Roland GP-16 Owner's Manual
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Roland GP-16 Owner's Manual

Digital guitar effects processor
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i:JIGITAL GUITAn
EFFECTS
rnDCESSOn
Gr-1Ei
OWNER'S MANUAL
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  • Page 1 Roland EFFECTS i:JIGITAL GUITAn rnDCESSOn Gr-1Ei OWNER'S MANUAL ,-_-, I (:=Ji! _, = = , iC.:::Ir:::=, I"...
  • Page 3 Roland EFFECTS CIIGITAL GUITAr==1 Pr==1DCESSDR Gr-16 OWNER'S MANUAL e7Jo ' ,r","", ". "I ""~ 1.:1...
  • Page 4 The wire which IS coloured BROWN must be connected to the terminal WhiCh is marked with the letter l or coloured RED The product which is equipPed with;: THREE WIRE GROUNDING TYPE AC PLUG be grounded mUSt Copyright ©1989 ROLAND CORPORATION riahts reserved. this publication may be reproduced any form without the permission written oi ROLAND CORPORATION.
  • Page 5 Thank you, and congratulations on your choice of the Roland GP-16 Digrtal Guitar Effects Processor. The GP-16 provides 10lal digilal processrng, with Ihe equivalent of 16 separate effects units, all Invaluable for guitar players. II mulli~ettects is a unit for which you can only make settings for each efTect individually, but can also arrange the order in which they are connected any way you please.

  • Page 6: Table Of Contents

    2 Setting for Effect OnlOff ..18 1. The Exchange of MIDI Data ......45 Selecting effects to be used 2. MIDI Messages Recognized by fhe GP-16 .. .46 3. Selecting among the variations..19 Distortion...
  • Page 7 Initializing all patches ........ 59 c.lnitializing the Syslem data ....... 59 [;lJSupplied Charts ..........60 ,. Parameter ChaM ..........60 2. Outline of GP-16 Procedures ......63 Roland Exclusive Messages ........67 MIDI Implementation ..........71 Specifications ............76...

  • Page 8: Panel Descriptions

    III PANEL DESCRIPTIONS [Front Panel] Patch Display---, r---Edit Button ,---System Bullon Group Indicator,. Input Level r - - - Group Bullon Indicator I . I r---a-Dial [III Input Jack---" Disptay Powar Input Levet Knob-1 Function Bullon Number Bulton Switch Bank Bullon Output Channel Indicator Escape Butlon --Write Button...

  • Page 9: Important Notes

    The nonmallife 01 this battery is 3 years or more, but it IS strongly recommended that you change il every 3 years as a rule. When it is time to change the battery, contact a Roland Service Station.

  • Page 10: How To Use This Manual

    This chapter provides an explanation of MIDI and the functions available with the GP-16. Chapter Five System Settings ThiS chapter explains the setlings aHecting Ihe GP-16 as a whole, such as those lor MIDI, and how they are made. Chapter Six Reference...

  • Page 11: Chapter One Auditioning The Sounds

    Chapter One Auditioning the Sounds To begin with, you will probably wish to connect the GP-16 to guitar amplifier and out its preset sounds, Making Connections When being used in monaural, connect to the Output A Jacks. Concerning connection of guitar and guitar...
  • Page 12 When swrtching between gUitar amps depending on settings lor ellects (lor examplE, to have separate paths tor lead and backing), This setup is used when the GP-16 sounds are to be routed directly to a mixer or power amplilier. . ~~ ~. (~} o'~~~;...

  • Page 13: Copying .-.-- The Settings

    A variety of other MIDI devices or foot controliers (FC, 100 or FC-1DOMKIi: optional) can be connected to the Turning the GP·16 on for GP-16, Also, in place ot a toot controller, an expression pedal (EV-5: optional) ortuner (such as optional BOSS performance TU-12S) can be connected as well.

  • Page 14: Matching The Gp-16 To The Guitar

    "Patch". signals to digital becomes difiicull. Thus, you will slgnais not fully oblain the sound quality capable with the GP-16. During performance, you can cal! up precisely the sel- t[ngs (patch) you need Irom arrong those you have stored.

