Content s 


USING THE UNIT SAFELY 4 

IMPORTANT NOTES 5 

Main Features 6 

Settings 7 
Preparations for Using the GR-55 8 
Connections ..................................................... 8 
Turning the Power On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 
Selecting Guitar or Bass (GUITAR<->BASS). . . . . . . . . . . . . . . . . . . . . . . . . 9 
Adjusting the Pickups (GK SETTING). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 
Adjusting Your Guitar Pickup .............................. 10 
Adjusting Your Bass Pickup ................................ 11 
Specifying the Output System (OUTPUT SELECT). . . . . . . . . . . . . . . . . 12 
Tuning Your Instrument (the Tuner Function). . . . . . . . . . . . . . . . . . . . . 13 

Quick Guide 15 
Selecting and Playing Sounds 16 
Adjusting the Output Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 
Selecting a Sound (Patch) ....................................... 16 
Playing Your Guitar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 
Creating an Original Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 
Using the EZ EDIT Function to Create a Sound. . . . . . . . . . . . . . 18 
Saving the Sound You Created. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 

Reference 19 
Panel Descriptions 20 
Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 
About the Top Screen ..................................... 20 
About the EDIT Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 
Rear Panel ...................................................... 21 
Side Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 

How the GR-55 Works 22 

Editing the Tones (TONE) 23 
Changing the Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 
Tone Category ............................................ 23 
Editing the Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 
Editing a Tone (Detailed Settings). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 
Parameter List (PCM TONE 1/PCM TONE 2) ....................... 25 
Parameter List (MODELING TONE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 

Effect Settings (EFFECT) 38 
Switching the Effect Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 
Editing the Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 
Effect Editing (Detailed Settings). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 
Changing the Structure/Specifying the Connection Destination . . 40 
Parameter List (EFFECT) ......................................... 41 
AMP ...................................................... 41 
MOD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 
MFX ...................................................... 45 
DELAY .................................................... 52 
REVERB ................................................... 52 
CHORUS .................................................. 53 
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 

Patch Settings (MASTER) 54 
Pedal and GK Control Settings (PEDAL/GK CTL). . . . . . . . . . . . . . . . . . . 54 
Controller Settings (ASSIGN). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 
Patch Tempo Setting (PATCH TEMPO) ............................ 54 
GK Pickup Settings for Each Patch (GK SET). . . . . . . . . . . . . . . . . . . . . . . 54 
GUITAR OUT Jack Settings (GUITAR OUT). . . . . . . . . . . . . . . . . . . . . . . . . 54 
Changing the Tuning of Each String (ALT-TUNING) . . . . . . . . . . . . . . . . 54 
V-LINK Settings (V-LINK). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 
Parameter List (MASTER). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 
PEDAL/GK CTL ............................................ 55 
ASSIGN ................................................... 57 
PATCH TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 
GK SET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 
GUITAR OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 
ALT-TUNING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 
V-LINK .................................................... 59 

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (p. 4) and “IMPORTANT NOTES” (p. 5). These sections provide 
important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every 
feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient 
reference. 
Copyright © 2011 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the 
written permission of ROLAND CORPORATION. 
Roland and COSM are registered trademarks of Roland Corporation in the United States and/or other countries. 

Saving a Patch (PATCH WRITE) 60 Saving a Patch (PATCH WRITE) 60 
Renaming a Patch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 
Changing the Order of Patches (PATCH EXCHANGE) . . . . . . . . . . . . . . 60 
Initializing the Settings of a Patch (PATCH INITIALIZE) . . . . . . . . . . . . . 60 

Controller Assignments 61 
Controllers Whose Assignment Can Be Changed ................. 61 
Making a Pedal Have the Same Operation for All Patches . . . 61 
Changing the Pedal Assignments for Each Patch. . . . . . . . . . . . 61 
Specifying the Parameter to be Controlled by the 

Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 

Using Phrase Loop 64 

Using the GR-55 as an Audio Player 65 
Copying Audio Files From Your Computer to USB Memory . . . . . . . . 65 
Inserting the USB Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 
Playing Back Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 
Using the Pedal to Control the Audio Player. . . . . . . . . . . . . . . . . . . . . . 65 

Connecting External Equipment 66 
Connecting a Computer via USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 
Connecting the GR-55 to a Computer . . . . . . . . . . . . . . . . . . . . . . 66 
USB function settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 
Connecting the GR-55 to MIDI Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . 67 
About the MIDI Connectors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 
MIDI Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 
Connecting the GR-55 to V-LINK Devices (V-LINK) . . . . . . . . . . . . . . . . 68 
Turning V-LINK On/Off. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 
V-LINK Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 

Settings for the Entire GR-55 (SYSTEM) 69 

Setting the GK Pickups (GK SETTING). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 
Switching GK Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 
Renaming a GK Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 

Specifying the Output Device (OUTPUT SELECT) ................. 70 
Pedal and GK Control Settings (PEDAL/GK CTL). . . . . . . . . . . . . . . . . . . 70 
MIDI and USB Settings (MIDI/USB) ............................... 70 
GUITAR OUT Jack Settings (GUITAR OUT). . . . . . . . . . . . . . . . . . . . . . . . . 70 

Always Outputting the Normal Pickup Sound from the 

GUITAR OUT Jack for All Patches ........................... 70 
Always Outputting the Modeling Tone Sound from the 
GUITAR OUT Jack for All Patches ........................... 70 

Changing the Output Sound from the GUITAR OUT Jack for 
Each Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 
Tuning Your Guitar (TUNER). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 
Adjusting the Display Contrast (LCD). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 
Auto Power Off Settings (POWER). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 
Switching Between Guitar and Bass (GUITAR<->BASS) . . . . . . . . . . . . 71 
Saving GR-55 Settings to USB Memory (BACKUP). . . . . . . . . . . . . . . . . 72 
Restoring GR-55 Settings from USB Memory (RESTORE) . . . . . 72 
Adjusting the Pedal Sensitivity (CALIB) .......................... 73 
Restoring the Factory Settings (FACTORY RESET) . . . . . . . . . . . . . . . . . 73 

Contents 

Parameter List (SYSTEM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 
GK SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 
OUTPUT SELECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 
PEDAL/GK CTL ............................................ 76 
MIDI/USB ................................................. 79 
OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 
BACKUP/INITIALIZE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 

Appendix 81 
GR-55 Patch List 82 
GUITAR MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 
BASS MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 

Troubleshooting 90 

Error Messages 92 

Signal Flow 93 

MIDI Implementation Chart 94 

Main Specifications 95 

Index 96 


USING THE UNIT SAFELY 



About 


WARNING and 
CAUTION Notices About the Symbols 
Used for instructions intended to alert the 
user to the risk of death or severe injury 
should the unit be used improperly. 

Used for instructions intended to alert the 
user to the risk of injury or material 
damage should the unit be used 
improperly. 

* Material damage refers to damage or 
other adverse effects caused with 
respect to the home and all its 
furnishings, as well to domestic animals 
or pets. 
The symbol alerts the user to important instructions or 
warnings.The specific meaning of the symbol is 
determined by the design contained within the tr iangle. In 
the case of the symbol at left, it is used for general 
cautions, warnings, or alerts to danger. 
The symbol alerts the user to items that must never be 
carried out (are forbidden). The specific thing that must 
not be done is indicated by the design contained within 
the circle. In the case of the symbol at left, it means that 
the unit must never be disassembled. 
The symbol alerts the user to things that must be 
carried out. The specific thing that must be done is 
indicated by the design contained within the circle. In the 
case of the symbol at left, it means that the power-cord 
plug must be unplugged from the outlet. 

ALWAYS OBSERVE THE FOLLOWING 



WARNING 


Do not attempt to repair the unit, or replace parts within it (except when 
this manual provides specific instructions directing you to do so). Refer all 
servicing to your retailer, the nearest Roland Service Center, or an authorized 
Roland distributor, as listed on the “Information” page. 


Never install the unit in any of the following locations. 

• Subject to temperature extremes (e.g., direct sunlight in an enclosed 
vehicle, near a heating duct, on top of heat-generating equipment); or are 
• Damp (e.g., baths, washrooms, on wet floors); or are 
• Exposed to steam or smoke; or are 
• Subject to salt exposure; or are 
• Humid; or are 
• Exposed to rain; or are 
• Dusty or sandy; or are 
• Subject to high levels of vibration and shakiness. 
Make sure you always have the unit placed so it is level and sure to remain 
stable. Never place it on stands that could wobble, or on inclined surfaces. 

Be sure to use only the AC adaptor supplied with the unit. Also, make sure 
the line voltage at the installation matches the input voltage specified on 
the AC adaptor’s body. Other AC adaptors may use a different polarity, or 
be designed for a different voltage, so their use could result in damage, 
malfunction, or electric shock. 


Use only the attached power-supply cord. Also, the supplied power cord 
must not be used with any other device. 

Do not excessively twist or bend the power cord, nor place heavy objects 
on it. Doing so can damage the cord, producing severed elements and 
short circuits. Damaged cords are fire and shock hazards! 


This unit, either alone or in combination with an amplifier and headphones 
or speakers, may be capable of producing sound levels that could cause 
permanent hearing loss. Do not operate for a long period of time at a high 
volume level, or at a level that is uncomfortable. If you experience any 
hearing loss or ringing in the ears, you should immediately stop using the 
unit, and consult an audiologist. 


Do not place containers containing liquid on this product. Never allow 
foreign objects (e.g., flammable objects, coins, wires) or liquids (e.g., water 
or juice) to enter this product. Doing so may cause short circuits, faulty 
operation, or other malfunctions. 

Immediately turn the power off, remove the AC adaptor from the outlet, 
and request servicing by your retailer, the nearest Roland Service Center, or 
an authorized Roland distributor, as listed on the “Information” page when: 

• The AC adaptor, the power-supply cord, or the plug has been damaged; 
or 
• If smoke or unusual odor occurs 
• Objects have fallen into, or liquid has been spilled onto the unit; or 
• The unit has been exposed to rain (or otherwise has become wet); or 
• The unit does not appear to operate normally or exhibits a marked 
change in performance. 
WARNING 


In households with small children, an adult should provide supervision 
until the child is capable of following all the rules essential for the safe 
operation of the unit. 

Protect the unit from strong impact. (Do not drop it!) 

Do not force the unit’s power-supply cord to share an outlet with an 
unreasonable number of other devices. Be especially careful when using 
extension cords–the total power used by all devices you have connected 
to the extension cord’s outlet must never exceed the power rating (watts/ 
amperes) for the extension cord. Excessive loads can cause the insulation 
on the cord to heat up and eventually melt through. 

Before using the unit in a foreign country, consult with your retailer, the 
nearest Roland Service Center, or an authorized Roland distributor, as listed 
on the “Information” page.

 
CAUTION 


The unit and the AC adaptor should be located so their location or position 
does not interfere with their proper ventilation. 

Always grasp only the plug on the AC adaptor cord when plugging into, or 
unplugging from, an outlet or this unit. 

At regular intervals, you should unplug the AC adaptor and clean it by 
using a dry cloth to wipe all dust and other accumulations away from its 
prongs. Also, disconnect the power plug from the power outlet whenever 
the unit is to remain unused for an extended period of time. Any accumulation 
of dust between the power plug and the power outlet can result in 
poor insulation and lead to fire. 

Try to prevent cords and cables from becoming entangled. Also, all cords 
and cables should be placed so they are out of the reach of children. 

Never climb on top of, nor place heavy objects on the unit. 

Never handle the AC adaptor or its plugs with wet hands when plugging 
into, or unplugging from, an outlet or this unit. 

Before moving the unit, disconnect the AC adaptor and all cords coming 
from external devices. 

Before cleaning the unit, turn off the power and unplug the AC adaptor 
from the outlet (p. 8). 

Whenever you suspect the possibility of lightning in your area, disconnect 
the AC adaptor from the outlet. 

Keep the ground terminal screw and/or USB connector cap you may 
remove in a safe place out of children’s reach, so there is no chance of them 
being swallowed accidentally. 



