Roland GR-700 User manual

oland
GUITAR
SYNTHESIZER
Gr- 700
Owner’s Manual

OUTLINE OF GR-700
The Roland GR Guitar Synthesizer series all consist
of synthesizer sections and special guitars called
Guitar Controllers. The GR-700 is the Synthesizer
The following are the main features of the GR-700.
* The GR-700 is a fully programmable, six voice
synthesizer with the memory capacity that
retains up to 64 different tone colors. And any
patch program in memory can be recalled just
by pressing the pedal switches.
* Using the Memory Cartridge (M-16C) will expand
the memory capacity by another 64 patches.
* Tone color editing can be more easily done by
using the optional programmer PG-200,
* The GR-700 allows you to select which of the
strings to take on each synthesizer effect.
CONTENTS
Mm Panel Descriptions A N hs we ees 3
Connections «+e et te ee ee es 6
Problem caused by your improper
playing manner «sete ooo... 8
Operation E Mahe sy eee te BaP. a ms 9
1. Guitar Controller ++ +++ +++. ++... raa 9
a. Controlling the Synthesizer Section - - - 9
b. Adjustment of Output Level - - - - - - - 10
2 Play, Edit and Write Modes - + + ++ ++ +++ 11
3 Play Mode +++... 0... +... . +... 11
a. Tuning +++... o... e... ee eee 11
b. Tone Color Selection - - - +++ 12
c. Other Functions o- Ws: nenn 13
4 Edit Mode - ++*++.+««+.«.«.«.o o... ... 14
z _Before.reading this. manual, please read the separate volume “MIDI”.
section that is compatible with any G-series guitar
controller, 202, 303, 505 or 808, but GR-700 is the
best choice for the most satisfactory result,
* The GR-700 can express even subtle playing
technique according to the intensity of picking.
* Many other attractive functions are featured,
such as Chromatic Scale mode, Chorus effect, etc.
* A large LED is helpful for synthesizing.
* The MIDI OUT Connector allows the GR-700 to
contro! other MIDI modules or instruments.
a. Editing without PG-200....---..-.- 14
b. Editing with PG-200 +++... ... +... 17
c. Parameter Table : - -........> 18
5 Write Mode -- ++ +e ee eee eee ee ree 24
a. Writing Operation - - -- cr... 24
b. Copy Function: +++ +++ ++... 26
6
Memory
Cartridge
rer
ee
ee
ee
27
a. Attaching the Memory Cartridge - +++ 27
b. Memory Cartridge and Internal
Memory +... e... +... o... ....> 27
c. Patch transfer between Internal
Memory and the Cartridge Memory -- 28
d. Saving and Loading - - +++... +. 29
7 MIDIS a ASA 30
5 Specifications +» +++ <<... +... eee eee 31