  • Page 15: Selecting Patches From The Gp'16 Panel

    () , A greater measure of convenience during performances is gained through connecting a toot controller (FC-l 00 or FC-1 00 MKii; optlonali to the GP-16, thus allowing you to change patches by pressing the pedal. Patch selection is made in...

  • Page 16: Using A Foot Controller To Change Patches 'C!2Jmeanlng Of What Is Shown In The Display

    A-2~, selection of one, either Distortion or @Prolile of settings tor Block B. Overdrive needs to be made. On fhe GP-16 effects are divided into two blocks as With "Block B·2~, you have a choice of one from among the...

  • Page 17: Explains The Function Of Fool Controller

    » 100 MKII Mode RRC Foot Pedal Mode With the GP-16, either the FC-1 00 or FC-100 MKli can Mode Selection Switch MODEl be connected and used, but there are functional dilfer- ences depending on the model. Referto the chart below For information on how the mode is set, refer to the Toot for such differences.

  • Page 18: Tuner-Use Signal Out

    Signal outpul Since rt is meant to be used solely by a tuner. d. Output of expression messages over MIDI Using the MIDI channel and Control number set on Ihe GP-16. expression messages can be sent out as MIDI data. For details. see "4. Output oj Control Change Message~...

  • Page 19: Chapter Two Creating New Effects Sounds

    Chapter Two Creating New Effects Sounds The effects available with the GP-16 can be set easily in any way desired, and the settings then can be stored in memory, ';1-----0---:---:-1 The following explains the procedures you need to know Changing the contents of...

  • Page 20: Setting For Effect Onloff

    · The procedure is the same tor both Btocks A and B. 2. Setting for Effect On/Off Selecting effects to be used ~FUI\I~Tt_QI\I: [Step 1J From the Edit mode, using call up the parameter (have It appear the dis- The lollowing setting deterrmnes whetherornot an effecI ptay) shown betow.

  • Page 21: Selecting Among The Variations

    «When setting BloCK B·2» Theposrtionwithinthesequence occupied eHectswhich "OW has no bearing on the resuhing sound. For resu~ example, the tollDwing two configurations in the same sound.._-,----_.----'--- (Example: To selecl Group A, Bank: 4, BLOCh.-H Clh./OFF Number: 2) 1 .-, [Step 2] The effeel wh'lch is currently aelive will appear...

  • Page 22: The Other Parameter Stored Within Each Patch Changmg Settings Other Than Those For Effects

    When all effects are "oW, to set the value the level 01 To make value changes using the PEDAL output has been set 10 be equal to the input level. expression pedal. To make value changes using the GP-16's internal LFO.

  • Page 23: Master Volume Setflng

    < Reference> [Step II "LFO" has been specified In Step 4, setting tor its Rate is made. As the value is increased. iFUNCTiDN' the rate becomes faster. Using The breadth 01 change available tor the parameters call the lollowingp_arameter, then uSing Ine related to expression pedals is as tallows: la-Dial IVALU=' make changes in...

  • Page 24: Output Select

    c. Output Select [Step 2] Using either ,..,. (7) or I'" (8) move the cursor Choosing a guitar amplifier (underline) to the letter to be changed. For each patch, selling can be made for the channel on which the effect sounds will be outpul. By means of the channel that is set, you can change guitar amplifiers.

  • Page 25: Provides For Attachmg Names To Effected Sounds

    r--=~7' 7. Escaping The Write Procedure This operation lets you return to the Play mode tram the - Storing your settings in memory Edit mode, orlhe System mode (cL"Chapter Five Sys- your tem setllngs" ("""P.4 7) without storing setling data Any changes made in the contents of a patch are only in memory.

  • Page 26: Copying

    ~-C-O-p-Yi-n-g----------~ Atter the message shown above has appeared display, you will be returned to the ordinary status (Play mode). The settings in one patch can be copied to another • Once new settings have been stored, all set1lngspreviously stored for that patch will be erased. What has been stored for one patch can be copied into Reference>...

  • Page 27: Chapter Three How The Effects Function

    Chapter Three How the Effects function On the GP·16, sounds are created as a result of the values that are set for each effect unit. Here explained is the manner in which these parameters function in producing effects. • In this chapter, the sound input to an effect unit is referred to as the "direct sound", whereas the sound which has been altered by, and is output from the effect unit is referred to as the "effected sound.