IMPORTANT NOTES 


Power Supply 

• Do not connect this unit to same electrical outlet 
that is being used by an electrical appliance that 
is controlled by an inverter (such as a refrigerator, 
washing machine, microwave oven, or air conditioner), 
or that contains a motor. Depending on the way in 
which the electrical appliance is used, power supply 
noise may cause this unit to malfunction or may 
produce audible noise. If it is not practical to use a 
separate electrical outlet, connect a power supply 
noise filter between this unit and the electrical outlet. 
• The AC adaptor will begin to generate heat after long 
hours of consecutive use. This is normal, and is not a 
cause for concern. 
• Before connecting this unit to other devices, turn 
off the power to all units. This will help prevent 
malfunctions and/or damage to speakers or other 
devices. 
Placement 

• Using the unit near power amplifiers (or other 
equipment containing large power transformers) may 
induce hum. To alleviate the problem, change the 
orientation of this unit; or move it farther away from 
the source of interference. 
• This device may interfere with radio and television 
reception. Do not use this device in the vicinity of such 
receivers. 
• Noise may be produced if wireless communications 
devices, such as cell phones, are operated in the 
vicinity of this unit. Such noise could occur when 
receiving or initiating a call, or while conversing. 
Should you experience such problems, you should 
relocate such wireless devices so they are at a greater 
distance from this unit, or switch them off. 
• Do not expose the unit to direct sunlight, place it near 
devices that radiate heat, leave it inside an enclosed 
vehicle, or otherwise subject it to temperature 
extremes. Excessive heat can deform or discolor the 
unit. 
• When moved from one location to another where the 
temperature and/or humidity is very different, water 
droplets (condensation) may form inside the unit. 
Damage or malfunction may result if you attempt to 
use the unit in this condition. Therefore, before using 
the unit, you must allow it to stand for several hours, 
until the condensation has completely evaporated. 
• Depending on the material and temperature of the 
surface on which you place the unit, its rubber feet 
may discolor or mar the surface. 
You can place a piece of felt or cloth under the rubber 
feet to prevent this from happening. If you do so, 
please make sure that the unit will not slip or move 
accidentally. 
• Do not put anything that contains water on this unit. 
Also, avoid the use of insecticides, perfumes, alcohol, 
nail polish, spray cans, etc., near the unit. Swiftly wipe 
away any liquid that spills on the unit using a dry, soft 
cloth. 
Maintenance 

• For everyday cleaning wipe the unit with a soft, 
dry cloth or one that has been slightly dampened 
with water. To remove stubborn dirt, use a cloth 
impregnated with a mild, non-abrasive detergent. 
Afterwards, be sure to wipe the unit thoroughly with a 
soft, dry cloth. 
• Never use benzine, thinners, alcohol or solvents of any 
kind, to avoid the possibility of discoloration and/or 
deformation. 
Repairs and Data 

• Please be aware that all data contained in the unit’s 
memory may be lost when the unit is sent for repairs. 
Important data should always be backed up on USB 
memories or written down on paper (when possible). 
During repairs, due care is taken to avoid the loss of 
data. However, in certain cases (such as when circuitry 
related to memory itself is out of order), we regret that 
it may not be possible to restore the data, and Roland 
assumes no liability concerning such loss of data. 
Using External Memories 

• Carefully insert the USB memories all the way in—until 
it is firmly in place. 
• Never touch the terminals of the USB memories. Also, 
avoid getting the terminals dirty. 
• USB memories are constructed using precision 
components; handle the cards carefully, paying 
particular note to the following. 
• To prevent damage to the cards from static 
electricity, be sure to discharge any static electricity 
from your own body before handling the cards. 
• Do not touch or allow metal to come into contact 
with the contact portion of the cards. 
• Do not bend, drop, or subject cards to strong shock 
or vibration. 
• Do not keep cards in direct sunlight, in closed 
vehicles, or other such locations. 
• Do not allow cards to become wet. 
• Do not disassemble or modify the cards. 
Additional Precautions 

• Please be aware that the contents of memory can 
be irretrievably lost as a result of a malfunction, 
or the improper operation of the unit. To protect 
yourself against the risk of loosing important data, 
we recommend that you periodically save a backup 
copy of important data you have stored in the unit’s 
memory on USB memories. 

• Unfortunately, it may be impossible to restore the 
contents of data that was stored in the unit’s memory 
or on USB memories once it has been lost. Roland 
Corporation assumes no liability concerning such loss 
of data. 
• Use a reasonable amount of care when using the unit’s 
buttons, sliders, or other controls; and when using 
its jacks and connectors. Rough handling can lead to 
malfunctions. 
• Never strike or apply strong pressure to the display. 
• When connecting / disconnecting all cables, grasp the 
connector itself—never pull on the cable. This way 
you will avoid causing shorts, or damage to the cable’s 
internal elements. 
• When you operate the expression pedal, please be 
careful not to get your fingers pinched between the 
movable part and the panel. 
In households with small children, an adult should 
provide supervision until the child is capable of 
following all the rules essential for the safe operation 
of the unit. 
• To avoid disturbing your neighbors, try to keep the 
unit’s volume at reasonable levels. You may prefer to 
use headphones, so you do not need to be concerned 
about those around you. 
• When you need to transport the unit, package it in the 
box (including padding) that it came in, if possible. 
Otherwise, you will need to use equivalent packaging 
materials. 
• The explanations in this manual include illustrations 
that depict what should typically be shown by the 
display. Note, however, that your unit may incorporate 
a newer, enhanced version of the system (e.g., includes 
newer sounds), so what you actually see in the display 
may not always match what appears in the manual. 
• Microsoft and Windows are registered trademarks of 
Microsoft Corporation. 
• The screen shots in this document are used in 
compliance with the guidelines of the Microsoft 
Corporation. 
• Windows® is known officially as: “Microsoft® Windows® 
operating system.” 
• Apple and Macintosh are registered trademarks of 
Apple Inc. 
• Mac OS is a trademark of Apple Inc. 
• MMP (Moore Microprocessor Portfolio) refers to a 
patent portfolio concerned with microprocessor 
architecture, which was developed by Technology 
Properties Limited (TPL). Roland has licensed this 
technology from the TPL Group. 
• All product names mentioned in this document 
are trademarks or registered trademarks of their 
respective owners. 

6 
Main Features 
Sound: Sophisticated fusion of a PCM synthesizer and COSM modeling sound generator 
Sounds produced by a high-quality PCM synthesizer and a realistic COSM modeling sound generator can be freely 
combined to take advantage of each method’s unique characteristics. 
You can intuitively create new sound combinations with a high degree of freedom. For example, you could create a 
new lead guitar sound that’s based on a standard distorted guitar combined with a synth lead or organ. Alternatively, 
you might layer a flute or a synth bell sound with an acoustic guitar to create fantastic new tones. 
COSM amps and various effects units are provided independently, allowing you to create an incredible variety 
ranging, from raw guitar amp sounds to tricky noise sounds. 
Expressiveness: Newly developed guitar pitch detection technology 
The independent pickup signal from each of the six strings is analyzed at high speed by a newly developed 
algorithm, ensuring quick and accurate response from the sound generator. 
In addition, your picking position as well as the differences between notes played with a pick or with your fingers are 
also detected and transmitted to the sound generator, giving the GR-55 a range of performance expression that’s 
much broader and more natural than any previous guitar synthesizer. 
Easy use: Use SOUND STYLE to select a sound, and use EZ EDIT to edit it 
The three SOUND STYLE buttons “LEAD,” “RHYTHM,” and “OTHER” provide performance-ready sounds in a wide range 
of musical styles. A large-screen LCD ensures excellent visibility at your feet. 
Press the [EZ EDIT] button to make easy graphical adjustments to the sound; this is a great convenience especially 
when playing live. 
What is the COSM? 
Technology that simulates existing physical structures, materials, and the like using different, virtual means is called “modeling technology.” 
COSM (Composite Object Sound Modeling) is a technical innovation from Roland that combines a number of such sound-modeling 
technologies to create new and unique sounds.

Settings 
This chapter explains how to make the necessary settings when using the GR-55 for the first time. 
First, get your guitar/bass ready 
• In order to use the GR-55, you’ll need a guitar or bass equipped with a divided pickup (GK pickup), which 
outputs a separate signal for each string. 
You can use GK pickups such as the Roland GK-3 or GK-3B. 
• For details on how to install a GK pickup, refer to the owner’s manual that came with your GK pickup. 
MEMO 
• Be aware that string buzz due to a warped neck or worn frets, or faulty octave adjustment, can cause 
problems such as wrong notes being produced. 
• This unit does not support 7-string guitars/basses or other non-standard guitars/basses. 
Check the Web for details about installing GK pickups 
• On the Roland website, the “GK-3/3B Installation Tips” page provides an explanation and photos on how to 
attach a GK pickup. Be sure to take a look! 
http://www.roland.com/GK/

8 
Preparations for Using the GR-55 
Connections 
The GUITAR OUT jack 
outputs the sound of 
the normal pickups 
and the sound of the 
modeling tone (p. 22). 
For details, refer to 
“GUITAR OUT Jack 
Settings (GUITAR 
OUT)” (p. 54). 
Guitar equipped with a GK-3/ Amp or PA (line) 
GK-2A, bass equipped with a 
GK-3B/GK-2B, or a commercially 
available GK-ready guitar or 
bass 
Headphones AC adaptor 
If you’re using monaural output, 
connect only to the L/MONO jack. 
Place the AC adaptor so 
the side with the indicator 
(see illustration) faces 
upwards and the side 
with textual information 
faces downwards. 
The indicator will light 
when you plug the AC 
adaptor into an AC outlet. 
To prevent the 
inadvertent disruption 
of power to your unit 
(should the plug be 
pulled out accidentally), 
and to avoid applying 
undue stress to the AC 
adaptor jack, anchor the 
power cord using the 
cord hook, as shown in 
the illustration. 
NOTE! 
• To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before 
making any connections. 
• Switch on the power to all of your equipment before you raise the volume of the amp. 
Turning the Power On/Off 
Turning the power on 
Once the connections have been completed, turn on power to your various devices in the order specified. By turning on devices in the wrong order, 
you risk causing malfunction and/or damage to speakers and other devices. 
* Always make sure to have the volume level turned down before switching on power. Even with the volume all the way down, you may still hear 
some sound when the power is switched on, but this is normal, and does not indicate a malfunction. 
* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally. 
1. Press the GR-55’s [POWER] switch to turn the power on. 
2. Turn on the power of your amp. 
Turning the power off 
1. Check the following before you turn the power off. 
• Have you minimized the volume on the connected equipment? 
• Have you saved the data (settings, sounds, etc.) that you want to keep? 
2. Turn off the power of your guitar amp or other connected equipment. 
3. Press the GR-55’s [POWER] switch to turn the power off. 
If you don’t want the power to turn off automatically, turn the “AUTO POWER OFF” setting off! 
With the factory settings, the GR-55’s power will automatically be switched off 10 hours after you stop playing or operating the unit. 
If you want to have the power remain on all the time, change the “AUTO POWER OFF” setting to “OFF” as described on p. 71. 
NOTE! 
The settings you were editing will be lost when the power is turned off. If you want to keep your settings, you must save your settings before 
turning the power off.

Selecting Guitar or Bass 
(GUITAR<->BASS) 
Selecting Guitar or Bass 
(GUITAR<->BASS) 

* With the factory settings, this is set to “GUITAR ” 

* If BASS MODE is selected, some parameter names are displayed 
differently than in GUITAR MODE 
(Example) String numbers “1, 2, 3, 4, 5, 6” --> “H, 1, 2, 3, 4, L ” 

1. Press the [EDIT] button to access the EDIT screen 
Preparations for Using the GR-55 

Adjusting the Pickups (GK SETTING) 
To ensure that the GR-55 is in the best possible playing condition, 
please make the appropriate adjustments for the divided pickup (GK 
settings). Making these settings will ensure that the GR-55 is operating 
optimally. 

NOTE! 

GK settings are extremely important in order to play the GR-55 with 
the best possible sound. You must be sure to make these settings 
correctly. 

MEMO 

If you connect different guitars to the GR-55 at different times, you 


can individually save settings for each guitar. For details, refer to 
“Setting the GK Pickups (GK SETTING)” (p. 69). 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
2. Use the PAGE [ ] [ ] buttons to access the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the BACKUP/INIT 
icon, and press the [ENTER] button 
3. Use the cursor [ ] [ ] buttons to select the GK SETTING 
icon, and press the [ENTER] button 
4. Use the cursor [ ] [ ] buttons to select the GUITAR<->BASS 
icon and press the [ENTER] button 
4. Use the PAGE [ ] [ ] buttons to select the PU tab 
5. If you want to change the mode, use the cursor [ ] [ ] 
buttons to select “OK,” and press the [ENTER] button 
5. Adjust your pickup 
If you’re using a guitar “Adjusting Your Guitar Pickup” (p. 10) 
If you’re using a bass “Adjusting Your Bass Pickup” (p. 11) 

If you decide not to change the mode, choose “CANCEL” and press the 
[ENTER] button. 

6. When the following screen appears, turn the GR-55’s power 
off 
The next time you turn the GR-55’s power on, the screen will indicate 
the specified mode (“GUITAR MODE” or “BASS MODE”). 

Once you’ve set the mode, the GR-55 will start up in the specified 
mode each time it’s powered up. 


Preparations for Using the GR-55 
Adjusting Your Guitar Pickup

Preparations for Using the GR-55 
Adjusting Your Guitar Pickup
4. Use the cursor [ 
] [ 
] buttons to select each string, and 
for each string, specify the distance from the center of the 
pickup to the bridge saddle 
1. Use the cursor [ 
] [ 
] buttons to move the cursor to “PU 
* If PU TYPE is set to one of the piezo-type pickups, this setting is not 

TYPE,” and use the dial to select the type of pickup that’s 

necessary 

installed on your guitar 

Value Description 
GK-3 Choose this if you’re using a GK-3. 
GK-2A Choose this if you’re using a GK-2A. 
PIEZO This setting is appropriate if you’re using a piezo pickup that 
has a flat response. 
PIEZO F This setting is appropriate for a Fishman piezo pickup. 
PIEZO G This setting is appropriate for a Graph Tech piezo pickup. 
PIEZO L This setting is appropriate for an L.R. Baggs piezo pickup. 
PIEZO R This setting is appropriate for an RMC piezo pickup. 
A piezo pickup is a type of pickup that is mounted on the bridge of the 
guitar, and uses a piezoelectric element to detect the vibrations of the 
strings. 

If you’re using a guitar equipped with a GK pickup that’s not of the 

piezo type, choose “GK-2A.” 