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Radio and television interference
“Warning — This equipment has been verified to comply with the limits for a Class B computing
device, pursuant to Subpart J, of Part 15, of FCC rules. Operation with non-certified or non-
verified equipment is likely to result in interference to radio and TV reception.”
The equipment described in this manual generates
and uses radio-frequency energy. If it is not installed
and used properly, that is, in strict accordance with
our instructions, it may cause interference with
radio and television reception.
This equipment has been tested and found to com-
ply with the limits for a Class B computing device in
accordance with the specifications in Subpart J, of
Part 15, of FCC Rules. These rules are designed to
provide reasonable protection against such an inter-
ference in a residential installation.
However, there is no guarantee that the interference
will not occur in a particular installation. If this
equipment does cause interference to radio or televi-
sion reception, which can be determined by turning
the equipment on and off, the user is encouraged to
try to correct the interference by the following
measure:
eDisconnect other devices and their input/output
cables one at a time. If the interference stops, it is
caused by either the other device or its I/O cable.
These devices usually require Roland designated
shielded I/O cables. For Roland devices, you can
obtain the proper shielded cable from your dealer.
For non Roland devices, contact the manufacturer
or dealer for assistance.
IMPORTANT NOTES
Power Supply
e The appropriate power supply for this unit is
shown on its name plate. Please make sure that
the line voltage in your country meets that,
e Please do not use the same socket used for any
noise generating device [such as motor, variable
lighting system).
e This unit might not work properly if turned on
immediately after turned off. If this happens,
simply turn it off and turn it on again a few
seconds later.
e Before setting up the GR-700 with an external
amplifier or the Guitar Controller, turn both of
them off.
ə This unit might get hot while operating, but
there is no need to worry about it.
If your eauipment does cause interference to radio
or television reception, you can try to correct the
interference by using one or more of the following
measures!
eTurn the TV or radio antenna until the interfer-
ence stops.
eMove the equipment to one side or the other of
the TV or radio.
e Move the equipment farther away from the TV or
radio.
ePlug the equipment into an outlet that is on a dif-
ferent circuit than the TV or radio. (That is, make
certain the eauipment and the radio or television
set are on circuits controlled by different circuit
breakers or fuses.)
eConsider installing a rooftop television antenna
with coaxial cable lead-in between the antenna
and TV.
If necessary, you should consult your dealer or an
experienced radio/television technician for addi-
tional suggestions. You may find helpful the follow-
ing booklet prepared by the Federal Communica-
tions Commission:
"How to Identify and Resolve Radio-TV Interfer-
ence Problems”
This booklet is available from the U.S. Government
Printing Office, Washington, D.C., 20402, Stock No.
004-000-00345-4.
Cleaning
e Use a soft cloth and clean only with a mild deter-
gent.
e Do not use solvents such as paint thinner.
Location
e Operating the GR-700 near a neon or fluorescent
lamp may cause noise interference. If so, change
the angle or the position of the GR-700,
e Avoid using the GR-700 in excessive heat or
humidity or where it may be affected by direct
sunlight or dust.
Repairing
e Save the necessary data on a cartridge before
having the GR-700 repaired, in case it happens to
be accidentally erased.

CONNECTIONS
* Before making or breaking connection, be sure to turn all the units off.
Setting up the Guitar Controller
Uniocking
C-24D Connection Cable
1. Guitar Input Connector @
Connect the Guitar Controller here by using the
supplied cable C-24D.
2. Output Jack ®
These jacks are used to connect an amplifier. When
these are the only output jacks used, mixed sound
of direct and synthesizer will be obtained. To fully
benefit the advantages of the GR-700, use keyboard
amplifiers and speakers, PA, or audio equipment. If
two amplifiers are used (stereo), chorus effect will
sound more effective. (See page 13.)
GUITAR INPUT
O Guitar Input Connector
3. Level Selector Switch ®
With this switch, select an appropriate output level
depending on the type of the amplifier you use. The
knack is to select the position that allows undis-
torted sound of desirable level with the amplifier's
volume set to 5 to 7.
4. Guitar Output Jack ®
This jack is provided to connect a guitar amplifier.
Through this jack, only direct guitar sound is sent
out. Also, a preamplifier is built in here, therefore,
good result can be expected when an effect device
or foot volume is used. If both this jack and the
Output Jack @ are used at the same time, only the
synthesizer sound is output through the Output
Jack ®.
Setting up the Amplifiers
Mea a
ls br oureut LEVEL OUTPUT
Se de e fe
00000 m
i SiR
A
Se
c6...0....bw
©
©
E
Y
Y)
See
=
Guitar
Amplifier
PA,
Amplifier
etc.
—
Mixer
etc.