  • Page 28: Overdrive

    <1\.·23> DISTORTION <A·2b> OVERDRIVE Changes the timbre by distorting the guitar sounds, and Provides an effect like what produced by tube increasing the harmonic content. It is wide~rangrng amplifier with distortion present, It a digital overdrive digital distortion effect, capable of producing many kinds that laithfully expresses the soft and strong elements of distorted sounds, from soft to hard, suitable for most when picking, and all the other nuances the player adds...

  • Page 29: Picking Filter

    <11-3> PICKING FILTER digital effect which provides smooth wah. It works by modulating /he harmonics. based on changes in the cUI- Sets the amplitude torthe time the eHect is applied. The off frequency thai are produced in accord with VarIances higher the value is set, the more amplitude increases,,- m pickmg strength, Should be set so there...
  • Page 30 < Concerning the Picking Filter> Sets the sharpness of the boosting fmer. The higher the Each parameterforthe Picking Filterlunctlons as shown below. value set, the sharper the filter's Curve becomes. !~'ICf-:.lf·HJ ;=:LTEP DOloin 1=> ('" II ' 1\D=5 VALUE: 1.0-5.0 •...

  • Page 31: Step Phaser

    d't·4> STEP PHASER • !RESONANCE This is a digital phaser which creates effects that are sharp, with changes that range widely, from extremely Sets the amount 01 feedback within the phaser. As the slow ro very fas!. It inclua-es a new parameter, ''LFO value is set higher, the amount of feedback increases: STEP", tD provide for phaser effects that were until now and the phaser etiect beromes more pronounced, pro-...

  • Page 32: Parametric Equalizer

    <A-5> PARAMETRIC EQUALIZER ,. HIGH iIIIIlDlIlEVEl. Provided here is 4-band digital paramerric equalizer. A shelving type used for the HIGH/LOW bands, and for Setting forthe amount to be CutiBoost (±12 dB) respec- middle bands a peaking type parametnc equalizer tive to the frequency set for "HIGH MID FREQUENCY" is employed.
  • Page 33 About the Control> < The Q Control determines the sharpness for Cuts/Boosts. Determines the Irequency 01 what Cut/Boost by "LOW made higher, the slope ff made As the value ior Q LEVEL". Accepts settrng jar lhe specific frequency steeper. Q, which represents the sharpness 01 peak and dip, is a value arrived al by dividing the center Irequency (10) by the irequency band (LlI=f ,-I,) at the time a 3 dB attenu- ation to the peak point (3 dB increase to dip POint)
  • Page 34 About Shelving and Peaking> < Shelving Type: As shown below, a type which cutslboosts signals in a Irequency band higherthan, or lowerthan, thelrequency- set tor "FREQUENCY" HIGH LOI.-V ::!:12dB :::12d8 2.00 - 8.00kHz 60- 250Hz Peaking Type: While locusing on the Irequency sel 10r"FREOUENCY", Ihls Iype cuts/boosts signals in the band set lor Con- "Q...

  • Page 35: Noise Suppressor

    <A·6> NOISE SUPPRESSOR This ettect cuts ott the guitar mput signal when its level Does below a cerrain level, effectIVely suppressing noise. Sets the level of what is output from the Noise Suppres· Can be used to get fldot the annoymg sounds that occur Sor When set for the value "100", the level mput to the certain limes, such as at a Dreak, or for elimmafing Noise Suppressor will be equal to the oulput level.

  • Page 36: Short Delay

    <8·1> SHORT DELAY <8·2a> CHORUS digital single aelay with maximum delay time 01100 This effect adds fatness and breadth the sound msec. This effect is useful for adoIng famess to sound through addmg sound that is shifted slightly in Pilch respective to the direct sound.
  • Page 37 <B·2b> FLANGER A digital flanger capable of wide range of flanging effects. Sets the mixing level of the Chorus sound with respect to the direct sound. As the value is set higher, the Chorus becomes more prevalent. With the value set at "100", the ..

