of
the
envelope.
Note
that
when
the
SUSTAIN
lever
is
raised
all
the
way,
sound
will
not
decay;
therefore,
adjustment
of
the
DECAY
lever
has
no
effect
on
the
envelope
pattern.
ORGAN
ENVELOPE
P4.
i
KEY
RELEASED.
1
KEY
DEPRESSED.
In
the
case
of
the
guitar
synthesizer,
ATTACK
time
starts
the
instant
the
string
is
picked.
When
ATTACK
reaches
its
peak,
DECAY
time
begins:
And
the
sustain
level
(setting
of
the
SUSTAIN
lever)
determines
the
level
to
which
the
decay
falls.
Notice
here
that
among
these
three
envelope
controls,
ATTACK
and
DECAY
contro!
time;
only
SUSTAIN
relates
to
level
(volume).
L
ENVELOPE
10
1
|
E
o
k-
ATTACK,
ATTACK
DECAY
SUSTAIN
ENVELOPE
dh
|
°
s
ATTACK
DECAY
SUSTAIN
m
lope
pertains
to
the
rate
and
intensity
with
which
a
tone
starts,
continues
and
stops.
In
the
GR-500,
various
envelope
patterns
are
created
by
ATTACK
time,
DECAY
time,
and
SUSTAIN
P-5.
a.
ATTACK
+
DECAY
TIME
b.
ATTACK
+
SUSTAIN
SUSTAIN
LEVEL
Fig.
P-6
shows
various
settings
of
SUSTAIN
level,
with
ATTACK
and
DECAY
time
set
at
fixed
positions.
o
ENVELOPE
^i
10
LEVEL
ATTACI
e
F
TIMES
ATTACK
DECAY
SUSTAIN
ENVELOPE
a
1
LEVEL
5
Y
H
o
ATTACK
DECAY
SUSTAIN
ENVELOPE
”
|
LEVEL
5
o
ATTACK
DECAY
SUSTAIN
°
PS.
SUSTAIN
LEVEL.
SUSTAIN
LEVEL,
TİME
TR
SUSTAIN
Guitarists
everywhere
have
strongly
desired
to
be
able
to
use
their
instruments
to
play
bass.
The
Roland
GR-500
Guitar
Synthesizer
makes
this
dream
a
reality.
And
it
does
so
with
greater
versatility
and
flexibility
than
you
might
imagine.
Through
its
envelope
generator
and
percussion
controls,
the
Bass
Section
offers
unlimited
performance
possibilities,
Its
“İast-note-priority
system
enables
you
to
use
the
Bass
Section
to
play
duets.
Last-
note-priority
means
that
the
bass
note
ultimately
heard
corre-
sponds
with
the
last
string
picked.
The
Bass
Section
is
activated
and
its
volume
controlled
by
an
on/off
switch
and
a
volume
contro!
located
on
the
guitar
con-
troller.
The
Bass
Section
may
be
played
in
combination
with
any
other
sections
of
the
guitar
synthesizer.
INDICATOR
VOICING
MIXER
DECAY
TIME
LONG/SHORT
SELECTOR
SWITCH
e
ENVELOPE
GENERATOR
f
These
slide
levers,
ATTACK,
DECAY,
and
SUSTAIN,
operate
in
the
same
manner
as
those
of
the
Polyensembie
Section.
VOICING
MIXER
These
slide
levers
determine
the
tone
quality
of
the
bass
sound.
Three
variations
of
sound
are
offered;
PERCUSSION,
SOFT
and
HARD.
They
may
be
used
indiyidually,
or
in
any
com-
bination.
The
percussion
control
is
provided
with
a
Decay
Time
LONG/SHORT
Selector
Switch
to
enable
decay
time
to
be
altered.
TOUCH
SENS
SELECTOR
SWITCH
This
switch
controls
the
relationship
between
intensity
of
sound
produced
and
intensity
of
picking.
At
the
OFF
position,
volume
is
constant,
regard-
less
of
picking
intensity.
At
the
“1”
position,
picking
intensity
only
slightly
affects
volume.
At
the
“2”
position,
picking
intensity
affects
volume
in
the
same
manner
as
a
conventional
guitar.
met
OUTPUT
SELECTOR
TOUCH
SENS
SELECTOR
SWITCH
STRING
SELECT
SWITCH
*ENVELOPE
GENERATOR
STRING
SELECT
SWITCH
This
switch
selects
the
strings
which
will
produce
bass
sound.