O Balanced Output Connector
Connecting a Volume Pedal
o 0
PEDAL
PITCH VCF
00000
AA vv
O
eo 0)
AN ANN
FV-200
5. Balanced Output Connectors ®
These are used for setting up the GR-700 with the
balanced type mixer or effect device. The signal sent
out through these connectors are the same as the
output jacks @ , but the maximum output level is
OdB regardless of the position of the Level Selector
Switch ® . If setting up in monaural, be sure to mix
the signals of both channels.
Also, the output from this connector is transform-
less, so to convert it into unbalanced output, keep
the 2nd pin open.
6. Programmer Connector @
Connect the programmer PG-200 here by using the
supplied 6P DIN Cord.
7. MIDI OUT Connector @
This is to connect a MIDI sound module. Use the
optional MID! Sync Cable MSC-25 or 50.
8. Pitch Control Jack @ and VCF Control Jack ®
By connecting the Foot Volume FV-200 (BOSS),
you can control the pitch and VCF Cutoff by
depressing the pedal.
* Connect to the output jack of the FV-200.
* Set the Minimum Volume of the FV-200 to zero.
* Remove the spring from the spring holder of the
FV-200. (Refer to the operation manual of the
FV-200 to see how to remove it).
* While not using the FV-200, set the pedal to its
highest position.

PROBLEMS CAUSED BY YOUR IMPROPER PLAYING MANNER
The GR-700 digitally processes the vibration of the
strings producing digital signal that controls each
section of the synthesizer. This is in other words,
even the string vibration inaudible in usual guitar
performance is bound to be processed.
a. Sound Delay
The GR-700 reads the waveform of the string vibra-
tion then detects the pitch by its computer. The
lower tone (slower vibration) needs more time for
pitch detection, resulting in sound delay. The open
6th string (E) requires at least 25 ms (0.025 seconds.)
The sound delay is also caused by a certain playing
manner, because the GR-700 is designed not to
output sound until the string vibration has become
stable, to obtain accurate pitch.
b. Unstable Pitch
If you have played a long tone with high fret, the
created string vibration will be extremely feeble.
Therefore, pitch detection is impossible, resulting in
unstable pitch. The solution is playing the guitar in
the low position.
c. Sound cannot be muted
lf you have played tremolo, or repeated an open
chord or muteless stroke with the 5th or 6th string,
the created sound may not be muted.
Therefore, you may be annoyed by unexpected
reaction of the guitar controller when playing it.
The following are possible symptoms and how to
resolve them.
d. Irrelevant sound is heard
The GR-700 processes even the string vibration
irrelevant for deciding pitch. Therefore, you need
a special care for picking.
e. No sound is heard
When the vibrating time of the string is short or
the pitch is ambiguous, or you have not picked or
touched the string hard enough, pitch detection is
difficult. Watch that your picking is hard enough.
* Harmonics playing
Avoid playing in harmonics manner, if possible. The
problems are often caused by feeble string vibration
in harmonics manner.

OPERATION
1. Guitar Controller
a. Controlling the Synthesizer Section
e Balance Knob
O Vibrato Knob
© Mode Selector Switch
1) Balance Volume Knob ©
With this knob turned fully counterclockwise, only
direct guitar sound is obtained. As you rotate it
clockwise, synthesizer sound will be increased and
at its fully clockwise position, only synthesizer
sound will be heard.
2) Master Volume ()
This knob sets the overall volume,
3) Mode Switch ©
‚At I position Only direct guitar sound is ob-
(GR-707)
DIST (8) does not work.
(other G series)
tained, and the Balance Knob
Both direct and synthesizer
At II position
(GR-707)
VCO + DIST
(other G series)
sounds are available. Suitable
for long tone.
Both direct and synthesizer
AT IH position
(GR-707)
VCO for quick phrase, but wrong
sounds are available. Suitable
(other G series) | picking and touching affects
the performance more than
other positions.
* When the GR-700 is used, distortion sound is not
available.
(8) Touch Plate B
© Master Volume Knob
CG) Cutoff Frequency Knob
© Edit Knob (Resonance Knob)
4) Vibrato Knob @ and Touch Plate (8)
By using these knobs, you can add vibrato effect.
Slightly raise the Vibrato Knob @ and touch the
Touch Plate A while holding the strings down. To
stop vibrato, touch the Touch Plate B and imme-
diately release it.
* If the Vibrato Knob (9) is set to zero, no vibrato
is obtained at all. That is, you are not annoyed
by unexpected Vibrato effect caused by touching
the Touch Plate accidentally.
* The rate, delay time and depth of the vibrato
effect work at its set level in writing. (Refer to
page 20.)
5) Cutoff Frequency Knob ®©
6) Edit Knob (Resonance Knob in other G series) ©
These knobs work exclusively in Edit mode.
* The Cutoff Frequency Knob ($) is provided spe-
cifically for controlling the VCF Cutoff Fre-
quency.
* The Edit (Resonance) Knob @ is used to control
parameters except for the cutoff frequency.
*Refer to the owner’s manual of each guitar con-
troller for the other control knobs.