  • Page 38: 2C> . Pitch Shifter

    ,. fiNE <B-2e> PITCH SHIFTER The Pitch Shifter allows for pitch shiff of any desired amount up to± 1 octave to be obtained respective to the Provides for fine adjustment at the amount of the pitch original sound. shif\. It allows you to make minute changes in the pitch - set in semitones lor "CHROMATIC".
  • Page 39 <B-2ti> SPAGE-D Produces a natural-sounding digiral DIMENSION with linJe wavering of the sound. Its impressive breadth easily Setting which determines the amount of lime with re- surpasses that of chorus. spect to the direct sound that passes until the pitch shifted (effected) sound is output.

  • Page 40: Auto Panpot

    -MODE <B·3> AUTO PANPOT Through seleciion of a mode, a panning or tremolo effect is created. Provides fot selection of Mode used for Auto Panpot. "PANNING" When output is in stereo, (OUlput IS from F'!=n~F'OT HUTO "AUTO PANPOT") sound'scenterloll' 1'10[)E= entalron) pans tram lett to right.
  • Page 41 <B-4> TAP DELAY • lCENlERJ£VEL times This is digital delay that allows for different delay to be setforeach of dlreC/Ions: Lelr (L), Right (Rj, and Sets the volume lor the delayed sounds outputlrom Ihe Center (C). A great vanety of delay effects can be Center IL+R).
  • Page 42 Reference> < • ~!EDBACK < The Tap Delay is configured as shown below: Sets the amounl of feedback for Ihe delayed sounds output from the Center< VALUE: 0-100 Feedback cannot be applied respectIve to the delayed sounds oUtput from the Lett and Right. The Tap Delay is capable of creating a wide range of delay effects, depending on the settings that are made.

  • Page 43: Reverb

    <B·5> REVERB sounds reaching a listener, in addilion to the direct sounds from the source irself, there also can be heard tne reverberated sounds reflected from walls, etc, This effect creates such reverberated sounds. [REVERB MODE CHART] Sets the reverb time, The longer the time set, the longer MODE: EXPLANATION the reverb will linger,...

  • Page 44: Lineout Filter

    dl·(i> lINEOUT FILTER iFREQUENCY For use when recordtng using Lme Outputs, or for tone control tor a guitar amplifier when power amplifier is Set here is the cutoH Irequency for the low-pass lilter connected dJ{ectly to monttorlng speakers, provides The filter allows output 01 only Ihose Irequency bands -adjustment lor the overall sound quality the output, that are lower than the Irequency set here.
  • Page 45 Adjusts the sound quality at the Jaw frequency band. The higher the value is the more emphasis it receives._ ~--.----- VALUE: 0-100 II1II...

  • Page 46: Chapter Four Employing Midi In Performance

    Chapter Four Employing MIDI in Performance The GP-16 is equipped with MIDI connectors, When these connectors are used exchange data with other MIDI devices, patches can be changed or setting data can be saved on the other device, « Using external MIDI device to change...

  • Page 47: Transmission/Reception Of Data Using Midi (Data Transfer)

    Concerning MIDI MIDI (Data transfer) T IS MIDI? By employing Roland MIDI System Exclusive meso sages, the GP·16's patch data can be transierred to MIDI stands for the "Musical Inslnumenf Digital Inler· another GP·16 or to another device such as a MIDI face".

  • Page 48: Midi Messages Recognized By Fhe Gp-16

    On the GP·16, functions equivalent to "EXP(1)", "EXP2", and "Control Pedal", for a foot controller connected to the On a T.V .. the cnanneilS selec!ed!o walen me GP-16 can be controlled lrom another device. slalJon wan) ' I " ' ! ; ; ; ; ; ; : ; ; ; ; ; ; ; : ; ; ; ; ; ; ; : ; ~ ' ,-5="=,,,="=, : : ;...

  • Page 49: Setting The Mtdi Receive Channel

    I o.-Dial before a Write has been performed. your settings will be lost. It you wish to save settings, always carry out the "Write procedure" and store them in the GP-16's mem- 2. Setting the MIDI Transmit Channel ory. see"~ To carry out the Write procedure.

  • Page 50: Omni On/Off Setling

    The current setting for OMNI will be displayed. By employing Roland System Exclusive messages, the data for the GP-16's patches can be transterred to another GP'16, or 10 another device such as a MIDI Dr·~./CiFF sequencer, where it can be stored. This is referred to as "Bulk Dump".
  • Page 51 When ''TEMP''is selected under Bulk Dump, the MIDi IN data is translerred to the "Sound-use data region" of another GP-16, thus transfer of effects sounds can be carned out without altering the contents stored in each patch. However, the data in the "Sound-use data region"...