When
used
in
combination
with
other
sections,
this
feature
produces
highly
effective
performance
results.
"18S
RK
All
strings
used;
last
string
picked
will
pro-
duce
bass
sound.
"4-5-6'
or
"5-6"...
.
The
last
string
picked
in
the
indicated
group
will
produce
the
bass
sound,
the
others
will
not.
(GR-500)
Connect
an
external
amplifier
or
effect
device
to
one
of
the
output
jacks
on
the
rear
panel.
Locate
the
Output
Selector
Switch
above
the Bass
Section
on
the
control
panel,
and
set
this
switch
to
correspond
with
the
Output
jack
you
have
chosen
on
the
rear
panel.
When
the
Output
Selector
is
set
to
“3”,
for
example,
the
output
signal
appears
at
the
CH
3
Output
Jack
on the
rear
panel.
Note
that
if
you
have
chosen
to
use
the
MIX
Output
Jack,
the
Output
Selector
Switch
may
be
set
at
any
position.
Bruant
|
STRING
SELECT
Set
the
String
Select
Switch
to
“1-6”,
All
2
“six
strings
will
then
produce
bass
sound.
©
-6
45.6
85.6
İİ
Set
the
GUITAR/DUAL/SYNTHESIZER
Selector
Switch
to
SYNTHESIZER.
Set
the
Bass
Section
ON/OFF
Switch
to
ON
and
adjust
the
Volume
and
Master
Volume
Controls
to
the
desired
levels.
KEEP
ON/OFF
SWITCHES
OF
OTHER
SECTIONS
AT
OFF.
Be
sure
the
LED
indicator
for
the
Bass
Section
is
illuminated.
The
Bass
Section
is
now
ready
to
produce
sound.
LAST-NOTE-PRIORITY
SYSTEM
..BASS
SECTION.
Set
the
SUSTAIN
level
control
of
the
enve-
lope
generator
to
the
desired
position.
Adjust
the
PERCUSSION,
SOFT,
and
'HARD
slide
levers
to
the
positions
you
wish.”
Set
the
Decay
Time
LONG/SHORT
Select
Switch
to
the
position
you
prefer.
Set
the
TOUCH
SENS
Selector
Switch
to
TOUCH
SENS.
ii
the
position
you
prefer.
TO
PRODUCE
SOUND
IN
COMBINATION
WITH
OTHER
SECTIONS
Set
switches
and
controls
as
illustrated
and
adjust
the
Guitar
and
Polyensemble
Sections
as
desired.
The
Bass
Section
produces
bass
sound
from
the
fifth
and
sixth
strings
only.
From
the
first
to
the
fourth
strings,
a
mixture
of
guitar
and
polyensemble
sound
is
produced.
Use
the
MIX
Output
Jack.
(Guitar
Controller)
Set
GUITAR/DU-
AL/SYNTHESIZER
Selector
Switch
to
DUAL
(center).
Set
ON/OFF
switches
of
Polyensemble
and
Bass
Sections
to
ON
and
adjust
volume
controls
to
proper
levels.
Also,
adjust
volume,
tone
and
equalizer
controls
of
the
Guitar
Section
to
the
positions
of
your
choice.
When
playing
only
the
Bass
Section,
you
will
note
that
only
single
notes
are
produced.
The
note
ultimately
sounding
corresponds
with
the
last
string
picked.
To
familiarize
yourself
with
this
system,
set
Controls
and
adjustments
for
bass
sound
only.
Set
the
String
Select
Switch
to
“1-6.”
Play
from
the
sixth
string
to
the
first
string
slowly.
You
will
discover
that
the
unique
last-note-priority
system
acknowledges
the
fact
that
the
natura!
progression
of
sound
production
in
the
guitar
is
from
the
sixth
string
to
the
first.
Step
by
step,
here
is
what
happens.
You
pick
the
sixth
string
first.
Then,
the
instant
you
pick
the
fifth
string,
the
sixth
string
ceases
to
sound.
The
instant
you
pick
the
fourth
string,
the
fifth
string
Stops
sounding,
and
so
forth.
Try
to
play
the
sixth
and
the
fifth
strings
simul-
taneousiy
with
one
down
stroke.
The
sixth
string
will
not
sound;
you
wil!
hear
only
the
sound
of
the
fifth
string.