b. Adjustment of Output Level
The GR-700 is designed to be used with any G-series
guitar controller. If, however, using the controller
other than the G-707, or have changed the gauge of
the strings, you may have to readjust the output
level of the guitar controller.
If the output level of the guitar controller is not
appropriate, the following troubles may be caused.
( Excessive Output Level )
e The pitch is unstable.
e The sound of irrelevant strings are heard.
( Unsufficient Output Level >
e Nosound is heard unless you play the guitar hard.
e The sound does not last.
If you are annoyed by any of above troubles, see
page 8 “Problem caused by improper playing
manner” to solve the trouble. If the trouble still
remains or only one string is in trouble, the follow-
ing readjustment is required.
1. Adjust the height of the Divided Pickup as shown
upper right.
2. Open the cover on the bottom of the guitar con-
troller and rotate the knob to adjust the output
level of each string.
* This level adjustment is a delicate task, so please
do it in slight steps.
10
Adjusting the Output Level of the Guitar
e By changing the height of the Divided Pickup
When the 22nd fret
is pressed
String
0.8mm
/
Output Leve!
increases
e By rotating the VR's
6)
92000
(3
Output
level
increases
000900)
© O Output level increases
eG-505
GOO O Output level increases
e 6-707
O Output level increases
990000

2. PLAY, EDIT & WRITE Modes
Set up the GR-700 with amplifier and speaker, etc.,
and power it up, and it will be ready to play.
{= PLAY Mode)
There are 64 different tone colors preprogrammed
(8 banks x 8 patch numbers) as shown right. And
you can recall any of those patches and edit it as
you like. (= EDIT Mode) This editing operation,
however, does not automatically rewrite the existing
patch program.
If you wish to write the edited program, and appro-
priate writing operation is required. Writing a new
patch program, however, replaces the one currently
written. (= WRITE Mode)
3. PLAY MODE
a. Tuning
The following three places should be tuned.
[MD Guitar's strings
2] Synthesizer sound
B Synthesizer sound in the Chromatic Mode
Operation for [1]
Tune the guitar's strings with a tuner or other
musical instrument.
Operation for
Listening to both normal and synthesizer sounds of
the guitar, tune the GR-700 by rotating the Tune
Knob on the rear panel.
* This tuning operation should be done with the
Chromatic Switch ® and the Chorus Switch ®
turned off.
* Use a tone color suitable for tuning, such as
factory preset patch 4—8.
Now, the synthesizer sound is tuned with the
guitar's strings.
a E Be
PZ, is a Program of Bank 5,
UY) Patch Number 6. (5—6)
Operation for
Press the Edit Pedal to turn the GR to the Edit
Mode. By pressing the Number Pedals @ , select
the parameter number 48. Then, by using the Edit
(or Resonance) Knob, tune the pitch of the synthe-
sizer sound to the guitar’s normal sound.
* This operation should be done by using an open
string. (The number of the string picked is shown
in the Display ®.)
Now, all are tuned up.
Pitch Adjustable Range : A = 438 to 446
11