* If you’re not sure which piezo type setting is appropriate, try 
selecting different choices while you play your guitar, and choose 
the piezo type that produces the most natural sound In this case, 
the difference will be easier to notice if you turn off the PCM 1 and 2 
tone switches (p 25) 

* If you’ve chosen PIEZO, PIEZO F, PIEZO G, PIEZO L, or PIEZO R as the 
PU Type setting, you’ll be able to make further adjustments to the 
tone quality of the high range and low range (p 75) 

2. Use the cursor [ 
] [ 
] buttons to move the cursor to 
“SCALE,” and use the dial to specify your guitar’s scale length 
(the distance between the bridge and nut) 
Choose the closest value in the range of 500–660 mm. 
Choose “ST” (648 mm) for a standard Stratocaster type, or choose “LP” 
(628 mm) for a Les Paul type. For details on the other parameters, refer 
to “GK SETTING” (p. 74). 



3. Use the PAGE [ ] [ ] buttons to select the DIS tab 
5. Use the PAGE [ ] [ ] buttons to select the SEN tab 
6. Use the cursor [ ] [ ] buttons to move the cursor to 6TH 
STRING SENS 
Play the 6th string as strongly as you ever expect to play it in actual 
performance, and use the dial to adjust the sensitivity as high as 
possible without allowing the meter to reach the full-scale position. 


* If the level meter reaches the full-scale position, the level is excessive 
Lower the sensitivity 

* Depending on the guitar you’re using, the level meter might reach 
full-scale even if the sensitivity is at minimum If this is the case, 
adjust the distance between the divided pickup and the string so it’s 
somewhat greater than the recommendation 

7. In the same way, adjust the sensitivity for the 5th through 
1st strings as well 
8. Check the volume balance of the six strings 
Play each of the strings 6–1 at normal strength; if a string sounds 
unusually loud, lower the sensitivity of that string to minimize any 
discrepancy in volume between the strings. 

9. Press the [EXIT] button a number of times to return to the 
top screen 
These settings are required when you’ve newly installed a divided 
pickup on your guitar, or when you’ve adjusted the height of the 
divided pickup. These settings will be retained even while the power 
is switched off. Once you’ve made them correctly, there’s no need 
to make them again each time you perform. For details on the other 
parameters, refer to “GK SETTING” (p. 74). 



Adjusting Your Bass Pickup 
Adjusting Your Bass Pickup 
Use the cursor [ 
] [ 
] buttons to move the cursor to “PU 
TYPE,” and use the dial to select the type of pickup that’s 
installed on your bass 
Value Description 
GK-3B Choose this if you’re using a GK-3B. 
GK-2B Choose this if you’re using a GK-2B. 
PIEZO This setting is appropriate if you’re using a piezo pickup that 
has a flat response. 
PIEZO G This setting is appropriate for a Graph Tech piezo pickup. 
PIEZO R This setting is appropriate for an RMC piezo pickup. 

A piezo pickup is a type of pickup that is mounted on the bridge of the 
bass, and uses a piezoelectric element to detect the vibrations of the 
strings. 

If you’re using a bass equipped with a GK pickup that’s not of the piezo 
type, choose “GK-2B.” 

* If you’re not sure which piezo type setting is appropriate, try 
selecting different choices while you play your bass, and choose the 
piezo type that produces the most natural sound 

* If you’ve chosen “PIEZO,”“PIEZO G,” or “PIEZO R” as the PU Type 
setting, you’ll be able to make further adjustments to the tone 
quality of the high range and low range (p 75) 

2. Use the cursor [ 
] [ 
] buttons to move the cursor to 
“SCALE,” and use the dial to specify your bass’s scale length 
(the distance between the bridge and nut) 
Choose the closest value in the range of 710–940 mm. For a standard 
Jazz Bass type or Precision Bass type, choose LONG JB/PB (864 mm). 



For details on the other parameters, refer to “GK SETTING” (p. 74). 

Preparations for Using the GR-55 

3. Use the cursor [ 
] [ 
] buttons to move the cursor to “GK PU 
POS,” and use the dial to select the position of the divided 
pickup 
For a 4-string bass: 


4STR-1 
4STR-2 
4STR-3 


1st string 
2nd string 
3rd string 
4th string 



For a 5-string bass 


5STR Lo1 
5STR Lo2 
5STR Hi1 
5STR Hi2 



Hi C string

1st string 


2nd string 


1st string 


3rd string 


2nd string 


3rd string

4th string 


Low B string 


4th string 



For a 6-string bass: 


6STR 


Hi C string 
1st string 
2nd string 
3rd string 
4th string 
Low B string 



4. Use the PAGE [ ] [ ] buttons to select the DIS tab 
5. Use the cursor [ 
] [ ] buttons to select each string, and 
for each string, specify the distance from the center of the 
divided pickup to the bridge saddle 
* If PU TYPE is set to one of the piezo-type pickups, this setting is not 
necessary 


6. Use the PAGE [ ] [ ] buttons to select the SEN tab 

Preparations for Using the GR-55 

Preparations for Using the GR-55 
Use the cursor [ 
] [ 
] buttons to move the cursor to the 
STRING SENS field for the lowest string 
Play the lowest string as strongly as you ever expect to play it in actual 
performance, and use the dial to adjust the sensitivity as high as 
possible without allowing the meter to reach the full-scale position. 


* If the level meter reaches the full-scale position, the level is excessive 
Lower the sensitivity 

* Depending on the bass you’re using, the level meter might reach 
full-scale even if the sensitivity is at minimum If this is the case, 
adjust the distance between the divided pickup and the string so it’s 
somewhat greater than the recommendation 

8. In the same way, adjust the sensitivity of the remaining 
strings as well 
9. Check the volume balance of the strings 
Play each of the strings at normal strength; if a string sound unusually 
loud, lower the sensitivity of that string to minimize any discrepancy in 
volume between the strings. 

10. Press the [EXIT] button a number of times to return to the 
top screen 
These settings are required when you’ve newly installed a divided 
pickup on your bass, or when you’ve adjusted the height of the 
divided pickup. These settings will be retained even while the power 
is switched off. Once you’ve made them correctly, there’s no need 
to make them again each time you perform. For details on the other 
parameters, refer to “GK SETTING” (p. 74). 

Specifying the Output System 
(OUTPUT SELECT) 
Here’s how to specify the device (amp) that’s 
connected to the OUTPUT jacks. The tone will 
be adjusted within the GR-55 to ensure that 
the optimal sound is produced on the device 
you specified. 


1. Press the [EDIT] button to access the 
EDIT screen 
2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the OUTPUT SELECT 
icon, and press the [ENTER] button 
The OUTPUT SELECT screen will appear. 


4. Use the dial to select the type of device (amp) that’s 
connected to the OUTPUT jacks . 
* With the factory settings, this is set to “LINE/PHONES ” 


* If headphones are connected, this will automatically be “LINE/ 
PHONES” regardless of the OUTPUT SELECT setting 

Setting Description 
LINE/PHONES 
This is the appropriate setting when using headphones, 
or for when the GR-55 is connected to a keyboard amp, 
mixer, or digital recorder. 
JC-120 Choose this setting if the GR-55 is connected to the guitar 
input of a Roland JC-120 guitar amp. 
SMALL Choose this setting if the GR-55 is connected to a small 
guitar amp. 
COMBO 
Choose this setting if the GR-55 is connected to the 
guitar input of a combo-type guitar amp (i.e., an amp that 
contains the amp and speaker in a single unit) other than 
the JC-120. Depending on the guitar amp you’re using, 
using the “JC-120” setting might produce better results. 
STACK 
Choose this setting if the GR-55 is connected to the guitar 
input of a stack-type guitar amp (i.e., an amp in which the 
amp and speaker are separate units). 
JC-120 RETURN Choose this setting if the GR-55 is connected to the 
JC-120’s RETURN jack. 
COMBO 
RETURN 
Choose this setting if the GR-55 is connected to the 
RETURN jack of a combo-type guitar amp. 
STACK RETURN 
Choose this setting if the GR-55 is connected to the 
RETURN jack of a stack-type guitar amp. You should also 
choose the “STACK RETURN” setting when using the GR-55 
with a guitar power amp and a speaker cabinet. 


13 
Preparations for Using the GR-55 
Setting Description 
B-AMP WITH 
TWEETER 
Choose this setting if the GR-55 is connected to a bass 
amp that has a tweeter. 
B-AMP NO 
TWEETER 
Choose this setting if the GR-55 is connected to a bass 
amp that does not have a tweeter. The high-frequency 
range will be corrected appropriately. 
5. Press the [EXIT] button a number of times to return to the 
top screen. 
Tuning Your Instrument 
(the Tuner Function) 
Here’s how you can use the GR-55’s Tuner function to tune your guitar 
or bass. 
1. Press the [2] pedal and [3] pedal simultaneously. 
The TUNER screen will appear. 
2. Use the PAGE [ ] [ ] buttons to switch between the tabs to 
choose the mode of the Tuner function. 
Tab Description 
MULTI MODE Allows you to tune six strings at the same time. 
SINGLE MODE Allows you to tune by playing a single note on the 
specific string you’re tuning. 
3. Play an unfretted note on the string that you want to tune, 
and tune the string so that the desired note name is shown 
in the display. 
When using MULTI MODE 
When using SINGLE MODE 
* In SYSTEM parameter GK SETTING, if DOWN TUNE (p. 75) is set to a 
value other than “0,” the tuner screen will indicate the note names as 
if they were not down tuned. 
4. Watch the screen, and tune your instrument so that only the 
center indicator is lit. 
Repeat steps 3 and 4 until all of the strings are tuned. 
MEMO 
When tuning a guitar that’s equipped with a vibrato arm, tuning 
one string may cause other strings to drift out of tune. In this case, 
start by tuning each string approximately, so that the correct note 
name is shown, and then retune each string repeatedly until all 
strings are tuned correctly. 
5. When you’ve finished tuning, press a pedal (any one of the 
[1]–[3] pedals or the [CTL] pedal). 
You will return to the original screen. 
You can also return to the original screen by pressing the [EXIT] button. 
Settings in the TUNER screen 
In the TUNER screen you can use the cursor buttons and the dial to 
make the following settings. 
Parameter Value Description 
MASTER TUNE 435 Hz 
–445 Hz 
Specifies the reference pitch. 
* With the factory settings this is set to 
“440 Hz.” 
TUNER MUTE 
OFF Sound will be output while you’re tuning. 
ON 
Sound will not be output while you’re tuning. 
* The factory setting is “ON.”

MEM O 



Quick Guide 
This chapter explains basic operation. 
Before you play, you should set your GK pickup’s select switch to “MIX”! 
If a different setting is selected, the sound might not be output correctly.

16 
Now that you’ve finished with preparations, here’s how to operate the GR-55 while you play. 
Adjusting the Output Level 
1. Adjust the GR-55’s output level by turning the [OUTPUT LEVEL] knob. 
Turning the knob toward the right will increase the volume; 
turning the knob all the way toward the left will set the volume to zero. 
Normally, you can place the knob near the center position. 
Step on the expression pedal. 
Raise the GK pickup’s volume knob. 
Selecting a Sound (Patch) 
What is a Patch? 
A “patch” is a unit of sound on the GR-55; in addition to settings 
determining the type of sound, the patch also includes effect 
settings. 
You are free to modify (edit) the settings of a patch and store it in 
the GR-55 as a “user patch.” (Patches that are already built into the 
GR-55 are called “preset patches.”) 
For more about patches, refer to “How the GR-55 Works” (p. 22). 
What is a Bank? 
A “bank” is a collection of three patches. 
What is a Sound Style? 
The GR-55 lets you select preset patches from three “sound 
styles.” First select the style of sound that you want to play, and 
then select a patch from within that style. 
Sound style Summary 
LEAD Sound styles suitable for soloing, such as lead guitar 
sounds and wind instruments. 
RHYTHM Sound styles suitable for backing, such when comping 
chords or playing arpeggios. 
OTHER Sound styles that include effective, characteristic 
synthesized sounds. 
Step 2 
Choose a bank. 
1. Press the [1] and [2] pedals 
simultaneously. 
The bank number in the display will 
blink; now you can choose a bank (BANK 
SELECT). At this point, the sound has not 
yet changed. 
2. Use the [1]/[2] pedals to change banks. 
3. Press the [3] pedal or the [CTL] pedal to 
confirm the selected bank. 
By pressing the [1] and [2] pedals 
simultaneously you can cancel your bank 
selection. 
MEMO 
With the factory settings, you can use 
the GK pickup [S1]/[S2] buttons to switch 
banks. 
Step 4 
Turn the GK-3’s volume knob to adjust 
the volume of the patch. 
Step 1 
Choose the sound style of the sound you want 
to play. 
Step 3 
Use the [1]–[3] pedals to 
select a patch. 
Step 5 
Play. 
Sound style 
Patch number 
Patch bank Patch name 
Selecting and Playing Sounds

17 
Selecting and Playing Sounds 
Selecting a User Patch 
New patches that you create are saved in the GR-55 as “user patches” (p. 18). 
Press the [USER] button to select user patches in Step 1 of “Selecting a Sound (Patch).” 
The rest of the procedure is the same as when selecting a preset patch. 
Playing Your Guitar 
You can apply effects to the sound by pressing the following pedals while you play. 
Expression pedal 
When you operate this pedal while playing, 
the effect assigned to each patch will be 
applied. 
Normally, the volume will change, but 
depending on the patch, a variety of other 
effects may be assigned. 
If you depress this pedal completely, placing 
your weight on the toe, the EXP PEDAL SW 
indicator will light, and the expression pedal 
will switch to a different function. Normally, 
it will control an effect such as wah pedal, 
but this too may be assigned to a different 
effect depending on the patch. 
You can change each of these effects 
according to your taste (p. 61). 
* When operating the expression pedal, 
be careful so as not to get your toes 
pinched between the moving portion 
and the main part of the GR-55. If there 
are young children in your household, 
don’t let them use or play with the 
GR-55 without adult supervision. 
[CTL] pedal 
When you press this pedal while playing, an effect specified for each patch will be applied; for example, 
raising the synthesizer sound by an octave, or extending the decay of the synthesizer note you’re playing. 
You are also free to change this effect to your taste (p. 61).