Although
the
two
Strings
are
played
almost
simultaneously,
the
pick
strikes
the
sixth
string
on
the
down
stroke
first,
and
then
the
fifth
string.
There
is
a
slight
delay
between
the
picking
of
the
sixth
and
fifth
strings
and
this
is
where
the
last-note-priority
system
takes
effect.
The
result
is
that
you
will
not
hear
the
note
that
corresponds
with
the
sixth
string.
This
same
last-note-priority
system
is
incorporated
in
the
Bass,
Solo
Melody,
and
External
Synthe-
sizer
Sections.
10
The
Solo
Melody
Section
is
the
main
section
of
the
Roland
Guitar
Synthesizer.
It
is
provided
with
standard
controls
and
functions
similar
to
those
of
module
synthesizers.
As
in
the
Bass
Section,
the
Solo
Melody
Section
incorporates
the
last-note-priority
system.
With
a
24dB
per
octave
VCF,
this
exceptionally
versatile
INDICATOR
MIXER
PULSE
WIDTH
MODULATION
PULSE
WIDTH
LFO/MANUAL/ENV
SELECTOR
SWITCH
ENVELOPE
GENERATOR
LFO
OPERATING
THE
SOLO
MELODY
SECTION
Connect
an
external
amplifier
or
effect
device
to
one
of
the
output
jacks
on
the
rear
panel
Locate
the
Output
Selector
Switch
š
-
ebove
the
Solo
Melody
Section
on
the
control
panel,
and
set
this
switch
to
correspond
with
the
output
jack
you
have
chosen
on
the
rear
panel.
When
the
Output
Selector
is
set
to
''1",
for
example,
the
output
signal
appears
at
the
CH
1
Output
Jack
on
the
rear
panel.
Note
that
if
you
have
chosen
to
use
the
MIX
Output
Jack,
the
Output
Selector
Switch
may
be
set
in
any
position.
Guitar
Controller
ie
Set
the
GUITAR/DUAL/SYNTHESIZER
Selector
Switch
to
SYNTHESIZER.
W
section
can
produce
virtually
unlimited
variations
of
both
instru-
mental
sounds
and
unique,
electronic
sounds
characteristic
of
synthesizers.
Sound
created
by
this
section
may
be
combined
with
any
of
the
other
sections
of
the
GR-500
Guitar
Synthesizer.
OUTPUT
SELECTOR
VCF
VCA
TOUCH
SENS
SELECTOR
SWITCH
VCA
ENVELOPE
GENERATOR
PITCH
FOLLOWER/PEDAL
CONTROLLER
SELECT
SWITCH
VCF
MODULATION
Guitar
Controller
Set
Solo
Melody
Section
ON/OFF
switch
to
ON
snd
raise
the
Volume
and
Master
Volume
controls
to
their
desired
levels.
FOR
THE
TIME
BEING,
KEEP
ON/OFF
SWITCHES
OF
THE
OTHER
SECTIONS
OFF.
Be
sure
the
LED
indicator
for
the
Solo
Melody
Section
is
illuminated.
The
Solo
Melody
Section
is
now
ready
to
produce
sound.
Operating
methods
for
each
of
the
controls
of
the
Solo
Melody
Section
follow.
It
is
recommended
that
you
experiment
with
these
controls
in
the
same
order
as
they
are
presented
in
this
manual.
MIXER
These
slide
levers
function
to
mix
the
four
Solo
Melody
sound
sources:
16’
and
8'
square
waves
including
pulse
width
modulation
(uni.
8'
sawtooth
wave
|
/
V
),
and
polyensemble.
The
Polyensemble
control
allows
the
output
sound
of
the
Polyensemble
Section
to
be
processed
by
the
Solo
Melody
Section.
İf
you
don't
want
the
Polyensemble
Section
Envelope
Generator
to
affect
this
processing,
set
the
Polyensemble
Section
Envelope
Generator
ATTACK
control
all
the
way
down
and
the
SUSTAIN
control
all
the
way
up.
The
DECAY
control
may
be
set
anywhere.
LFO
(Low
Frequency
Oscillator)
This
oscillator
generates
low
frequencies
in
the
range
of
0.15
to
25Hz.
Instead
of
gen-
erating
audible
sound,
it
generates
a
signal
that
functions
as
a
contro!
voltage
for
the
VCF,
VCA,
and
pulse
width
modulation.