b. Tone Color Selection
There are 64 different tone colors preprogrammed
in the GR-700' memory (8 banks x 8 patch num-
bers) by manufacturer. When the GR-700 is first
turned on, a patch program of bank 1, patch num-
ber 1 is called, the Display Windows showing el,
The Display changes as you call other tone color.
How to call a patch program
1) Assign the patch number of the tone color you
want to call by pressing the corresponding Num-
ber Pedal @ (1 to 8).
2) Press the Bank Pedal @ first, then the Number
Pedal @ corresponding with the bank number
you wish to assign.
*
Either operation of 1) or 2) can be done first.
ses
( Bank Pedal
Operation Display
Power ON
Set Patch No. 3
IM] -
@ Number Pedal
Reaction
Patch Program “1 — 1” is initially called,
Patch Program “1 — 3” is called,
Patch Program ”1 — 8” is called.
= 3|
Set Patch No. 8 a
4
=
Set Bank No. 4 =
4
=]
=
Set Bank No. 5 2
t : EE
=
Patch No. 6 ==
4
=
4
[el
=
Bank Number “1” flashes.
Patch Program “4 — 8” is called,
Bank Number *'4” flashes.
Patch Program 5 — 8” is called.
Patch Program "5 — 6” is called.

c. Other Functions
1) Hold Pedal &
Press the Hold Pedal @ , and the Display will show
“H”, and the sound currently in use will be held at
its sustain level as long as the Pedal is depressed.
The Panel Switches ® to @ are On/Off switches
which can be used to add extra effects to the exist-
ing tone color. These switches work whatever mode
the GR-700 is set to. Simply press the switch, and it
will alternately turn on or off. When the switch is
turned on, the indicator lights up.
Panel Switches
Indicator
avi
` -
ea ÖÖÖÖ OG
*
This
Hold
function
cannot
be
obtained
if
the
sound
in
use
has
low
sustain
levei
or
“HOLD”
is
not
set
in
the
String
Select
operation
which
will
be
described
later
in
this
manual.
* Each effect set with the Panel Switches can be
written into memory by taking writing procedure
explained on page 24.
DYNAMICS
[=] = & =
Chromatic
Switch Switches Switches
(String Selector O Dynamics
@Chorus Switch
2) Chorus Switch @
Press this switch to turn on the Chorus effect. Press-
ing it again will turn off. To benefit the best pos-
sible chorus effect, use two amplifiers, if possible.
3) Chromatic Switch ®
The Guitar Synthesizer is designed to pick up even
the delicate pitch difference, but when this switch is
on, the scale becomes chromatic (= temperament)
like the keyboard's.
* In the Chromatic mode, accurate tuning of each
string is required, because the synthesizer sound
chromatically falls on the note that is nearest to
the string's pitch. Also, pitch bending or glissando
effect changes chromatically.
4) Dynamics Switches ®
By using these switches, each DCO, VCF and VCA
section can take on the Dynamics effect.
* The intensity of the Dynamics is set by each
ENV modulation. (See ''C. Parameter Table” on
page 19, 21 and 22.)
5) String Selector Switches ®
Use these switches to select which of the string(s)
should take on the Voice, Hold, or/and Pitch Bend
function(s) work. 1 to 6 correspond to 1st to 6th
strings.
Depress this switch, then by pressing the
| | corresponding String selector Switch (es),
VOICE
select the string(s) which should take
synthesizer voice.
Depress this switch, then select the
HOLD string(s) on which the Hold function
works.
Depress this switch, then select the
ere | | string(s) on which the Pitch Bend func-
tion works.
Depress this switch to select Up or
Down mode of the Pitch Bend function.
(The indicator lights up when the Up
mode is selected.) If the Pitch Bend
Switch described above has been turned
on, and the Up mode is selected pressing
the Foot Volume will raise the pitch.
And in the Down mode, the other way
round.