  • Page 52: Data Reception And Verification (Bulk Load. Verity)

    Similar to a bulk load. Then, Ihe newly received data is compared with the data existing internally in the originat, 109 GP-16 to check for any discrepancies. The result of Ihe check appears on the display of the originator. [Step 7,5]...
  • Page 53 « Data ready-to-receive state» With the the internal data of the GP-16 (originator) Verity. is not overwritten. "LOAD" a. Connections with other devices When you wish to carry out bulk loading (verification) of data. connections with other MIDI devices are made as follows: «...

  • Page 54: (Program Change

    The 128 patches and Program Change Numbers can be aSsigned to cerrespond in any way you like. toat controller connected to the GP-16 or the RRC IN connector cannot be used to make changes in the corre- spondence between Program Change Numbers and...

  • Page 55: Midi Filter

    Pedal [Step 3-12J FromtheSystemmode,using IFUNCTION: call up the tollowing parameter (have it Here set is the output mode to be used by the GP-16 appear In the display). when the foot controller'S "Control Pedal" is depressed (when the indicator lights).
  • Page 56 Storing System Settings Any changes made in the contents of System settings are only temporary; all settings will revert to those previously stored whenever power is turned off, or when you have pertormed Escaping"1"""P.23). If you wish to save the settings you have made in memory, carry out the following procedure: [Step 1] Press WRITE...

  • Page 57: Chapter Six Reference

    Sel it to the "RRC Foot Pedal Mode" after relerring to the FC-100MKII's Owner's Man- The lollowing provides inlormalion on what to do, or where to reler to when the GP-16 does not operate as Are you sure you are In the PLAY mode? expected.

  • Page 58: 21Factory Settings

    ~--F-a-ct-o-rY--Se-t-ti-n-gS------------------------------~ 1. Patch/Program Change Number Correspondence Chart When shipped. the unit set so that Patches and Program Change Numbers have the correspondence shown below. <Patch/Program Change Number Correspondence Chart> Number - - - Group A Bank -------- - - - - Bank Group B •...

  • Page 59: Selting Of Factory Preset Data

    2. Setting of Factory Preset Data • The list gives tile names of default setiings <Group A> 5·, Sparkling' Valve Leae The "Slack" 5·, Mellow TuDe '·2 lead Scalding '·3 SKank.ln ,.': Beauty 5ms. 5·, ReDOI Metal fncredible I Overtones ,·6 TUDe SmQm Ali The:...

  • Page 60: System Data Settings

    (Example, When storing Ihe Faclory selling "A-1-S" in Ihe Syslem by Ihe lollowlng procedures. "A-S-8".) [Step 1J Turn the power swilch "OW. (Wilh the amp's volume "OW thai is con- nected to the GP-16) [§J. l.§j, [Step 2J Press Ihe number burtons Wand While holding them.

  • Page 61: Initializing All Patches

    b. Initializing all patches [Step 4-c] Press WRITEI This procedure replaces all 01 128 patches with all of factory setlings. jS~5teM Dat.a Iriit WRITE IPush }(e~ Once you follow this procedure below. aU the current will settings stored for patches be erased.

  • Page 62: Parameter Cham

    ~------ Supplied Charts 1. Parameter Charts Parameter Chart: BLOCK A GP-16 Parameter Table No.1 BLOCK A PARAMETER VALUE 1. COMPRESSOR TONE Tone -50 to +50 ATTACK Attack to 100 SUSTAIN Sustain to 100 LEVEL Level to 100 2a. DISTORTION TONE...
  • Page 63 Parameter Chart: BLOCK B GP-16 Parameter Table No.2 BLOCK B VALUE PARAMETER 1. SHORT DELAY D.TIME Delay Time to 100 msec E.LEVEL Effect Level to 100 2a. CHORUS P.DELAY Pre Delay to 100 msec RATE Rate to 100 DEPTH Depth to 100 E.LEVEL...
  • Page 64 Parameter Chart: EDIT GP-16 Parameter Table NO.3 EDIT PARAMETER SEQUENCE BLOCK-A SEQUENCE BLOCK-B BLOCK-A ON/OFF BLOCK-B ON/OFF BLOCK-A NO.2 SET BLOCK-B NO.2 SET SEQUENCE ORDER MASTER VOLUME LEVEL Level to 100 ..~~~'~~~~~:i~~~·_~L ·D;;;,~·~············ -:f. ---- ..-1-.. DEvicE········· J ...