In
the
case
of
the
GR-500,
this
signal
is
a
sine
wave
(ul.
As
the
LFO
lever
is
raised,
modula-
tion
speed
increases.
The
LED
indicator
for
the
LFO
flashes
at
the
same
rate
as
the
rete
of
modulation.
PULSE
WIDTH
MODULATION
This
slide
lever
is
used
to
control
the
pulse
width
of
16'
and
8'
sounds
originating
in
the
mixer
section.
The
pulse
width
modulation
can
be
controlled
(1)
manually;
(2)
by
the
envelope
generator;
and
(3)
by
the
LFO
(low
frequency
oscillator).
(1)
Manual
Control
of
Pulse
Width
Modulation
Set
the
PULSE
WIDTH
MODULATION
Slide
Lever
to
“0”
(50%)
and
set
the
PULSE
WIDTH
MODULATION
Selector
Switch
to
MANUAL.
Select
16'
[LL
or
8'
PU
on the
mixer.
Raise
the
MIXER
Slide
Lever
and
the
PULSE
WIDTH
MODULATION
Slide
Lever.
The
wavetorm
shown
in
Fig.
M-1
will
appear.
M1
rası
me
|
Approx.
5%
W
1
Cycle
(2)
Envelope
Control
of
Pulse
Width
Modulation
Set
the
Modulation
Selector
Switch
to
ENV.
Instead
of
manual
operation
of
the
slide
levers,
the
envelope
curve
generated
by
the
envelope
generator
functions
to
control
the
sound.
in
this
case,
the
PULSE
WIDTH
MODULA-
TION
Side
Lever
adjusts
the
intensity
of
modulation.
M2
suse
wa
m
ENVELOPE
is
.
y
ATTACK
DECAY
SUSTAIN
va
vaki
tiv
INSTANT
STRING
1S
PICKED
ENVELOPE
CURVE
PRODUCED
BY
ENVELOPE
GENERATOR
PULSEWIDTH
WAVEFORM
TUBE
WM.
TIE
e
ATTACK
DECAY
SUSTAIN
SUSTAIN
(3)
LFO
(Low
Frequency
Oscillator)
Control
of
Pulse
Width
Modulation
Set
the
Modulation
Selector
Switch
to
LFO.
The
pulse
width
is
controlled
by
the
LFO
and
the
PULSE
WIDTH
MODULATION
Slide
Lever
adjusts
the
intensity
of
modulation,
When
the
LFO
Frequency
Slide
Lever
is
raised,
pulse
width
change
speed
increases
and
chorus
effects
are
obtained.
M3. LFO
PULSE
w
10
:
pa
FREGUENCY
heri
Manuas
EM
5096
556
5096
9556
50%
ENVELOPE
GENERATOR
This
envelope
generator
functions
in
the
same
manner
as
in
the
Polyensemble
and
Bəss
Sec-
tions.
The
envelope
curve
generated
here
is
also
used
for
adjusting
pulse
width
modulation,
VCF,
and
VCA
modulation.
THE VCF
(Voltage
Controlled
Filter)
In
synthesizing
sound,
we
begin
with
a
waveform
rich
in
harmonic
content.
We
pass
this
signal
through
a
VCF
to
filter
out
(eliminate)
un-
wanted
harmonics.
This
process
is
similar
to
that
used
by
the
artist
who
creates
an
elephant
sculpture
from
a
block
of
wood
by
carving
away
everything
that
doesn't
look
like
an
elephant.
With
the
controls
set
as
shown
below,
the
sounds
from
the
mixer
pass
through
the
VCF
unchanged.
M4.
°
LOW
FREQUENCY
RESONANCE|
(1)
FREQUENCY
Control
When
you
move
this
control
down,
it
begins
to
shave
off
the
upper
harmonics
one
by
one
until
you
reach
its
lowest
setting
where
nearly
all
sound
is
filtered
out.
(2)
RESONANCE
Control
Raising
this
control
will
accent
the
frequencies
at
the
cutoff
point
of
the
VCF
(which
is
determined
by
the
FREQUENCY
Control).
The
higher
the
setting
of
the
RESONANCE
Coritrol,
the
stronger
the
effect.