4.EDIT MODE
Like any usual synthesizer, the GR-700 has various
parameters (32 kinds) which can be edited for
sound synthesis. The GR-700, however, does not
feature knobs or switches on its panel for you to
touch or move. Instead, there are two methods of
synthesizing. One is using the optional programmer
PG-200 which works just like panel controls of a
usual synthesizer. Another is calling each parameter
by using the Pedal Switches and changing its value
a. Editing without PG-200
The GR-700 has 32 different parameters, and each
parameter has a number of 11 to 48. Call the para-
meter you wish to edit by assigning its number.
Then change the value of the parameter by using the
Edit (Resonance) Knob.
= EDIT MAP
EDIT MAP .
er
by using the controls on the Guitar Controller. For
quicker and easier editing or synthesis from scratch,
the PG-200 may be essential.
* This Editing function does not automatically
rewrite the existing program, unless the appro-
priate procedure for rewriting (See page 24.) is
done.
* See the Edit Map to find out the number of the
parameter. The Edit Map is identical to the
PG-200's control panel.
GR-700
Source Mix
0808
Wavetarm Fine Tune
q Uma
Deo-2
Cutoff Freq Resonance
Se O
N Mog
Man SFO
LFO Mod ENV Mod Bend Rarge
33 Ge 27-E3 62) G) [11]
Pitch Follow Tuning
|
® Q-E| G-E:
LFO
Wavaform Delay Time Rate
N MU Random
a e e e.
14
Envetope
Decay Sustsin Release

@ Call a patch program you wish to edit, by using
the Bank and Number Pedals.
@ Press the Edit Pedal @ to turn the GR-700 to * If you do not wish to change the value of the
the
Edit
mode.
The
Display
shows
"UF
xx".
cutoff
frequency,
skip
the
step
©
and
go
directly
_"
FE
”
means
cutoff
frequency,
and
”
xx
”
to
the
step
@.
is its value. Now, rotating the Cutoff Frequency
Knob on the guitar controller will change the
value of the cutoff frequency, therefore altering
the tone color, causing the value shown in the
Display to change.
Parameter Number Data
e.g. Cutoff Frequency
4 This dot flashes during editing.
Call the parameter 38 (VCA mode)
BANK PATCI
| | “TF " goes out, and “ - ” flashes.
EDIT
PARAMETER
EDIT
71 The right window shows that
the Slide Switch is on ( I).
ENV
EDIT
15

@Assign
the
number
of
the
parameter
you
wish
to
edit,
by
pressing
the
relevant
Number
Pedal
@.
The
first
pressing
will
change
the
left
figure,
then
the
Display
Window
®
shows
a
flashing
bar
"_"
on
the
right
asking
you
to
set
the
right
side
number.
The
Display
Window
€)
shows
the
data
value of the parameter.
@While
actually
listening
to
the
sound,
adjust
the
parameter
by
using
the
Edit
(Resonance)
Knob.
Here,
the
Display
will
respond
as
shown
below.
@®
By
repeating
procedure
®©
and
®
,
keep
on
synthesizing.
[NOTE]
When any slight editing is done, the *” e ” flashes
indicating that the tone color currently in use is
different from the one in memory. This indication
helps you to understand that the edited tone color
is not yet written into memory. If you wish to write
the edited tone color, take an appropriate writing
procedure. If you do not want to retain the edited
tone color, simply call any other patch program.
(Just note that calling a patch program can be done
only in the Play mode.) To turn the GR-700 from
Edit to Play mode, simply press the Edit Pedal @.
Data Display and Setting a Value
16
Programmer
|
Data
Display
Setting
a
Value
Knob
Position
n
"e
Knob
0
Es
5
=
10
So
5
40
99
i
‘cae
En
DO
\
:
~
—
~
_
—
nm
Li
Li
~
eor
0
40
(RESONANCE)
ach
Switch
Position
m
Rotary
Switc
I
i
m
Vv
i
—
1
u.a
y
©)
je
2
`
.
. A
»
I
l
I
DA
a
fill
Piedad
Plidd
EDIT
(RES)
Switch
Position
ON
Slider
Switch
ON
OFF
5
phi
|
Be
©
OFF
8
ae
EDIT
(RES)
{ ): When using the controller other than the G-707.