18 
Selecting and Playing Sounds 
Creating an Original Sound 
Using the EZ EDIT Function to Create a Sound 
You can easily edit the selected patch to your taste by using the GR-55’s EZ EDIT function. 
Step 1 
Select a patch (p. 16). 
Step 4 
Turn the dial to adjust the volume 
of the overall patch. 
Step 2 
Press the [EZ EDIT] button to access 
the EZ EDIT screen. 
Step 3 
Edit the sound by using [ ] [ ] [ ] [ ] (cursor buttons) to move the cursor within the grid. 
Display Parameter Description 
WET Gives the sound richer ambience (reverb/delay). 
DRY Gives the sound less ambience (reverb/delay). 
MILD Helps the sound blend in with the mix. 
BRIGHT Helps the sound stand out from the mix. 
Saving the Sound You Created 
When you’ve created a sound that you like, you should save it as a user patch. 
Be aware that if you switch to another patch without saving the patch you edited, the changes you made will be lost. 
Step 3 
Press the [WRITE] button to save the patch in the specified 
destination. 
The screen will indicate “NOW WRITING..” and the patch will be saved. 
If you decide not to save the patch, press the [EXIT] button to return 
to the previous screen. 
Step 1 
Press the [WRITE] button. The WRITE screen will appear. Step 2 
Turn the dial to specify the save-destination 
patch number. 
* For more about saving patches, refer to “Saving a Patch (PATCH WRITE)” (p. 60).

Referenc e 



20 
Panel Descriptions 
Front Panel 
[OUTPUT LEVEL] knob 
Adjusts the volume of the output jacks 
and the headphone jack. 
Display 
Dial 
Use this to switch patches or edit values. 
[ ] [ ] [ ] [ ] (cursor buttons) 
Use these to move the cursor up/down/ 
left/right. 
[1] ([BANK ]), 
[2] ([BANK ]), [3] pedals 
Press these pedals to select patches or 
patch banks. 
By pressing the [BANK ] pedal and 
[BANK ] pedal simultaneously, you 
can turn “Bank Select” on/off, allowing 
you to select the desired patch bank 
(p. 16). 
By pressing the [2] pedal and [3] pedal 
simultaneously, you can tune your 
guitar (p. 13). 
[CTL] (control) pedal 
By holding down this pedal 
you can apply the effect that 
is assigned by the patch, such 
as sustaining or modifying the 
currently playing note. 
You are also free to assign other 
functions (p. 61). 
By pressing the [3] pedal and 
[CTL] pedal simultaneously, 
you can use the PHRASE LOOP 
function (p. 64). 
Button Description 
[V-LINK] Switches V-LINK on/off (p. 68). 
[LEAD]/[RHYTHM]/ 
[OTHER] Switches the sound style (p. 16). 
[USER] Selects user patches (p. 17). 
[EZ EDIT] Accesses the EZ EDIT screen (p. 18). 
PAGE [ ] [ ] 
Pressed to navigate to the next left/right 
tab in the screen. 
[EXIT] Cancels an operation, or takes you to the 
next higher level in the screen. 
[ENTER] Confirms an operation. 
[EDIT] Accesses the EDIT screen (p. 20). 
[WRITE] Saves the patch (p. 60). 
[AUDIO PLAYER] 
Accesses the AUDIO PLAYER screen (p. 65). 
The AUDIO PLAYER is available only if 
USB memory is inserted in the GR-55. 
Expression pedal 
When you operate this pedal while playing, 
the effect assigned to each patch will be 
applied. 
Normally, the volume will change, but 
depending on the patch, a variety of other 
effects may be assigned. 
If you depress this pedal completely, placing 
your weight on the toe, the EXP PEDAL SW 
indicator will light, and the expression pedal 
will switch to a different function. Normally, it 
will control an effect such as wah pedal, but 
this too may be assigned to a different effect 
depending on the patch. 
You can change each of these effects 
according to your taste (p. 61). 
* When operating the expression pedal, be careful 
so as not to get your toes pinched between the 
moving portion and the main part of the GR-55. 
If there are young children in your household, 
don’t let them use or play with the GR-55 
without adult supervision. 
About the Top Screen 
A short while after you turn on the power of the GR-55, this screen 
will appear. In this manual, the explanations of various procedures will 
start from this screen unless otherwise specified. 
Sound style 
Patch number 
Patch bank Patch name 
About the EDIT Screen 
The EDIT screen will appear when you press the [EDIT] button. Use the 
PAGE [ ] [ ] buttons to switch between tabs in the EDIT screen. 
For details on each screen, refer to the following pages. 
Screen Description Page 
TONE Edit the tone settings. p. 23 
EFFECT Edit the effect settings. p. 38 
MASTER Edit overall settings for the patch. p. 54 
SYSTEM Edit settings for the entire GR-55. p. 69

21 
Panel Descriptions 
Rear Panel 
1 2 3 4 5 6 7 8 9 10 11 
1. Security Slot ( ) 
http://www.kensington.com/ 
2. GK IN connector 
Use the included GK cable (or a separately sold GKC-5 or GKC-10) to 
connect your divided pickup to this connector. 
* For details on connecting a commercially available GK-equipped 
guitar, refer to the guitar manufacturer or your dealer. 
3. GUITAR OUT jack 
This jack outputs the sound of the guitar’s normal pickup and the 
sound of the GR-55’s modeling tone (p. 22). Connect it to your guitar 
amp. 
For details on settings for the sound that is output from the GUITAR 
OUT jack, and how to make connections, refer to “GUITAR OUT Jack 
Settings (GUITAR OUT)” (p. 70). 
4. OUTPUT R, L/MONO jacks 
These jacks output the sound of your performance using the GR-55. If 
connecting to a monaural amp, use the L/MONO jack. 
Set the OUTPUT SELECT setting to specify the type of device (amp) 
that’s connected to these jacks, as described in “Specifying the Output 
System (OUTPUT SELECT)” (p. 12). 
5. PHONES jack 
Connect headphones (sold separately) to this jack (p. 8). 
6. MIDI connectors (OUT, IN) 
Connect other MIDI equipment to these connectors (p. 67). 
7. USB COMPUTER connector 
Use a USB cable to connect the GR-55 to your computer (p. 66). 
8. [POWER] switch 
This turns the power on/off (p. 8). 
9. DC IN (AC adaptor) jack 
Connect the included AC adaptor here (p. 8). 
10. Cord hook 
Use this to fasten the AC adaptor cord so that it will not be unplugged 
accidentally (p. 8). 
11. Functional ground terminal 
Depending on the circumstances of a particular 
setup, you may experience a discomforting 
sensation, or perceive that the surface feels gritty 
to the touch when you touch this device or the 
metal portions of other objects connected to 
it, such as guitars. This is due to an infinitesimal 
electrical charge, which is absolutely harmless. 
However, if you are concerned about this, 
connect the ground terminal (see figure) with an external ground. 
When the unit is grounded, a slight hum may occur, depending on 
the particulars of your installation. If you are unsure of the connection 
method, contact the nearest Roland Service Center, or an authorized 
Roland distributor, as listed on the “Information” page. 
Unsuitable places for connection 
• Water pipes (may result in shock or electrocution) 
• Gas pipes (may result in fire or explosion) 
• Telephone-line ground or lightning rod (may be dangerous in the 
event of lightning) 
Side Panel 
1 
1. USB MEMORY connector 
Connect USB memory (sold separately) here. 
* Never insert or remove a USB memory while this unit’s power is on. Doing so may corrupt the unit’s data or the data on the USB memories. 
* Carefully insert the USB memory all the way in-until it is firmly in place.

How the GR-55 Work s 


What is a Patch? 


A “patch” is a unit of sound on the GR-55. In addition to settings determining the type of sound, a patch also contains effect settings. 
You can modify (edit) the settings of a patch, and save it as a “user patch.” (The patches already built into the GR-55 are called “preset patches.”) 
The following illustration shows how a patch is structured internally. 


Effects 
+ 
+ 
Synthesizer sound 
Modeling sound 
Normal pickup sound 
PATCH 
This is a synthesizer sound that plays according 
to the performance data from your guitar. Two 
PCM tones can be layered. 
These effects processors apply various effects to the 
sound. 
MFX is a stereo-in multi-effects processor. 
AMP uses COSM technology to simulate the 
response of the preamp, the size of the speakers, and 
the shape of the cabinet. 
MOD is a monaural-input guitar effects processor 
used in conjunction with AMP. 
This is a modeled sound based on the 
audio from each guitar string. 
This is the sound of the guitar’s normal pickup. 
PCM TONE 1 
EQ 
Equalizer 
DELAY REVERB CHORUS 
MODELING TONE 
NORMAL PICKUP 
AMP 
Preamp 
MFX 
Multi-effect 
MOD 
Guitar effects 
PCM TONE 2 
There are some restrictions on the functions that can be used with each tone and with the normal pickup; please refer to the following table. 

Parameter HOLD ALTERNATE TUNING TONE EDIT GUITAR OUT 
Description Sustain the sound (Hold) Change the tuning of each string Edit the tone Output from GUITAR OUT jack 
Page p. 55, p. 76 p. 54 p. 24 p. 54 
PCM tones 1, 2 v v v × 
Modeling tone × v v v 
Normal pickup × × × v 

The available tones will depend on the position of the GK pickup’s select switch. 
GK pickup select switch 
GK MIX 
PCM tones 1, 2 v v 
Modeling tone v v 
Normal pickup × v 
* Even if a tone is available, there will be no sound if its tone switch (p 23) is “OFF ” 
Normally, you should use the “MIX” setting 

Editing the Tones (TONE) 


As shown in the illustration below, a GR-55 patch consists of several tones. 
You can create a new patch by selecting different tones or by editing the detailed settings of each tone. 


Changing the Tone 
Synthesizer sound 
PATCH 
This is a synthesizer sound that plays according to the 
performance data from your guitar. Two tones can be layered. 
PCM TONE 1 
PCM TONE 2 
Modeling sound 
This is a modeled sound based on the audio from each guitar string. 
MODELING TONE 
Tone Category 
Here’s how to create a new sound by changing the tone that’s 
selected. 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to access the TONE tab 
The screen shows the structure of the currently selected patch. 


3. Select a different tone 
Use the cursor buttons to select the tone that you want 
to change, and use the dial to select a different tone. 
Move the cursor to the tone switch, and turn the 
tone on /off . 
The available tones are listed as shown in the illustration. You can use 
the cursor [ ] [ ] buttons to select the tone category (p. 23). 
Tone category Number 
of tones Tone category Number 
of tones 
Ac.Piano 16 Ensemble Strings 22 
Pop Piano 3 Orchestral 4 
E.Grand Piano 2 Solo Brass 11 
E.Piano1 25 Ensemble Brass 7 
E.Piano2 13 Wind 7 
E.Organ 32 Flute 12 
Pipe Organ 5 Sax 7 
Reed Organ 1 Recorder 4 
Harpsichord 5 Vox/Choir 28 
Clav 8 Scat 2 
Celesta 1 Synth Lead 123 
Accordion 6 Synth Brass 40 
Harmonica 2 Synth Pad/Strings 84 
Bell 21 Synth Bellpad 17 
Mallet 22 Synth PolyKey 45 
Ac.Guitar 18 Synth FX 31 
E.Guitar 18 Synth Seq/Pop 11 
Dist.Guitar 11 Pulsating 32 
Ac.Bass 4 Beat&Groove 11 
E.Bass 14 Hit 7 
Synth Bass 87 Sound FX 37 
Plucked/Stroke 18 Percussion 13 
Solo Strings 9 Drums 14 

MEMO 
If you select the “Drums” tone category, there will be fewer 
editable parameters than those listed in this manual. 

4. Press the [ENTER] button 
5. When you’ve finished making settings, press the [EXIT] 
button 
6. If you want to keep your settings, save the patch (p 60) 

Editing the Tones (TONE) 
Editing the Tone 

Editing the Tones (TONE) 
Editing the Tone 
Here’s how to make various settings for the tone. 

If you want to edit detailed settings, refer to “Editing a Tone (Detailed 
Settings)” (p. 24). 

Basic operation 

1. In step 3 of “Changing the Tone” (p 23), move the cursor to 
the TONE LEVEL field 
You can use the dial to edit the volume of the tone. 


2. Press the cursor [ ] button 
The screen shows the parameters that can be edited for each tone. 

3. Edit the parameter settings 
Use the cursor buttons to select the tone parameter that you want to 
edit, and use the dial to edit the value. 
MEMO 
This screen shows the parameters that are marked by a “#” symbol in the 
parameter list (p. 25 –). The parameters that you can edit will differ for each tone. 

4. When you’ve finished editing, press the [EXIT] button 
5. If you want to keep your settings, save the patch (p 60) 
MEMO 
If you want to adjust the overall volume of the patch, use the cursor 
buttons to select the PATCH LEVEL field, and use the dial to edit the 
value. 