If
you
move
the
RESONANCE
Contro!
up
to
approximately
“8"
or
beyond,
the
frequencies
at
the
cutoff
point
of
the
VCF
will
be
accented
so
much
that
the
VCF
will
start
oscillating
(generating
sound)
by
itself.
Since
the
RESONANCE
Control
accents
the
frequencies
at
the
VCF
cutoff
point,
the
output
frequency
of
the
VCF,
when
it is
oscil-
lating,
(RESONANCE
Control
at
“10”)
will
be
controlled
by
the
FREQUENCY
Control.
The
fact
that
the
cutoff
point
does
not
change
unless
you
change
it
manually
means
that
the
harmonic
content
of
the
sound
from
the
MIXER
will
change
when
you
play
different
pitches.
This
is
because
the
frequency
of
the
pitches
is
changing
while
the
VCF
cutoff
point
is
not.
VCF
MODULATION
Instead
of
manually
adjusting
the
frequency
control,
VCF
modulation
automatically
controls
it
through
another
control
signal.
Control
is
also
possible
by
means
of
a
pedal.
(1)
PITCH
FOLLOWER
The
PITCH
F
(pitch
follow)
function
allows
you
to
use
the
pitch
control
voltage
from
the
Guitar
Controller
to
move
the
VCF
cutoff
point
along
with
the
pitches
as
you
play.
In
this
way
the
harmonic
content
of
the
notes
wili
remain
the
same.
»
Set
as
illustrated
below
and
produce
sound
with
all
modulation
controls
set
at
“0”,
M-5.
SOLO
MELODY
MİXER
o
o
Zİ
iow
m
16
UL
STIL
8M
PENSEMBLE
FREQUENCY
RESONANCE
INITIAL
GAIN
M-6.
HIGH
|
CUTOFF
FREQUENCY
ENV.
LFO
Low
PITCHF.e|
J@PEDAL
CONT
LOW
———Ə—
T
HIGH
INTERVAL
(2)
ENVELOPE
GENERATOR
The
harmonic
content
of
notes
produced
by
some
instruments
(especially
wind
instruments)
will
change
during
the
production
of
each
note.
Using
the
ENV
(envelope)
control,
this
effect
can
be
imitated.
Try
this
function
as
follows:
«Set
the
envelope
generator
as
illustrated
and
prepare
an
envelope
curve.
Raise
the
ENVELOPE
Stide
Lever
of
the
modulation
section.
Adjust
theenvelope
generator
to
produce
various
envelope
curves,
and
you
will
discover
variations
of
sound.
M-7.
ENVELOPE
[
HIGH
10
`
CUTOFF
FREQUENCY;
e
m
LOW
—
ATTACK
DECAY
SUSTAIN
ENV.
LFO
PITCH
@
*PEDAL
CONT
(3)
MODULATION
BY
LFO
This
Slide
Lever
fuctions
to
adjust
the
cutoff
frequency
by
means
of
a
low
frequency
signal
from
the
LFO.
It
is
especially
useful
in
creating
a
growl
effect.
The
LFO
frequency
controls
the
growl
speed,
The
LFO
modulation
can
be
turned
on
and
off
by
the
Remote
ON/OFF
Switch
focated
on
the
guitar.
°
FREQUENCY
HIGH
CUTOFF
FREQUENCY
AT
A
ENV.
LFO
LOW,
pncure
ePEDAL
CONT
(4)
CONTROL
BY
PEDAL
The
VCF
can
be
controlled
by
pedal
to
achieve
the
same
effects
as
when
it
is
controlled
manually.
SETTING
Connect
the
Roland
Foot
Volume
FV-2
to
the
VCF
PEDAL
CONT
Jack
on
the
rear
panel.
VCF
PEDALCONT
PITCH.
EXT
IN
OUTPUT
JACK
Set
the
switch
to
PEDAL
CONT
and
set
the
slide
lever
to
the
desired
position.
The
maximum
cutoff
frequency
level
controlled
by
pedal
will
be
de-
termined
by
the
slide
lever.
Cue
CONT
The
VCF
Cutoff
Frequency
Control
and
FV-2
Minimum
Level
may
be
set
to
any
position.
The,minimum
cutoff
frequency
level
controlled
by
pedal
may
be
de-
termined
by
these
controls.
+
——
EEEN
——
LO
MELODY
SECTION
USING
REMOTE
The
LFO
modulation
of
the
VCF
can
be
turned
on
and
off
by
the
Remote
ON/OFF
Selector
Switch
located
on
the
guitar.