b. Editing with PG-200
The optional programmer PG-200 can considerably
simplify the editing operation. The PG-200 works
like the contro! panel of a usual synthesizer, that is,
you can edit the existing patch program or make a
complete new patch from scratch, by actually using
the tangible knobs and buttons.
1) Play Mode
When the GR-700 is in this mode, editing with the
guitar controller is not possible. You need the PG-
200. While you are editing, the '* e ” will flash.
2) Edit Mode
Turn the GR-700 to the Edit mode by pressing the
Edit Pedal, then assign the parameter number, and
you can see the current value of the parameter in
the Display ®.
O Programmer Connector
Roland ~~ BEER oh
6P DIN Cabie
Programmer PG-200
* The function of each parameter and the reaction
of the synthesizer are explained in a table from
page 18 to 24.
* For hook-up, use the 6 pin DIN cable (2.5m) of
the GR-700.
* Also, the PG-200 functions whatever mode the
GR-700 may be set to. (Play, Edit, Manual or
Write).
3) Manual Mode
Pressing the Manual Button on the PG-200 will turn
the GR-700 to the Programmer mode. The Display
Window (B shows [fj]. In this mode, the whole
panel setting of the PG-200 decides the tone color.
That is, now, existing patch program in memory has
nothing to do with your sound synthesis. You make
a new patch from scratch. This mode is cancelled
when you select any other patch program, or a new
program is written.
* The edited patch program, either with the guitar
controller or with the PG-200, cannot be re-
tained unless a proper wiring procedure is taken.
* While editing a parameter with the PG-200, even
if the current set positions of the knobs or
switches are exactly what you desire, change the
position once then return it. Otherwise, the para-
meter data might not be affected by the PG-200
at all, thereby remain unchanged.

c. Parameter Table
DCO (Digitally Controlled Oscillator)
DCO is the digitally controlled oscillator that con-
trols
the
pitch
and
generates
the
waveforms
that
are
Oscillator).
the
sound
source
of
the
synthesizers.
Owing
to
its
digital
control
system,
this
offers
superior
pitch
Programmer
:
(PG-200)
Display
Function
Parameter
Parameter
|
Parameter
Number
Value
DCO-1
16'
Range
This
is
to
change
the
pitch
range
of the
DCO
in
exact
one
octave
steps
from
4'
to
16'
(4’,
ur,
N
A
1)
R
8°,
16’).
8'
is
standard.
—
ange
f
§
we
Fw
z
j
DCO-2
f]
1
Be
ee]
=
~
a
f
)
DCO-1
Ske
Waveform
This
is
to
choose
the
output
waveform
of
the
!
DCO.
~
a
1.3
Select
MI
for
pulse
width
modulation.
on?
m
nu
Waveform
[NOTE
1]
Lh.
bn
N
„um
11)
:
+
NOISE
DCO-2
de
—,
111)
O
Tl
NOISE
Lf
131)
;
DCO-1
u...
When
ON
is
selected,
the
LFO
Section
con-
SWI
trols
the
frequency
(pitch)
of
the
DCO.
7
no
Freq
Mod
To
adjust
the
depth
of
modulation,
use
the
T
~
On
LFO
ENV
Depth
Knob
and
the
Polarity
Switch.
|
"=
“"
1
On
Select
“L
for
vibrato
effect.
DCO-2
nn
[NOTE
2]
Lol
ort
—
id
A
: :
DCO-1
Frequency
Modulation
When
ON
is
selected,
the
ENV
signal
controls
(ENV
switch)
the
frequency
(pitch)
of
the
DCO.
To
adjust
“
m
the
depth
of the
modulation,
use
the
Polarity ut
"an
Freq
Mod
Switch.
L
Ll
ENV
a
t
g
On
DCO-2
m
Off
Bu
ur)
LL
18
stability compared to the VCO (Voltage Controlled