  • Page 65: Outline Of Gp-16 Procedures

    ~" ur . i~~~ i ;iT I""l :~& ~"" "-~ 'lI -' -01'> <; "''''' , " jjl "" F= •• lOiIO! ~, -o-p~" :::.,' w... '" ;::>1 ",.-, ==;> 5" £!.!j •...
  • Page 67 " "...

  • Page 69: Roland Exclusive Messages

    Roland Exclusive Messages One way transfer procedure (See Section 3 for details.) Data Forma! for Exclusive Messages ~mnum "This proc.roure i! suued lor Ihe minster of a Sm;lJi f'lIli1mf~ )"llDl ,moiCffl!'nla!1nn usc, hlilOWln1( oalil format sendS an exclUSive message cnmP!Clt'ly mCl.'OOnOCnl Wlla.
  • Page 70 7 bllS an: whcn t;:~clus,ve Sl11!u; values lor an adare~ SIZe, and lhat checksum a", summC'J. "H Mlltlulllc<u.er ID (ROland) D~v,oe :; Example of Message Transactions • OC-VICC A SCfl{jOflR data 10 r ..Mooel JD "H Commend "H A.dOr"ss...
  • Page 71 ACt: meSSllRC C'\'!.'n tl'lOugn an me~r ... ·as 1Illn~m!lIed ,," BYI~ S.te DeS"'Pl,on E~!:h.,!$,"e statu~ Fa" "" M~nujBc\Urer ID (Roland) C"t!C" SU"' De".~e no-< e~clu~, " MOdel Jl5H CC""''''and "'1'11(' o{ 111(' 1'L'Ql!CSI!'!l oocs nOi InOtt/lle Ihl' llumOt'f s.\lt·...
  • Page 72 Example of Message Transactions uev'''~ ID .. ",,,,, ,pnc jWa"', cala] " • _~------- [Ac~now,ecge) [Da'~ • _~------- [",-"knowleDge] • [ACknowleDge] [Ac~nowlecQeJ .Devlce '''cuests anc rece,ves oale Dev'ee from Dev,u O"al~J -------~~ [ReoueS1 • "'-e',..,o""leog .. • (Ac<nowlelJge) • Erro! oceun wh,;" Cev,ee (A) r6e""",n(l <'Jat~ from...

  • Page 73: Midi Implementation

    AdOreS!.. For mflrt' [!etllil~. Dlea~t' reIN ~.'l. EXCLt.:Sl\'j: CO~I.\IL·:\I::AT10NS" am:! "ROland Exclllsln~ Mess.age"~ manu~1 Ihl1 For the DeVice 10. number.; onc unil Io ..er than CaCh MIDI Channel number art.' used. dase message. GP 16 not lransml! this RECOGNIZED RECEIVE DATAl lll:!<...
  • Page 74 14 ADDRESS MAPPING OF PARAMETERSi verifla~lr lr.lern~1 Dal~ ILrGt~pJ 00 DOH IGrnu~: Oli1f 001'. \'erlilablc Inlfntlli !Jal;; MS" Of OD DOH Vnfflablf- 1n1~rnal D~ta 1.-1111 Oi li' WH \,~rirl~l!lr Internal 11111" (Alii /till:, " iI~, 0000 abO:: Blnan ..Tabl. l~~rrl~lion "...
  • Page 75 !'!om 4~H·OOOO OOOaE (PI.\"POTfTRE'oIOLO) 0000 ilBaEI( lAP OEL~\ 1200 ~5~ O~a~ aaaaR T~.P LS~ IlOOIS) cnon I'Rf:C IAIl fman mUlal1 oooa l.~r I,OD 47il aaaaE MSli Gaaae 1200!~1 O. 0 4BH:Oaaa TAP LSb lell lialla Maan l'P/OOH 49H!OOOO aa:!3& R. TAr 1(511 lDH' 0000 OOOal! 4AII liaaa aaaaB...
  • Page 76 0011 OIGH !.lODE 001 I OIOIB lAP Ollr" C. HP nh ODOO OOOO,! oniiDIIDo L.HP GOI I DJ 118' trrn IOO~E 0011 DOl I 1001B ::7 LLEll'L ",The SflL'\ll ClI.\\'CI: !(U,Jl'r:S, l'nmmanrJ P" Ih(; Gl' If! is ham,lll'd onl, fl,((',n-n '0011 JOIDB' 58 f:,Lt\'U ,r, the...
  • Page 77 PROCESSOR DIGITAL GUITAR EFFECTS Date Aug 21 1989 MIDI Implementation Chart Version 1.Di Model GP-16 Transmitted Recognized RemarKs runclion ... 1 - 16 Memorized Default Basic 1 - 16 Changed 1 - 16 Channel Default OMNI ON/OFF Mode Messages Memorized...