This
switch
may
also
be
used
to
activate
other
effects
such
as
the
chorus,
vibrato,
or
reverb
on
external
synthesizers,
amplifiers
or
effect
devices.
To
accomplish
this,
simply
patch
between
the
Remote
Jack
on
the
rear
panel
of
the
GR-500,
and
the
desired
remote
jack
{or
the
footswitch
jack)
of
the
external
equip-
ment
or
device.
REMOTE:
E!
OFF
GUITAR
INTHESIZER
DUAL
F
PORTAMENTO
OLO
MELODY
SECTION
VCA
(VOLTAGE
CONTROLLED
AM-
PLIFIER)
The
VCA
controls
the
rise
and
fade
of
the
sound.
A
VCA
is
an
amplifier
having
an
am-
plitude
controlled
by
voltage.
ENVELOPE
GENERATOR
AND
INITIAL
GAIN
initial
gain
adjusts
the
volume
independently
of
the
envelope
generator.
When
driving
the
VCF
cutoff
frequency
by
means
of
the
envelope
generator,
you
are
able
to
com-
pensate
for
loss
of
volume
{see
page
13).
The
slider
marked
ENVELOPE,
below
the
VCA,
determines
the
amount
of
contro!
the
envelope
generator
will
have
over
the
output
sound
(same
as
a
volume
control).
To
try
this
function,
follow
this
procedure:
*
Output
level
with
initial
Gain
only
raised.
INITIAL
GAIN
|
ENVELOPE
*
When
envelope
control
only
is
raised.
E
up
id
s:
o
5
—
|
INITIAL
GAIN
|
ENVELOPE
|
ATTACK
DECAY
SUSTAIN
*
Output
level
when
both
initial
gain
and
envelope
controls
are
raised.
“x:
ENVELOPE
VCA
"dE
£
INITIAL
GAIN
EE
ENVELOPE
ATTACK
DECAY
SUSTAIN
TOUCH
SENS
SELECTOR
SWITCH
MAX
LEVEL
MIN
STRING
PICKED
MAX
MIN
TTACKONCDECAY
—
Time
TIME
‘SUSTAIN
This
switch
has the
same
effect
as
the
TOUCH
SENS
Selector
Switch
of
the
Bass
Section.
This
section
allows
you
to
use
the
Guitar
Controller
to
control
an
external
synthesizer
through
the
GR-500
Synthesizer.
The
Transpose
and
Portamento
features
provide
limitless
possibilities
in
the
creation
of
new
sounds,
or
the
reproduction
of
familiar
ones.
A
TOUCH
SENS
Selector
Switch
is
included
in
this
section,
as
in
the
Bass
and
Solo
Melody
Sections.
OUTPUT
SELECTOR
INDICATOR
e
TOUCH
SENS
SELECTOR
SWITCH
TRANSPOSE
PORTAMENTO
TIME
CONTROL
TRANSPOSE
This
control
governs
the
pitch
of
the
entire
External
Synthesizer
Section.
With
the
fifth
string
tuned
at
“A”
110Hz
(standard
tuning
of
a
conventional
guitar),
“C”
on
the
first
fret
of
thesecond
string
is
transposed
as
shown
below,
depending
on
the
position
of
the
Transpose
Control:
k
=
f
*——
1
|]
BE
4
u
d
=
F2:
TUNING
(1)
For
tuning
the
external
synthesizer,
set
the
Transpose
Control
to
"8'-F.'*
(2)
Using
sound
from
the
Guitar
Section
combined
with
the
External
Synthesizer
Section,
adjust
the
VCO
pitch
of
the
external
synthesizer.
PORTAMENTO
TIME
CONTROL
The
guitar,
through
its
inherent
method
of
tone
production,
permits
a
certain
amount
of
portamento,
or
pitch
bending,
to
be
achieved
in
normal
playing.
The
Roland
Guitar
Synthe-
sizer
is
designed
to
allow
unlimited
portamento,
from
its
lowest
to
its
highest
note.
Further,
the
time
desired
for
this
gradual
change
in
pitch
to
reach
completion
is
adjustable
through
the
Portamento
Time
Control
Slide
Lever.
As
this
lever
is
raised,
the
portamento
time
is
increased.