Value: 0–200 

Editing a Tone (Detailed Settings) 
Here’s how to edit the tone settings in detail. 

Basic operation 

1. In step 3 of “Changing the Tone” (p 23), select the tone that 
you want to edit 
2. Press the [ENTER] button 
The TONE EDIT screen will appear. 

3. Edit the parameter settings 
Use the PAGE [ ] [ ] buttons to switch between tabs. 
Use the cursor [ ] [ ] buttons to select the parameter that you want 
to edit, and use the dial to edit the value of the parameter. 
By holding down the cursor [ ] [ ] buttons simultaneously you can 
make the cursor move faster. 
For details on each parameter, refer to “Parameter List (PCM TONE 1/ 
PCM TONE 2)” (p. 25). 
4. When you’ve finished editing, press the [EXIT] button 
5. If you want to keep the changes you made, save the patch 
(p 60) 

Editing the Tones (TONE) 
Parameter List (PCM TONE 1/PCM TONE 2) 

Editing the Tones (TONE) 
Parameter List (PCM TONE 1/PCM TONE 2) 
Group Parameter Value Description 
TONE 
SWITCH OFF, ON Turns the tone on/off. 
Tones that are turned “OFF” will not sound (they are muted). 
TONE CATEGORY Selects the category (group) of tones. 
TONE NUMBER Selects the tone number. 
LEVEL 0–100 Adjusts the volume of the tone. 
OCTAVE # -3–+3 Shifts the tone’s pitch in steps of an octave. 
CHROMATIC OFF, ON Turn this “ON” if you want the tone to sound in chromatic steps. 
If this is “ON,” the pitch will change only in semitone steps even if you “bend” a string. 
LEGATO 
OFF 
ON 
Turns the Legato function off. 
When you play notes in a smoothly connected manner by hammering-on or pullingoff, 
only the pitch will change, and no attack will be heard for the subsequently played 
note. 
The legato function can be used if CHROMATIC is ON. 
LEVEL VELOCITY SENS -50–+50 
Adjusts the amount by which the tone’s volume will be affected by your playing 
strength. 
With positive “+” values, the volume will increase as you play more strongly. 
VELOCITY CURVE TYPE FIX, 1–7, TONE 
Specifies the curve by which your playing strength will affect the tone’s volume. 
Normally, you should choose “TONE.”The optimal curve for each tone will be used. 
If you don’t want the tone’s volume to change, choose “FIX.” 
1 
2 
3 
4 
5 
6 
7 
NUANCE SW OFF, ON Specifies whether nuances of your performance (p. 28) will produce tonal change. 
PAN L50–R50 Specifies the pan setting. 
STRING LEVEL1–6 1–100 
Adjusts the volume of each string. 
For the PCM1, PCM2, and MODELING tones, you can specify a value of “0” for each 
string that you don’t want to be sounded for that tone; this allows you to create “split” 
setups. 
PITCH 
PITCH SHIFT -24–+24 Specifies the tone’s pitch (semitone steps, +/-2 octaves). 
PITCH FINE -50–+50 Specifies the tone’s pitch (in one cent steps; equivalent to 1/100 semitone). 
PORTAMENTO SW 
OFF 
ON 
TONE 
Portamento will not be applied. 
Portamento will be applied. 
The setting most appropriate for the tone will be used. 
PORTAMENTO TYPE 
RATE 
TIME 
The time required for the pitch change is proportionate to the amount of pitch 
change. 
The pitch change will occupy the same length of time regardless of the amount of 
pitch change. 
PORTAMENTO TIME 0–100 Specifies the time required for the pitch change when using portamento. 


Editing the Tones (TONE) 

Editing the Tones (TONE) 
Parameter Value Description 
FILTER 
FILTER TYPE 
OFF 
LPF 
BPF 
HPF 
PKG 
LPF2 
LPF3 
TONE 
The filter will not be used. 
Low Pass Filter. 
The region above the cutoff frequency will be cut, making the sound more mellow. 
Band Pass Filter. 
The region around the cutoff frequency will remain, and the regions above and below 
will be cut. This is a useful way to create a distinctive sound. 
High Pass Filter. 
The region below the cutoff frequency will be cut. This is appropriate for percussive 
sounds with a distinctive high-frequency component. 
Peaking Filter. 
The region around the cutoff frequency will be emphasized. You can produce a wah 
effect by using an LFO to cyclically change the cutoff frequency. 
Low Pass Filter 2. 
The region above the cutoff frequency will be cut, but the filter sensitivity will be half 
that of LPF. This is suitable for simulating instruments such as acoustic piano. 
* If “LPF2” is selected, the RESONANCE setting will be unavailable 
Low Pass Filter 3. 
The region above the cutoff frequency will be cut, but the filter sensitivity will change 
according to the cutoff frequency. This is suitable for simulating acoustic instruments, 
but even with the same TVF ENVELOPE settings, it will produce a sound with a 
different nuance than LPF2. 
* If “LPF3” is selected, the RESONANCE setting will be unavailable 
The setting most appropriate for the tone will be used. 
CUTOFF # -50–+50 Specifies the frequency at which the filter will begin to be applied. 
RESONANCE -50–+50 
Boosts the region near the cutoff frequency, giving the sound a distinctive character. 
Raising this value excessively may cause oscillation and distortion. 
CUTOFF VELOCITY SENS -50–+50 
Specifies the amount by which your playing strength will vary the cutoff frequency. 
With positive “+” values, stronger playing will raise the cutoff frequency. 
CUTOFF NUANCE SENS -50–+50 Specifies how nuances of your performance (p. 28) will affect the filter cutoff frequency. 
CUTOFF VELOCITY CURVE 
FIX, 
1–7, 
TONE 
Specifies the curve by which your playing strength will affect the cutoff frequency. 
Normally, you should choose “TONE.”The optimal curve for each tone will be used. 
If you don’t want the cutoff frequency to be affected, choose “FIX.” 
1 
2 
3 
4 
5 
6 
7 
CUTOFF KEYFOLLOW -200–+200 
Specifies how the pitch of the note you play will affect the cutoff frequency. 
With positive “+” values, the cutoff frequency will rise as you player higher notes. 
TVF 
TVF ENV DEPTH -50–+50 
Adjusts the depth of the TVF envelope. 
Higher values will increase the change produced by the TVF envelope. 
TVF ATTACK TIME -50–+50 Adjusts the attack time of the filter envelope. 
TVF DECAY TIME -50–+50 Adjusts the decay time of the filter envelope. 
TVF SUSTAIN LEVEL -50–+50 Adjusts the sustain level of the filter envelope. 
TVF RELEASE TIME -50–+50 Adjusts the release time of the filter envelope. 
TVF ATTACK VEL SENS -50–+50 
Specifies how your playing strength will affect the filter attack time. 
With positive “+” values, stronger playing will shorten the attack time. 
TVF ATK NUANCE SENS -50–+50 Specifies how nuances of your performance (p. 28) will affect the filter attack time. 


Editing the Tones (TONE) 

Editing the Tones (TONE) 
Parameter Value Description 
TVA 
TVA ATTACK TIME # -50–+50 Adjusts the attack time of the amp envelope. 
TVA DECAY TIME -50–+50 Adjusts the decay time of the amp envelope. 
TVA SUSTAIN LEVEL -50–+50 Adjusts the sustain level of the amp envelope. 
TVA RELEASE TIME # -50–+50 Adjusts the release time of the amp envelope. 
TVA ATTACK VEL SENS -50–+50 
Specifies how your playing strength will affect the attack time. 
With positive “+” values, stronger playing will shorten the attack time. 
TVA ATK NUANCE SENS -50–+50 Specifies how nuances of your performance (p. 28) will affect the attack time of the level. 
LEVEL NUANCE SENS -50–+50 Specifies how nuances of your performance (p. 28) will affect the volume. 
RELEASE MODE 
1 
2 
The next note will be sounded while maintaining the release of a previously played 
note sounding on the same string. 
Any previously played note sounding on the same string will be forcibly decayed 
before the next note is sounded. 
PITCH ENV 
PITCH ENV VEL SENS -50–+50 
Specifies how your playing strength will affect the depth of the pitch envelope. 
With positive “+” values, stronger playing will increase the change produced by the 
pitch envelope. 
PITCH ENV DEPTH -12–+12 
Adjusts the depth of the pitch envelope. 
Higher settings will increase the change produced by the pitch envelope. 
PITCH ATTACK TIME -50–+50 Adjusts the attack time of the pitch envelope. 
PITCH DECAY TIME -50–+50 Adjusts the decay time of the pitch envelope. 
LFO1 
LFO1 RATE 
0–100 
BPM – 
TONE 
Specifies the LFO rate (speed). 
Makes the LFO rate synchronize to the tempo in units of the note value you specify. 
The LFO rate will be set appropriately for the tone. 
LFO1 PITCH DEPTH OFF, -50–+50 
Specifies how the LFO will affect the pitch. 
Choose “OFF” if you don’t want the LFO to affect the pitch. 
LFO1 TVF DEPTH OFF, -50–+50 
Specifies how the LFO will affect the cutoff frequency. 
Choose “OFF” if you don’t want the LFO to affect the TVF. 
LFO1 TVA DEPTH OFF, -50–+50 
Specifies how the LFO will affect the volume. 
Choose “OFF” if you don’t want the LFO to affect the TVA. 
LFO1 PAN DEPTH OFF, -50–+50 
Specifies how the LFO will affect pan (stereo position). 
Choose “OFF” if you don’t want the LFO to affect pan. 
LFO2 
LFO2 RATE 
0–100 
BPM – 
TONE 
Specifies the LFO rate (speed). 
Makes the LFO rate synchronize to the tempo in units of the note value you specify. 
The LFO rate will be set appropriately for the tone. 
LFO2 PITCH DEPTH OFF, -50–+50 
Specifies how the LFO will affect the pitch. 
Choose “OFF” if you don’t want the LFO to affect the pitch. 
LFO2 TVF DEPTH OFF, -50–+50 
Specifies how the LFO will affect the cutoff frequency. 
Choose “OFF” if you don’t want the LFO to affect the TVF. 
LFO2 TVA DEPTH OFF, -50–+50 
Specifies how the LFO will affect the volume. 
Choose “OFF” if you don’t want the LFO to affect the TVA. 
LFO2 PAN DEPTH OFF, -50–+50 
Specifies how the LFO will affect pan (stereo position). 
Choose “OFF” if you don’t want the LFO to affect pan. 


Editing the Tones (TONE) 
Using the Nuance parameters 
The Nuance parameters detect when you play your guitar/bass with a soft touch, and apply a corresponding change to the sound of the 
PCM tone. 
For example, if CUTOFF NUANCE SENS is set to a positive “+” value, the cutoff frequency of the PCM tone will be lowered when you play a 
muted or a finger-picked note, producing a softer tone quality. 
As another example, you might use PCM TONE 1 to create the sound that will be heard when you pluck the string with a pick, and PCM 
TONE 2 to create the sound that will be heard when you pluck the string with your finger. Then set the Nuance parameters as follows, 
allowing you to switch between PCM TONE 1 and 2 by alternating your performance technique. 
• PCM TONE 1 settings 
TONE CATEGORY/NUMBER: the tone sounded for a note played with a pick 
LEVEL NUANCE SENS: +50 
• PCM TONE 2 settings 
TONE CATEGORY/NUMBER: the tone sounded for a note played with your finger 
LEVEL NUANCE SENS: -50 
To enable the Nuance parameters, turn NUANCE SW “ON” and adjust each NUANCE SENS parameter as desired. 
If you want to adjust the nuance so it’s appropriate for the guitar or bass you’re using, set the SYSTEM - GK SETTING parameters NUANCE 

Editing the Tones (TONE) 
Using the Nuance parameters 
The Nuance parameters detect when you play your guitar/bass with a soft touch, and apply a corresponding change to the sound of the 
PCM tone. 
For example, if CUTOFF NUANCE SENS is set to a positive “+” value, the cutoff frequency of the PCM tone will be lowered when you play a 
muted or a finger-picked note, producing a softer tone quality. 
As another example, you might use PCM TONE 1 to create the sound that will be heard when you pluck the string with a pick, and PCM 
TONE 2 to create the sound that will be heard when you pluck the string with your finger. Then set the Nuance parameters as follows, 
allowing you to switch between PCM TONE 1 and 2 by alternating your performance technique. 
• PCM TONE 1 settings 
TONE CATEGORY/NUMBER: the tone sounded for a note played with a pick 
LEVEL NUANCE SENS: +50 
• PCM TONE 2 settings 
TONE CATEGORY/NUMBER: the tone sounded for a note played with your finger 
LEVEL NUANCE SENS: -50 
To enable the Nuance parameters, turn NUANCE SW “ON” and adjust each NUANCE SENS parameter as desired. 
If you want to adjust the nuance so it’s appropriate for the guitar or bass you’re using, set the SYSTEM - GK SETTING parameters NUANCE 
DYNAMICS and NUANCE TRIM (p. 75). 