  • Page 78: Specifications

    [INDICATORS] Specifications Input Level Patch Memories Group Indicator Linear times 16-bil ND Convertor Outpul Channel over-sampling, MASH process) 16-bit Linear (4 times D/A Convertor over-sampling) [REAR PANEL] 2.048 MHz (MASH proc- Sampling Frequency ess) Rear Inpul Jack 10 Hz-16 kHz Frequency Response Channel 1, Outpul A Jack Channel 1, Outpul B Jack...

  • Page 79: Display Index

    Display Index The following index indicates the page on which is given the explanation Tor the characters shown in the display. -"" r·,,. '-'.W. ' . -i 1- . -----------------------.1 ,S?---- Lookup !he charat:lers 11115 posillDrl, ... - - - - - - - - - - - ___________ , i •...
  • Page 80 GP - 16 BRANK CHART NAME PROGRAM CHANGE NUMBER 8-1 SHORT DELAY SE~UENCE 8LOCK-A TIME msec SEQUENCE SLOCK-S E.LEVEL P DELAY 8-22 CHORUS rnsec BLOCK-A ON/OFF RAT::: BLOCK-S ON/OFF DEPTH 8LOCK·A No.2 SET DISTORTION/OVERDRIVE FLI PS! SP-O E.LEVEL BLOCK-S No.2 SET r- --- -- --- -- --- ------ -- --- -,----- -- -- --- ---- --;...
  • Page 81 GP -16 BRANK CHART NAME PROGRAM CHANGE NUMBER B·l SHORT DELAY D.T1ME SEQUENCE BLOCK·A msec E.lEVEL SE~UENCE BLOCK·S • 8-2<3 CHORUS PDELAY msec BLOCK·A ON/OF;: RATE BLOCK-S ON/OFF DEPTH DISTORTION/OVERDRIVE BLOCK·A No.2 SET E.LEVE:L PS.' SP·D BLDCK-8 No.2 SET • • _ _ _ • • • • • _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 0 _ _ _ _ _...
  • Page 82 GP -16 BRANK CHART NAME PROGRAM CHANGE NUMBER - msec SE~UENCE BlOCK·A 8-1 SHORT DELAY D.TIME SE~UENCE BLOCK-S E.LEVEL BLOCK-A ON/OFF PDELAY 8-2a CHORUS msec BLOCK-S ON/OFF RATE DEPTH BLOCK·A No 2SE' DISTORTION/OVERDRIVE ~~------~~--------~~~--~~~~---~------, ~:~~~~~~~~~-~~C~~;O O~·2~RS~:~:;R=====:~C~H~O~/;F;L.;/~. S=P=-=D==::==~ 8~2t; ~~~-~~ FLANGE O:S=I RM - - - - - -- -.
  • Page 83 Ine nine' Ilf'tnce ,,, I '.1 ~.l:J'(' ,to, deV«:e~ ''''~'O'''' C~I~(' '1P~f~' Tne:;e Oev'C>!5 usual,y reQu!le Rolelld 06S'Qnaled sn,elt.led 1.'0 caDles Fo' ROland you C"n Obla,n I'w nro/"W' '"'''' VI"" ft" n("." RLl'an<1 oev,ce~. con12ct me manufacture' Or dealer lor aSSIstance "''':<1n,,,,,,..·.
  • Page 84 I~Roland® 10480 10480...

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