Through
the
effective
use
of
the
GR-500's
portamento
feature,
you
can
create
choking,
bottleneck
and
slide
trombone
effects
using
standard
playing
techniques.
When
an
external
synthesizer
is
connected
to
the
GR-500,
portamento
functions
can
be
turned
on
or
off
by
a
portamento
switch
located
at
the
guitar.
GLISSANDO
The
External
Synthesizer
Section
allows
you
to
perform
glissando
techniques
in
which
one
pitch
of
the
external
synthesizer
slides
to
another
independently
of
the
portamento
function.
Also
called
"slide
technique,"
the
glissando
is
accomplished
simply
by
sliding
the
finger
on
a
string
the
same
way
as
when
bending
the
pitch
in
a
conventional
guitar.
16
After
connecting
the
external
synthesizer,
set
the
Transpose
Control
to
''B'-F"
and
PORFA-
MENTO
TIME
Control
to
“0”,
Guitar
Controller
Set
the
External
Synthesizer
Section
ON/OFF
Switch
to
ON
and
raise
the
Volume
and
Master
Volume
control
levels
to
their
desired
positions.
FOR
THE
TIME
BEING,
KEEP
ON/OFF
SWITCHES
OF
OTHER
SECTIONS
OFF.
CONNECTION
WITH
AN
EXTERNAL
SYNTHESIZER
The
GR-500
can
be
connected
to
most
synthesizers
which
have
external
input
jacks.
Examples
of
Roland
synthesizers
having
this
feature
are
the
System
700
Main
Console,
System
700
EXAMPLES
SYSTEM
700
SYSTEM
700
MAIN
CONSOLE
LABORATORY
CONNECTION
1.
SYSTEM
700
The
GA-500
is
provided
with
a
six-conductor
DIN
jack
for
the
exclusive
connection
of
the
System
700.
By
using
this
jack,
both
CV
and
GATE
voltages
can
be
conducted
through
a
single
cable.
BASIC
UNIT
GR-500
REAR
PANEL
Ed
El
E
0000
E
ooo
[e
oo[o
|]
-
$
BLOCK
1.
MAIN
CONSOLE
(REAR
PANEL,
BLOCK
1.
OUTPOT
(711A).
BLOCK
8.
LABORATORY
KYBD
IN)
SYSTEM
BLOCK
8.
VCA
OUT
(704D}
7
SYSTEM
100
REAR
PANEL
COMPUTER
CONNECTION
JACK
(GR-5OO
Be
sure
the
LED
function
indicator
of
the
External
Synthesizer
Section
illuminates,
Adjust
the
controls
of
the
externa!
synthesizer
to
achieve
the
desired
sounds
and/or
effects.
(GR-500)
(Guitar
Controller)
Set
the
Guitar
Controller
Portamento
ON/OFF
Selector
Switch
to
ON
and
set
the
GR-500
Portamento
Time
Control
Slide
Lever
to
the
desired
position.
Laboratory
Synthesizer,
System
100
Models
101
and
102,
and
Model
SH-5.
SYSTEM
100
EXPANDER
102
CONNECTION
2.
SYSTEM
100
&
SH-5
For
connection
of
the
SH-5,
use
the
computer
connection
jacks
on
the
rear
panel,
as
in
the
case
of
the
SYSTEM
100,
Model
101,
shown
below:
101
GR-500
REAR
PANEL
PITCH
VOLT
14
ræ
be
T
MODEL
101
EXPANDER
102
©
EXTERNAL
S
SYNTHESIZER
SECTION.
oe
CONNECTION
3.
EXAMPLE
OF
CONNECTION
FOR
STRING
ENSEMBLE
(PATCH
14)
AND
BRASS
ENSEMBLE
(PATCH
15).
*
When
using
System
700
Laboratory
System.
GR-500
REAR
PANEL
SYSTEM
700
ATORY
SYSTEM
*
When
using
System
100,
Expander
102
and
System
700
Laboratory
System
at
he
same
dine:
-1.
GR-500
REAR
PANEL
AMPLIFIER
AMPLIFIER
AMPLIFIER
ENSURE
m
rss
AjLjo)
EXPANDER
102
MİXER
(KM-4,
KM-6A)
*
When
using
System
100,
Expander
102
and
System
700
Laboratory
System
at
the
same
time.
—
2.