Editing the Tones (TONE) 
Parameter List (MODELING TONE) 

Editing the Tones (TONE) 
Parameter List (MODELING TONE) 
Group Parameter Value Description 
TONE 
SWITCH OFF, ON Turns the tone on/off. Tones turned “OFF” will not sound (i.e., they are muted). 
TONE CATEGORY 
If GUITAR<->BASS is set to “GUITAR” (p. 9) 
E.GTR, 
AC, 
E.BASS, 
SYNTH 
Selects the category (group) of tones. 
If GUITAR<->BASS is set to “BASS” (p. 9) 
E.BASS, 
SYNTH, 
E.GTR 
Selects the category (group) of tones. 
TONE NUMBER 001– Selects the tone. For an explanation, refer to the following table (TONE CATEGORY: 
E.GTR–SYNTH). 
LEVEL 0–100 Adjusts the volume of the tone. 
STRING LEVEL1–6 0–100 
Adjusts the volume of each string. 
For the PCM1, PCM2, and MODELING tones, you can specify a value of “0” for each 
string that you don’t want to be sounded for that tone; this allows you to create “split” 
setups. 
PITCH 
PITCH SHIFT -24–+24 Adjusts the pitch of the tone (in semitone steps, +/-2 octaves). 
PITCH FINE -50–+50 Adjusts the pitch of the tone (in one cent steps; equivalent to 1/100 semitone). 
12STR 
12STR SW OFF/ON 
Turn this on if you want to produce the sound of a 12-string guitar. The sound of a 
conventional 6-string guitar will be transformed to the sound of a 12-string guitar 
with its supplementary strings. 
DIRECT LEVEL 0–100 Specifies the volume of the main strings. 
SHIFT1–6 -24–+24 
Adjusts the pitch difference of each 
supplementary string relative to 
the corresponding main string, in 
semitone steps. 
* On a conventional 12-string guitar, 
supplementary strings 1 and 2 are tuned 
to the same pitch (SHIFT = 0) as the corresponding 
main string, and supplementary 
strings 3–6 are tuned one octave higher 
(SHIFT = +12) than the corresponding 
main string Slightly raising each string’s 
FINE setting will produce a more realistic 
12-string guitar tone 
FINE1–6 -50–+50 
Adjusts the pitch of each 
supplementary string in cents 
(1/100 semitone steps). 
* 12STR cannot be used with any of the following settings (the parameters will not be shown) 
• MODELING TONE parameters 
TONE CATEGORY=E.BASS (if set to GUITAR input) or E.GTR (if set to BASS input) 
PITCH SHIFT.0 
PITCH FINE.0 
• MASTER parameters 
ALTERNATE TUNING “SWITCH” =ON 


30 
Editing the Tones (TONE) 
* Company names and product names appearing in this document are the registered trademarks or trademarks of their respective owners This 
document uses these names in order to appropriately describe the sounds simulated by COSM technology 
TONE CATEGORY: E.GTR 
TONE NUMBER (PICKUP) 
DescriptionGUITAR BASS 
01: CLA-ST 16: ST This models a Fender Stratocaster, a guitar with three traditional single-coil pickups. 
02: MOD-ST — This models a guitar with three EMG active single-coil pickups. 
03: H&H-ST — This models a Stratocaster-type guitar with humbucking pickups. 
04: TE — This models a Fender Telecaster, a guitar with two single-coil pickups often used in blues and country music. 
05: LP 17: LP This models a Gibson Les Paul Standard, a guitar with two humbucking pickups often used in rock. 
06: P-90 — This models a Gibson Les Paul Junior, a guitar with two single-coil pickups affectionately referred to as “dog ear” or “soap bar” 
pickups. 
07: LIPS — This models a Danelectro 56-U3, a guitar with three pickups with a distinctive silver “lipstick-style” appearance. 
08: RICK — This models a Rickenbacker 360, a semi-hollow body guitar with two unique single-coil pickups. 
09: 335 — This models a Gibson ES-335 Dot, a well-known semi-acoustic guitar with two humbucking pickups. 
10: L4 — This models a Gibson L-4 CES, a acoustic-body guitar suitable for jazz, equipped with two humbucking pickups and strung with 
flat-wound strings. 
TONE CATEGORY: E.BASS 
TONE NUMBER (PICKUP) 
DescriptionGUITAR BASS 
— 01: VINT JB This models a Fender Jazz Bass made in the 1960s. 
16: JB 02: JB This models a Fender Jazz Bass. 
— 03: VINT PB This models a Fender Precision Bass made in the early 1960s. 
17: PB 04: PB This models a Fender Precision Bass. 
— 05: M-MAN This models a Music Man StingRay Bass made in the 1970s. 
— 06: RICK This models a Rickenbacker 4001. 
— 07: T-BIRD This models a Gibson Thunderbird. 
— 08: ACTIVE This models a typical bass equipped with active pickups. 
— 09: VIOLIN This models a Höfner violin bass. 
TONE CATEGORY: AC 
TONE NUMBER (PICKUP) 
DescriptionGUITAR BASS 
11: STEEL — This models a steel-string guitar. 
12: NYLON — This models a nylon-string guitar. 
13: SITAR — This models a Coral electric sitar. The sitar’s distinctive buzz and tonal change are modeled. 
14: BANJO — This models a conventional five-string banjo. 
15: RESO — This models a Dobro-type resonator guitar. 

Editing the Tones (TONE) 

Editing the Tones (TONE) 

TONE NUMBER (PICKUP) 
DescriptionGUITAR BASS 
18: ANALOG GR 10: ANALOG GR 
This is the sound of a classic analog polyphonic guitar (bass) synthesizer. 
It provides hexa-distortion, with a hexa-VCO and VCF (variable frequency filter) that generates independent 
pitch-shiftable sawtooth waves for the six strings, letting you enjoy analog synthesizer sounds that reflect the nuances 
of your guitar or bass performance. 
To change the pitch, use “PITCH A/B” (p. 36). 
19: WAVE SYNTH 11: WAVE SYNTH This algorithm directly processes the string signal from the GK pickup to produce the synthesizer sound. It allows a 
natural performing feel. 
20: FILTER BASS 12: FILTER BASS This instrument is similar to a bass synth with a filter applied. 
21: CRYSTAL 13: CRYSTAL This is an instrument with a metallic resonance. 
22: ORGAN 14: ORGAN This is a sustained-tone instrument suitable for solo parts or slow songs. As on an organ, you can adjust the volume 
level balance of three parameters (FEET 16, 8, 4) to create the desired tone. 
23: BRASS 15: BRASS This instrument produces a clear brass type sound good for leads. 

E.GTR 


CLA-ST, MOD-ST, ST 


Group Parameter Value Description 
PU 
PU SEL # 
REAR 
R+C 
CENTER 
C+F 
FRONT 
Simulates the sound produced when the rear pickup is used. 
Simulates the sound produced when both rear and center pickups are used. 
Simulates the sound produced when the center pickup is used. 
Simulates the sound produced when both center and front pickups are used. 
Simulates the sound produced when the front pickup is used. 
VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound. 
TONE # 0–100 Adjusts the tone. The standard value is 100; lowering the value creates a softer tone. 
SWITCH OFF, ON Turns the noise suppressor on/off. 
NS THRESHOLD # 0–100 
Adjust this according to the level of the noise. Set this to a higher value if the noise 
level is high, or to a lower value if the noise level is low. Adjust this so that the decay of 
your guitar still sounds natural. 
RELEASE 0–100 Specifies the time from when the noise suppressor begins to operate until the volume 
is completely attenuated. 

H&H-ST, TE, LP, P-90, RICK, 335, L4 


Group Parameter Value Description 
PU 
PU SEL # 
REAR 
R+F 
FRONT 
Simulates the sound produced when the rear pickup is used. 
Simulates the sound produced when both rear and front pickups are used. 
Simulates the sound produced when the front pickup is used. 
VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound. 
TONE # 0–100 Adjusts the tone. The standard value is 100; lowering the value creates a softer tone. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 

LIPS 


Group Parameter Value Description 
PU 
PU SEL # 
REAR 
R+C 
CENTER 
C+F 
FRONT 
ALL 
Simulates the sound produced when the rear pickup is used. 
Simulates the sound produced when both center and rear pickups are used. 
Simulates the sound produced when the center pickup is used. 
Simulates the sound produced when both center and front pickups are used. 
Simulates the sound produced when the front pickup is used. 
Simulates the sound produced when all pickups are used. 
VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound. 
TONE # 0–100 Adjusts the tone. The standard value is 100; lowering the value creates a softer tone. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 


Editing the Tones (TONE) 

Editing the Tones (TONE) 

STEEL 


Group Parameter Value Description 
BODY 
BODY TYPE # 
Specifies the acoustic guitar type. 
MA28 The sound of a Martin D-28. Older model known for its exquisitely balanced sound. 
TRP-0 The sound of a Martin 000-28. This model features a full low-end resonance and crisp, 
distinct contour. 
GB45 The sound of a Gibson J-45. This vintage model features a unique, seasoned tone with 
good response. 
GB SML The sound of a Gibson B-25. Featuring a compact body, this vintage model is often 
used in blues. 
GLD40 The sound of a Guild D-40. This model features warm resonance from the body along 
with a delicate string resonance. 
BODY 0–100 Adjusts the body resonation. Raising the value produces more of a sense of the guitar 
body in the sound. Lower the value in conditions where feedback is prone to occur. 
TONE # -50–+50 Adjusts the tone of the body. The standard value is 0; raising the value boosts the high 
range. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 

NYLON 


Group Parameter Value Description 
BODY # 0–100 Adjusts the body resonation. Raising the value produces more of a sense of the guitar 
body in the sound. Lower the value in conditions where feedback is prone to occur. 
BODY ATTACK 0–100 Specifies the strength of the attack when you pluck the string strongly. As this setting 
is increased, the attack will be sharper, and the sound will be crisper. 
TONE # -50–+50 Adjusts the tone of the body. The standard value is 0; raising the value boosts the high 
range. 

SITAR 


Group Parameter Value Description 
BODY 
PU SEL # 
FRONT 
R+F 
REAR 
PIEZO 
Simulates the sound produced when the front pickup is used. 
Simulates the sound produced when both rear and front pickups are used. 
Simulates the sound produced when the rear pickup is used. 
Simulates the sound produced when the piezo pickup is used. 
SENS 0–100 Adjusts the input sensitivity. 
BODY 0–100 Adjusts the body resonation. Raising the value produces more of a sense of the guitar 
body in the sound. Lower the value in conditions where feedback is prone to occur. 
COLOR 0–100 Adjusts the overall tone quality of the sitar. 
DECAY 0–100 Adjusts the time it takes following the attack for the tone to change. 
BUZZ 0–100 Adjusts the amount of characteristic buzz produced by the buzz bridge when the 
strings make contact with it. 
ATTACK LEVEL 0–100 Adjusts the volume level of the attack. 
TONE # -50–+50 Adjusts the tone of the body. The standard value is 0; raising the value boosts the high 
range. 


Editing the Tones (TONE) 

Editing the Tones (TONE) 

Group Parameter Value Description 
ATTACK # 0–100 
Specifies the strength of the attack when you pluck the string strongly. As this setting 
is increased, the attack will be sharper, and the sound will be crisper. 
BODY RESO 0–100 Adjusts the body resonation. The resonation increases as the value is raised. 
TONE # -50–+50 Adjusts the tone of the body. The standard value is 0; raising the value boosts the high 
range. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 

RESO 


Group Parameter Value Description 
BODY 
SUSTAIN 0–100 
You can specify how the resulting volume will be affected by changes (loud/soft 
dynamics) in the guitar string vibrations that are input. 
Adjusts the range (time) over which low-level signals are boosted. Larger values will 
result in longer sustain. 
RESO # 0–100 Adjusts the body resonation. The resonation increases as the value is raised. 
TONE # -50–+50 Adjusts the tone of the body. The standard value is 0; raising the value boosts the high 
range. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 

E.BASS 


JB, VINT JB, T-BIRD 


Group Parameter Value Description 
REAR VOL 0–100 Sets the volume of the rear pickup. 
PU 
FRONT VOL 0–100 Sets the volume of the front pickup. 
VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound. 
TONE # 0–100 Adjusts the tone. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 

PB, VINT PB 


Group Parameter Value Description 
PU 
VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound. 
TONE # 0–100 Adjusts the tone. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 

M-MAN 


Group Parameter Value Description 
TREBLE # -50–+50 Adjusts the tone for the high frequency range. 
PU BASS # 0–100 Adjusts the tone for the low frequency range. 
VOLUME 0–100 Sets the volume. With a setting of 0, there will be no sound. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 


34 
Editing the Tones (TONE) 
RICK 
Group Parameter Value Description 
PU 
REAR VOL 0–100 Sets the volume of the rear pickup. 
FRONT VOL 0–100 Sets the volume of the front pickup. 
REAR TONE 0–100 Adjusts the tone of the rear pickup. 
FRONT TONE 0–100 Adjusts the tone of the front pickup. 
VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound. 
PU SEL # 
REAR Simulates the sound produced when the rear pickup is used. 
R+F Simulates the sound produced when both rear and front pickups are used. 
FRONT Simulates the sound produced when the front pickup is used. 
NS 
34 
Editing the Tones (TONE) 
RICK 
Group Parameter Value Description 
PU 
REAR VOL 0–100 Sets the volume of the rear pickup. 
FRONT VOL 0–100 Sets the volume of the front pickup. 
REAR TONE 0–100 Adjusts the tone of the rear pickup. 
FRONT TONE 0–100 Adjusts the tone of the front pickup. 
VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound. 
PU SEL # 
REAR Simulates the sound produced when the rear pickup is used. 
R+F Simulates the sound produced when both rear and front pickups are used. 
FRONT Simulates the sound produced when the front pickup is used. 
NS 
ACTIVE 
Group Parameter Value Description 
PU 
REAR VOL 0–100 Sets the volume of the rear pickup. 
FRONT VOL 0–100 Sets the volume of the front pickup. 
TREBLE # 0–100 Adjusts the tone for the high frequency range. 
BASS # 0–100 Adjusts the tone for the low frequency range. 
VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 
VIOLIN 
Group Parameter Value Description 
PU 
REAR VOL 0–100 Sets the volume of the rear pickup. 
FRONT VOL 0–100 Sets the volume of the front pickup. 
VOLUME 0–100 Sets the overall bass volume level. With a setting of 0, there will be no sound. 
TREBLE ON # OFF, ON Switches the rear pickup on/off. 
BASS ON # OFF, ON Switches the front pickup on/off. 
RHYTHM/SOLO # 
RHYTHM Selects a lower volume suitable for backing. 
SOLO Selects a higher volume suitable for soloing. 
NS Refer to the NS section of the table for the “CLA-ST, MOD-ST, ST” model in the “E.GTR” section (p. 31). 