Cross Modulation
eSync: The frequency of the DCO-2 synchro-
nizes with that of the DCO-1. The fundamen- N
tal of the DCO-2 is decided by that of the tl
DCO-1. Therefore, you can generate a unique
sind waveform that is impossible to obtain by
Sync “Off” setting. Sync
Off. " « Metal nd 1
e Metal: By controlling the DCO-1 with the ( “| eae
de output signal from the DCO-2, ring modula-
tion style sound can be obtained.
e Off: Each DCO-1 and DCO-2 can have dif- Metal
ferent pitch and waveform. [NOTE 3] ; f
lt
Fine Tune The frequency (pitch) of the DCO-2 can be
Baer adjusted with this parameter.
my ae e Variable range... +15 cent er:
(438 ~ 446 Hz) Na
b g
Tune
Tune
This
adjusts
the
frequency
(pitch)
of
the
DCO-2. N —1
e Variable range . . . Approx. +1200 cent co -e a
O
(1
octave)
l
-l
D
g
b
;
Lt!
LFO Depth LFO When the LFO output is modulating the DCO, ry ry
i this parameter is used to adjust the depth of = 1 ~
SAN the modulation. A ie
HO f=
IN f
0 10
ENV Depth Env When the ENV output is modulating the
; DCO, this parameter is used to adjust the =
DS depth of the modulation. § Es
a tie
fe XN
0 10
. . . . Mn
Polarity Switch This selects the polarity of the Envelope curve. =
Normally, / TU is used. In \7 mode, the LI
ADSR patterns will be all inverted, therefore, ae A
pitch alteration, too. The depth of the modu- td ern
MI lation is adjusted with the ENV Depth. I vr
y ra
Li
19

[NOTE 1]
Pulse width modulation is done only in the DCO-2.
The necessary procedures are as follows.
@ Set the Cross Mod to the SYNC position.
@ Set the Source Mix to fully clockwise so that you
can hear only the DCO-2 sound. (Turn it toward
DCO-1, when the DCO-1 sound is necessary.)
O By rotating the Tune Knob, you can change the
pulse width. In its center position, the pulse
width is 50% (square wave).
VCF (Voltage Controlled Oscillator)
The output signal goes to the Source Mix then to
the VCF to be filtered. Each VCF lets lower fre-
quency harmonics pass and cuts off the higher ones.
In other words, it is a usual low pass filter. By con-
trolling the cutoff point and resonance, the wave-
form changes, thereby the tone color alters.
20
Source Mix This is used to adjust the volume balance be-
tween the DCO-1 and DCO-2. a e,
Source Mix In the center position (approx. value 50), the paid
volumes
of
the
DCO-1
and
DCO-2
are
equal.
|
o bil )
e ga IL!
Er, CE,
N
|
Dco-1 Dco-2 (|
mn‘ A
Programmer
s
(PG-200)
Display
Function
Parameter
|
Parameter
Parameter
Number
Value
Cutoff
Frequency
This
parameter
is
for
changing
the
cutoff
e
point
of
the
VCF.
As
you
rotate
the
knob
B
4)
f
Cutoff
Freq
clockwise,
cutoff
frequency
will
come
down,
pag
5
and
the
waveform
gradually
becomes
approxi-
A
Ut
ee
ee
2
mation
of
a
sine
wave,
then
the
sound
will
N
ER
)
N
Za
=
Q
=
fade
out.
La)
a
AS
E
[NOTE 2]
When you control the vibrato effect by using the
Touch Plates A and B of the Guitar Controller,
set this switch to the Off position.
The rate of the vibrato is to be set with the Rate
Knob beforehand.
[NOTE 3]
The waveform of the DCO-2 will be always a saw
tooth ( A).