`
EA
TORY
SYSTEM
GR-500
REAR
PANEL
KYBD
GATE
INPUT
EXPANDER
102
GUITAR
AMPLIFIER
SYSTEM
700
18
LABORATORY
SYSTEM
GR-500
GUITAR
SYNTHESIZER
SPECIFICATIONS
FRONT
PANEL
COMMON
THRESHOLD
CONTROL
THRESHOLD
INDICATOR
HEADPHONES
JACK
HEADPHONES
LEVEL
CONTROL
POWER
SWITCH
POWER
INDICATOR
GUITAR
SECTION
OUTPUT
CHANNEL
SELECTOR
SWITCH:
3/2/1
EQUALIZER
ON/OFF
CHANGEOVER
SWITCH
EQUALIZER
FREQUENCY
CONTROL
INDICATOR
LED
POLYENSEMBLE
SECTION
OUTPUT
CHANNEL
SELECTOR
SWITCH;
3/2/1
VOICING
MIXER;
FUNDAMENTAL,
LOW,
MIDDLE,
HIGH
ENVELOPE
GENERATOR;
ATTACK,
DECAY,
SUSTAIN
INDICATOR
LED
BASS
SECTION
OUTPUT
CHANNEL
SELECTOR
SWITCH:
3/2/1
VOICING
MIXER;
PERCUSSION,
SOFT,
HARD
PERCUSSION
DECAY
CHANGEOVER
SWITCH:
LONG/SHORT
ENVELOPE
GENERATOR;
ATTACK,
DECAY,
SUSTAIN
STRING
SELECTOR
SWITCH:
1-6/4,5,6/5,6
TOUCH
SENSITIVITY
CHANGEOVER
SWITCH:
2/1/OFF
INDICATOR
LED
SOLO
MELODY
SECTION
PULSE
WIDTH
MODULATION
CONTROL
PULSE
WIDTH
MODULATION
CHANGEOVER
SWITCH:
LFO/
MANUAL/ENVELOPE
VOICING
MIXER;
16'
JLI1
/8'TLİL
/8'NN
/
POLYENSEMBLE
LFO
FREQUENCY
CONTROL
e
ENVELOPE
GENERATOR:
ATTACK,
DECAY,
SUSTAIN
VCF:
CUTOFF
FREQUENCY
CONTROL,
RESONANCE
CONTROL
VCF
MODULATION:
ENVELOPE,
LFO,
PITCH
FOLLOWER/PEDAL
CONTROL
PITCH
FOLLOWER/PEDAL
CONTROL
CHANGEOVER
SWITCH
VCA
MODULATION:
INITIAL
GAIN,
ENVELOPE
TOUCH
SENSITIVITY
CHANGEOVER
SWITCH:
2/1/OFF
OUTPUT
CHANNEL
SELECTOR
SWITCH:
3/2/1
INDICATOR
LED
EXTERNAL
SYNTHESIZER
SECTION
OUTPUT
CHANNEL
SELECTOR
SWITCH;
3/2/1
TRANSPOSE
CHANGEOVER
SWITCH;
32'-F
/
16'-F,
16-3,
165
/
B'-F,
83,85
/
AF,
4-3,
4-5
/
2-F
/
1-F
PORTAMENTO
TIME
CONTROL
TOUCH
SENSITIVITY
CHANGEOVER
SWITCH;
2/1/0FF
INDICATOR
LED
REAR
PANEL
OUTPUT
JACKS:
CH-1,
CH-2, CH-3,
MIX
OUTPUT
LEVEL
CHANGEOVER
SWITCHES:
H/M/L
EXTERNAL
SYNTHESIZER
CONTROL
JACKS:
PITCH
VOLTAGE
OUT,
*GATE
OUT,
—GATE
OUT.
6P
DIN
JACK
(FOR
SYSTEM
700)
EXTERNAL
SYNTHESIZER
INPUT
JACK
SOLO
MELODY
SECTION:
VCF
PEDAL
CONTROLLER
OUT
JACK,
EXTERNAL
INPUT
JACK
REMOTE
OUT
JACK
FROM
GUITAR
CONNECTOR
POWER
CONSUMPTION:
19W
DIMENSIONS:
603(W)
x
154(H)
x
309(D)MM
WEIGHT:
9.2KG
ACCESSORY:
CONNECTION
CORD
(C-24B)
*
Specifications
are
subject
to
change
without
notice.
Roland
Corporation
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