Editing the Tones (TONE) 

Editing the Tones (TONE) 

ANALOG-GR 


Group Parameter Value Description 
TONE 
MODE # 
Specifies whether to sound the hexa-VCO (sawtooth wave), the hexa-distortion (square wave), or both. 
VCO Only the hexa-VCO will sound. 
V+D The hexa-VCO and hexa-distortion will sound together. 
DIST Hexa-distortion will sound. 
COMP OFF, ON 
If this is “ON,” the decay time of the hexa-VCO will be extended. If ENV MOD SW is “ON,” 
the decay time of the VCF (variable frequency filter) will also be extended. 
* The decay time of the hexa-distortion will not be extended 
FILTER CUTOFF # 0–100 Adjusts the VCF cutoff frequency, specifying the brightness of the sound. Higher 
settings will make the sound brighter. 
FILTER RESO # 0–100 
Adjusts the VCF resonance (unique characteristics). Higher settings will boost the 
sound in the region of the cutoff frequency, producing a sound with more distinctive 
characteristics. 
ENV 
This automatically varies the VCF cutoff frequency according to the amplitude of the string vibrations. This causes a wah-like tonal change each time you 
pluck the string. 
ENV MOD SW 
OFF 
ON 
INV 
The envelope modulator will not be used. 
Each time you pluck the string, the VCF cutoff frequency will move from high toward 
low, producing a “wah” effect. 
MEMO 
Extremely high cutoff frequency settings will make this effect difficult to discern. 
Each time you pluck the string, the VCF cutoff frequency will move from low toward 
high, producing an “oo-ahh” that is the opposite of the “wah” effect. 
MEMO 
Fairly high cutoff frequency settings will make this effect easier to discern. 
ENV MOD SENS 0–100 
Adjusts the input sensitivity of the envelope modulation. Higher settings of this value 
will increase the range of envelope modulation that occurs when you pluck a string 
softly. 
MEMO 
Listen to how the sound is affected while you adjust this parameter. Start with the 
setting at about “0,” and play while you gradually raise the value. 
Setting ENV MOD ATTACK to “0” will make it easier to hear the change. 
ENV MOD ATTACK 0–100 
Adjusts the attack time of the envelope modulation that occurs when you play a 
string. 
Higher values produce a slower attack. 


Editing the Tones (TONE) 

Editing the Tones (TONE) 
Parameter Value Description 
PITCH 
PITCH SW 
Switches the pitch shift setting of the hexa-VCO that responds to the pitch of the string vibrations. 
* Pitch shift applies only to the hexa-VCO; it does not apply to hexa-distortion 
If you want to use the pitch shift function, set MODE to “VCO” or “V+D ” 
OFF The pitch of the original sound will be unmodified. 
A The pitch shift specified by PITCH A and PITCH A FINE will be applied. 
B The pitch shift specified by PITCH B and PITCH B FINE will be applied. 
PITCH A/B 
Adjusts the amount of pitch shift. 
* This is effective when PITCH SW is set to anything other than “OFF ” 
* The final amount of pitch shift is the sum of PITCH and PITCH FINE 
-12–+12 
Specifies the amount of pitch shift for PITCH A/B relative to the original pitch, in 
semitones. A setting of “-12” is one octave down, and a setting of “+12” is one octave 
up. 
PITCH A/B FINE 
Adjusts the amount of pitch shift. 
* This is effective when PITCH SW is other than “OFF ” 
* The final amount of pitch shift is the sum of PITCH and PITCH FINE 
-50–+50 
Applies a fine adjustment to the PITCH A/B pitch. A setting of “-50” is half a semitone 
lower, and “+50” is half a semitone higher. This fine setting allows DUET to be used 
effectively. 
DUET OFF, ON 
If this is “ON,” a sawtooth wave at the same pitch as the original sound will be added to 
the hexa-VCO, making the sound richer. 
MEMO 
By setting the hexa-VCO’s pitch shift to a PITCH setting such as +/-12 (an octave 
up/down), +/- 7 (a perfect fifth), or +/-5 (a perfect fourth), you can create thick, 
synthesizer-like sounds. 
By setting PITCH FINE to about “+/-5” to slightly skew the pitch shift of the hexa-VCO, 
you can give the sound greater depth. 
This is a Sweep function that smoothly changes the amount of shift when you use PITCH SW to vary the amount of pitch shift. 
SWEEP SW OFF, ON 
Turns the Sweep function on/off. 
MEMO 
Normally, you’ll use Control Assign to control PITCH SW, and use the control to operate 
PITCH SW. 
The Sweep function is effective when you operate PITCH SW to change the pitch shift 
amount for the hexa-VCO. 
It does not operate on changes that occur in the input pitch while the pitch shift 
amount is unchanged. 
SWEEP RISE and SWEEP FALL have no effect if SWEEP SW is “OFF.” 
SWEEP RISE 0–100 Adjusts the time over which movement to a higher pitch will occur. 
If this is “0,” the change will occur instantly; higher values produce slower change. 
SWEEP FALL 0–100 Adjusts the time over which movement to a lower pitch will occur. 
If this is “0,” the change will occur instantly; higher values produce slower change. 
VIBRATO 
Allows you to apply electronic vibrato to the hexa-VCO. 
VIBRATO SW OFF, ON 
Turns the vibrato effect on/off. 
MEMO 
If you make Control Assign settings to control VIBRATO SW, you’ll be able to add 
powerful vibrato by turning VIBRATO SW “ON” when desired during your performance. 
* You can’t apply vibrato to the hexa-distortion 
VIBRATO RATE 0–100 Specifies the vibrato rate. 
Higher values produce faster vibrato. 
VIBRATO DEPTH 0–100 Specifies the vibrato depth. 
With a setting of “0” there will be no vibrato. Higher values produce deeper vibrato. 


37 
Editing the Tones (TONE) 
WAVE SYNTH 
Parameter Value Description 
TYPE # 
SAW This is an analog-synth type sound suitable for leads. 
SQUARE This is an analog-synth type sound suitable for backing. 
COLOR # 0–100 Adjusts the tone quality. Increasing this value makes the sound brighter. 
FILTER BASS 
Parameter Value Description 
FILTER CUTOFF # 0–100 Adjusts the cutoff frequency, setting the brightness (hardness) of the sound. The sound gets brighter 
(harder) as the value is raised. 
FILTER RESO # 0–100 Adjusts the resonance (distinctiveness of the sound). As the value is increased, sounds in the frequency 
range near the cutoff frequency are boosted, making the sound more distinctive and unique. 
FILTER DECAY 0–100 
This sets the speed at which the filter stops. The speed increases as the value of the setting is reduced. 
* The FILTER DECAY effect cannot be obtained if the TOUCH SENS value is too low 
TOUCH SENS 0–100 
This sets the sensitivity when the filter is shifted according to the playing. The shifting of the filter 
caused by the playing increases as the value is raised. 
When the value is set to “0,” the filter remains set, with no movement. 
COLOR # 0–100 Adjusts the strength of the low range. As the value is increased, the low range will become stronger. 
CRYSTL 
Parameter Value Description 
ATTACK LENGTH 0–100 This sets the decay time for the attack portion of the sound. A smaller setting results in a shorter attack. 
MOD TUNE 0–100 This sets the tuning for the modulation applied to the attack. 
MOD DEPTH # 0–100 This sets the depth of the modulation applied to the attack. Larger values result in deeper undulations. 
ATTACK LEVEL # 0–100 This sets the volume level of the attack portion. 
BODY LEVEL # 0–100 This sets the volume level for the sustained portion of the sound. 
SUSTAIN 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer 
sustain. 
ORGAN 
Parameter Value Description 
FEET16 # 0–100 This is a long tone at the same pitch as the guitar. 
FEET8 # 0–100 This is a long tone one octave higher than the guitar. 
FEET4 # 0–100 This is a long tone two octave higher than the guitar. 
SUSTAIN 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer 
sustain. 
BRASS 
Parameter Value Description 
FILTER CUTOFF # 0–100 
Adjusts the cutoff frequency, setting the brightness (hardness) of the sound. The 
sound gets brighter (harder) as the value is raised. 
FILTER RESO # 0–100 Adjusts the resonance (distinctiveness of the sound). As the value is increased, sounds in the frequency 
range near the cutoff frequency are boosted, making the sound more distinctive and unique. 
TOUCH SENS # 0–100 
This sets the sensitivity when the filter is shifted according to the playing. The shifting of the filter 
caused by the playing increases as the value is raised. 
When the value is set to “0,” the filter remains set, with no movement. 
SUSTAIN 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer 
sustain. 

Effect Settings (EFFECT) 


The GR-55 contains seven effects processors (AMP, MFX, MOD, CHORUS, DELAY, REVERB, EQ), which are organized as shown in the illustration below. 
(The illustration is for Structure 1.) 

PCM TONE 1 EQ 
Equalizer 
MODELING TONE 
AMP 
Preamp 
MFX 
Multi-effect 
PCM TONE 2 
CHORUS 
NORMAL PICKUP 
DELAY REVERB 
MOD 
Guitar effects 
By internally connecting effects to the PCM tones and the modeling tone that make up the patch, you can create a broad range of sounds. 
Switching the Effect Type 
Effects are already applied to the patches built into the GR-55. By 
editing these settings, you can change the sound to your taste. 

1. Select the patch whose effect settings you want to edit (p 16) 
2. Press the [EDIT] button to access the EDIT screen 
3. Use the PAGE [ ] [ ] buttons to select the EFFECT tab 
The screen shows the effects that are applied to the currently selected 
patch. 

4. Turn an effect on/off 
5. Switch the effect type 
Use the cursor buttons to select the effect whose type you 
want to change, and use the dial to switch the effect type. 
The effect types are listed as shown in the illustration. 


6. Press the [ENTER] button 
7. When you’ve finished editing, press the [EXIT] button 
8. If you want to keep the changes you made, save the patch 
(p 60) 
Use the cursor buttons to select an effect, and use the dial to 
turn that effect on /off . 

Editing the Effects 
Editing the Effects 
Here’s how to edit the effect settings. 
For details on these settings, refer to “Effect Editing (Detailed Settings)” 


(p. 39). 
Basic operation 

1. In step 3 of “Switching the Effect Type,” move the cursor to 
the EFFECT LEVEL field 
You can use the dial to adjust the volume of the effect. 

2. Press the cursor [ ] button 
The editable parameters for each effect are displayed. 

3. Edit the parameters 
Use the cursor buttons to select the effect parameter that you want 
to edit. 
Use the dial to edit the value. 
MEMO 
This screen shows the parameters that are marked with a “#” symbol in the 
parameter list (p. 41 –). The parameters that can be edited will differ depending on 
the effect. 

4. When you’ve finished editing, press the [EXIT] button 
5. If you want to keep the changes you made, save the patch 
(p 60) 
MEMO 
If you want to adjust the overall volume of the patch, use the cursor 
buttons to select the PATCH LEVEL field, and use the dial to edit the 
value. 

Value: 0–200 

Effect Settings (EFFECT) 

Effect Editing (Detailed Settings) 
Here’s how to make detailed changes to the effect settings. 

Basic operation 

1. In step 5 of “Switching the Effect Type,” select the effect that 
you want to edit 
2. Press the [ENTER] button 
The EFFECT EDIT screen will appear. 

3. Edit the parameters 
Use the PAGE [ ] [ ] buttons 
to switch between tabs. 
Use the cursor [ ] [ ] buttons to select the parameter that you want 
to edit, and use the dial to edit the value of the parameter. 
By holding down the cursor [ ] [ ] buttons simultaneously you can 
make the cursor move faster. 
For details on each parameter, refer to “Parameter List (EFFECT)” (p. 41). 
4. When you’ve finished editing, press the [EXIT] button 
5. If you want to keep the changes you made, save the patch 
(p 60) 

Effect Settings (EFFECT) 
Changing the Structure/Specifying 
the Connection Destination 

Effect Settings (EFFECT) 
Changing the Structure/Specifying 
the Connection Destination 
If you want to change the way in which the effects are arranged, you 
can switch the structure. 

The GR-55 provides two structures, which have the following features. 

