Roland GR-500 Manuel utilisateur

Autres manuels pour GR-500

1

Table des matières

Autres manuels Roland Synthétiseur

Roland

Roland XP-10 Manuel d'utilisation et d'entretien

Roland

Roland MC-303 Groovebox Manuel utilisateur

Roland

Roland SH-101 Manuel utilisateur

Roland

Roland Sound Canvas SC-50 Manuel utilisateur

Roland

Roland Alpha Juno-2 Manuel utilisateur

Roland

Roland Gaia SH-01 Manuel utilisateur

Roland

Roland D-50 Manuel utilisateur

Roland

Roland PG-800 Manuel d'utilisation et d'entretien

Roland

Roland EP-20 Manuel utilisateur

Roland

Roland RS-5 Manuel utilisateur

Roland

Roland JUNO-Gi Manuel utilisateur

Roland

Roland JX-8P Manuel utilisateur

Roland

Roland JX-305 Manuel utilisateur

Roland

Roland GR-33B Manuel utilisateur

Roland

Roland SH-09 Manuel utilisateur

Roland

Roland AX-Synth Manuel utilisateur

Roland

Roland e-MIX STUDIO SP-808EX Manuel d'utilisation et d'entretien

Roland

Roland Lucina AX-09 Manuel utilisateur

Roland

Roland JV-2080 Manuel du propriétaire

Roland

Roland Fantom-G none Instructions d'installation et d'utilisation

Roland

Roland JP-4 Manuel d'utilisation et d'entretien

Roland

Roland JD-990 Manuel d'utilisation et d'entretien

Roland

Roland HP -6 Manuel utilisateur

Roland

Roland D-5 Manuel utilisateur

Manuels Synthétiseur populaires d'autres marques

Kawai

Kawai MP7 Manuel technique

Joranalogue

Joranalogue Contour 1 Manuel utilisateur

Full Bucket Music

Full Bucket Music Mono/Fury Manuel utilisateur

Kawai

Kawai PH50 Manuel utilisateur

IK Multimedia

IK Multimedia UNO Synth PRO X Manuel utilisateur

Behringer

Behringer DEEPMIND 12 Manuel utilisateur

Gotharman

Gotharman Gotharman's anAmoNo-box Manuel utilisateur

Yamaha

Yamaha DX21 Manuel utilisateur

QuStream

QuStream HDFS-550 Manuel utilisateur

Modal Electronics

Modal Electronics ARGON8 Manuel utilisateur

Octave

Octave Cat SRM Manuel utilisateur

Dreadbox

Dreadbox Murmux Initiate Manuel utilisateur

neutral labs

neutral labs ELMYRA 2 Manuel utilisateur

Waldorf

Waldorf KYRA Manuel utilisateur

Tubbutec

Tubbutec Juno-66 Manuel utilisateur

EFM

EFM VCADSR - 3510 Manuel utilisateur

Yamaha

Yamaha MOTIF XF Manuel utilisateur

Korg

Korg Poly-800 Manuel utilisateur

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.

met.

uma]

[oH

EFFECT

remos

Kllatapauiit|

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.