STRUCTURE 1 
This structure uses AMP+MOD and MFX in parallel. 
Use this structure when you want to apply the effects 
separately; the MFX effect to the synthesizer sound, and 
the AMP+MOD effects to the guitar modeling sound. 
STRUCTURE 2 
This structure connects AMP+MOD and MFX in series. 
Use this structure when you want to apply the MFX effect 
to the entire patch, and both the AMP+MOD effects and 
the MFX effect to the guitar modeling sound. 
1. In step 5 of “Switching the Effect Type,” select the effect that 
you want to edit 
2. Press the [ENTER] button 
The EFFECT EDIT screen will appear. 

Changing the structure 

3. Use the PAGE [ ] [ ] buttons to select the STRUCT tab 
4. Use the cursor buttons to move the cursor to the position 
shown in the illustration 
5. Use the dial to change the structure 
Specifying the connection destination of the tones 

6. Use the cursor buttons to move the cursor to the position 
shown in the illustration 
If the border is a dashed line, the tone switch is 
turned off. You can set the tone switch in the TONE 
tab of the EDIT screen (p. 23). 
7. Use the dial to change the connection destination of the 
tone 
Setting Description 
BYPS The tone will not use MFX, AMP, or MOD. 
AMP The tone is connected to AMP. 
MFX The tone is connected to MFX. 

8. When you’ve finished editing, press the [EXIT] button 
9. If you want to keep the changes you made, save the patch 
(p 60) 
10. 

Parameter List (EFFECT) 
Parameter List (EFFECT) 

* Company names and product names appearing in this document 
are the registered trademarks or trademarks of their respective 
owners This document uses these names in order to appropriately 
describe the sounds simulated by COSM technology 

About the RATE and DELAY TIME parameters 
If you choose “BPM” for these parameters, the value of the parameter will be 
determined by the “PATCH TEMPO” (p. 58) specified for each patch. This makes it 
easy to create an effect sound that is synchronized to the tempo of the song. 
AMP 


Group Parameter Value Description 
TYPE 
SWITCH OFF, ON Turns the AMP OFF/ON. 
TYPE Refer to 
“AMP Type“ Specifies the AMP type. 
GAIN # 0–120 Adjusts the distortion of the 
amp. 
LEVEL 0–100 
Adjusts the overall volume of 
the preamp. Take care not to 
raise LEVEL excessively. 
GAIN SW 
LOW, 
MIDDLE, 
HIGH 
Switches the amount of the 
amp’s distortion in three 
levels. LOW, MIDDLE, and HIGH 
provide progressively greater 
distortion. 
SOLO SW OFF, ON Switches to a sound suitable 
for solos. 
SOLO LEVEL 0–100 Adjusts the volume when SOLO 
SW is “ON.” 
TONE 
BASS # 0–100 Adjusts the tone for the low 
frequency range. 
MIDDLE # 0–100 Adjusts the tone for the middle 
frequency range. 
TREBLE # 0–100 Adjusts the tone for the high 
frequency range. 
PRESENCE 0–100 
Adjusts the tone for the ultra 
high frequency range. 
When VO DRIVE, VO LEAD, 
VO CLEAN, MATCH DRIVE, 
FAT MATCH, or MATCH LEAD 
is selected for TYPE, the 
PRESENCE parameter functions 
as a high cut filter. 
BRIGHT 
The BRIGHT parameter setting is only available 
when BOSS CLEAN, JC-120, JAZZ COMBO, 
CLEAN TWIN, PRO CRUNCH, TWEED, BOSS 
CRUNCH, BLUES, STACK CRUNCH, BG LEAD, BG 
DRIVE, or BG RHYTHM is selected. 
OFF BRIGHT is not used. 
ON BRIGHT is switched on to create 
a lighter and crisper tone. 

Group Parameter Value Description 
SP/MIC 
SPEAKER TYPE 
Selects the speaker type. 
OFF Turns off the speaker simulator. 
ORIGIN The built-in speaker of the amp 
you selected with AMP TYPE. 
1x8” An open-back speaker cabinet 
with one 8-inch speaker. 
1x10” An open-back speaker cabinet 
with one 10-inch speaker. 
1x12” An open-back speaker cabinet 
with one 12-inch speaker. 
2x12” An open-back speaker cabinet 
with two 12-inch speakers. 
4x10” A closed-back speaker cabinet 
with four 10-inch speakers. 
4x12” A closed-back speaker cabinet 
with four 12-inch speakers. 
8x12” 
A double stack of two closedback 
cabinets, each with four 
12-inch speakers. 
MIC TYPE 
This setting selects the simulated microphone 
type. 
DYN57 
Models the Shure SM57, 
a general-use dynamic 
microphone used for 
instruments and vocals. 
Optimal for use in miking 
guitar amps. 
DYN421 
Models the Sennheiser MD421, 
a dynamic microphone with 
extended low end. 
CND451 
Models the AKG C451B, a 
small-diaphragm condenser 
microphone for use with 
instruments. 
CND87 
Models the Neumann U 87, a 
condenser microphone with 
flat response. 
FLAT Simulates a microphone with 
perfectly flat response. 
MIC DISTANCE 
Simulates the distance between the 
microphone and speaker. 
OFF MIC Microphone is placed at a 
distance from the speaker. 
ON MIC Microphone is placed so it’s 
near the speaker. 
MIC POSITION 
This simulates the microphone position. 
CENTER 
Microphone is set up so it’s 
pointed at the center of the 
speaker’s cone. 
1–10 
Microphone is positioned at 
the specified distance from the 
center of the speaker’s cone. 
MIC LEVEL 0–100 Adjusts the volume of the 
microphone. 


Effect Settings (EFFECT) 

Effect Settings (EFFECT) 

Value Description 
01: BOSS CLEAN A clean sound that is smooth and warm. 
02: JC-120 The sound of the Roland JC-120. 
03: JAZZ COMBO A sound suited to jazz. 
04: FULL RANGE A sound with flat response. 
Good for acoustic guitar. 
05: CLEAN TWIN Models a Fender Twin Reverb. 
06: PRO CRUNCH Models a Fender Pro Reverb. 
07: TWEED Models a Fender Bassman 4 x 10” Combo. 
08: DELUXE CRUNCH Models a Fender Deluxe Reverb. 
09: BOSS CRUNCH A crunch sound that faithfully reproduces picking 
nuances. 
10: BLUES A sound suited to blues. 
11: WILD CRUNCH A crunch sound with wild distortion. 
12: STACK CRUNCH A crunch sound with high gain. 
13: VO DRIVE Models the drive sound of a VOX AC-30TB. This is a 
sound that it suited to sixties-style British rock. 
14: VO LEAD Models the lead sound of the VOX AC-30TB. 
15: VO CLEAN Models the clean sound of the VOX AC-30TB. 
16: MATCH DRIVE 
Models the sound produced using the left input on a 
Matchless D/C-30, a modern tube amp widely used in 
styles from blues to rock. 
17: FAT MATCH Models the sound of a Matchless modified for high 
gain. 
18: MATCH LEAD Models the sound produced using the right input on a 
Matchless D/C-30. 
19: BG LEAD 
Models the lead sound of the Mesa/Boogie combo 
amp, a tube amp that was very popular in the late ‘70s 
and ‘80s. 
20: BG DRIVE Models a Mesa/Boogie with Treble Shift Switch on. 
21: BG RHYTHM Models the rhythm channel of a Mesa/Boogie combo 
amp. 
22: MS1959 I 
Models the sound produced using Input I on a 
Marshall 1959 Super Lead amp. This is a trebly sound 
suited to hard rock. 
23: MS1959 I+II 
The sound of connecting Inputs I and II of the Marshall 
1959 amp in parallel, creating a sound with a stronger 
low end than I. 
24: MS HIGAIN Models the sound of a Marshall modified with a 
midrange boost. 
25: MS SCOOP This is a Marshall sound that’s been tweaked for a 
metal sound. 
26: R-FIER VINTAGE Models the sound of the Channel 2 VINTAGE Mode on 
the Mesa/Boogie DUAL Rectifier. 
27: R-FIER MODERN Models the sound of the Channel 2 MODERN Mode on 
the Mesa/Boogie DUAL Rectifier. 
28: R-FIER CLEAN Models the sound of the Channel 1 CLEAN Mode on 
the Mesa/Boogie DUAL Rectifier. 
29: T-AMP LEAD Models AMP3 on a Hughes & Kettner TriAmp. 
30: T-AMP CRUNCH Models AMP2 on a Hughes & Kettner TriAmp. 
31: T-AMP CLEAN Models AMP1 on a Hughes & Kettner TriAmp. 
32: BOSS DRIVE A drive sound producing awesome distortion. 
33: SLDN Models a Soldano SLO-100, a very popular tube amp 
in the 1980s. 
34: LEAD STACK A lead sound with high gain. 
35: HEAVY LEAD A powerful lead sound featuring extreme distortion. 
36: BOSS METAL A metal sound suited to heavy riffs. 
37: 5150 DRIVE Models the lead channel of a Peavey EVH 5150. 
38: METAL LEAD A lead sound suited to metal. 
39: EDGE LEAD A sharp sound suited for lead play. 
40: BASS CLEAN A clean sound that is great for use with bass guitars. 

Value Description 
41: BASS CRUNCH A crunch sound with natural distortion that sounds 
great with bass guitars. 
42: BASS HIGAIN A high-gain sound suitable for use with bass guitars. 

MOD 


Group Parameter Value Description 
SWITCH OFF, ON Turns MOD OFF/ON. 
TYPE PAN L50–R50 
Adjusts the pan position. 
The PAN parameter is valid even if 
SWITCH is “OFF.” 
EFFECT TYPE Refer to 
“MOD Type“ Specifies the MOD type. 
SWITCH OFF, ON Turns the noise suppressor on/off. 
NS 
THRESHOLD 0–100 
Adjusts the effect in response to the 
level of noise. 
A value of 0 switches off the noise 
suppressor. 
Setting this higher than necessary 
may cause no sound to be produced 
when the guitar is played at low 
volume. 
RELEASE 0–100 
Adjusts the time from when the noise 
suppressor begins to function until 
the noise level reaches “0.” 


Effect Settings (EFFECT) 

Effect Settings (EFFECT) 

01: OD/DS 
Parameter Value Description 
TYPE 
Selects the type of effect. 
MID BOOST 
A booster with unique characteristics in the 
midrange. This produces a great sound for 
solos. 
CLEAN BOOST 
This can be used not only as a booster, but 
also can be used by itself to provide clean 
tones with punch. 
TREBLE BOOST A booster that has bright sound 
characteristics. 
BLUES OD 
The crunch sound of the BOSS BD-2. 
A unique overdrive that faithfully reproduces 
the nuances of picking. 
CRUNCH 
A brilliant crunch sound to which the 
distortion elements of an amp have been 
added. 
NATURAL OD Produces the natural sounding distortion of 
a slightly overdriven amp. 
OD-1 The sound of the BOSS OD-1. It produces 
sweet, mild distortion. 
T-SCREAM Models an Ibanez TS-808. 
TURBO OD The high-gain overdrive sound of the BOSS 
OD-2. 
WARM OD A warm overdrive. 
DISTORTION A basic, traditional distortion sound. 
MILD DS Produces a mild distortion. 
MID DS Distortion that emphasizes the midrange. 
RAT Models a ProCo RAT. 
GUV DS Models a Marshall Guv’nor. 
DST+ Models an MXR Distortion Plus. 
MODERN DS The deep distortion sound of a large 
stack-type amp. 
SOLID DS A distortion sound that has a lot of edge. 
STACK A fat sound to which the distortion elements 
of a stack amp have been added. 
LOUD This distortion sound is ideal for performing 
heavy riffs. 
METAL ZONE 
The sound of the BOSS MT-2. It produces a 
wide range of metal sounds, from old style 
to slash metal. 
LEAD 
Produces a distortion sound with the 
smoothness of an overdrive along with a 
deep distortion. 
60S FUZZ Models a Fuzz Face. It produces a fat fuzz 
sound. 
OCT FUZZ Models an Ace Tone FUZZ. 
MUFF FUZZ Models an Electro-Harmonix Big Muff p. 
DRIVE # 0–120 Adjusts the intensity of the distortion. 
TONE # -50– +50 Adjusts the brightness of the sound. 
LEVEL 0–100 Adjusts the volume level for OD/DS. 

02: WAH 
Parameter Value Description 
MODE # 
Selects the wah mode. 
MANUAL (*3) You can use an expression pedal to control 
wah. 
T.UP Produces a wah effect matched to the 
intensity of picking. T.DOWN 
TYPE (*1) 
Selects the type of wah. 
CRY WAH Models the sound of the CRY BABY wah 
pedal popular in the ‘70s. 
VO WAH Models the sound of the VOX V846. 
FAT WAH This is a wah sound featuring a bold tone. 
LIGHT WAH This wah has a refined sound with no 
unusual characteristics. 
7STRING WAH 
This expanded wah features a variable range 
compatible with seven-string and baritone 
guitars. 
RESO WAH 
This completely original effect offers 
enhancements on the characteristic 
resonances produced by analog synth filters. 
PEDAL POSITION 
(*1) 0–100 
Adjusts the position of the wah pedal. 
This parameter will change when you 
operate the expression pedal. 
SENS (*2) 0–100 Adjusts the sensitivity of response to the 
input sound. 
FREQUENCY (*2) 0–100 Adjusts the center frequency of the Wah 
effect. 
PEAK (*2) 0–100 Adjusts the intensity of the wah sound. 
LEVEL 0–100 Adjusts the volume level of the effect. 

(*1) Setting available with MODE set to “MANUAL.” 
(*2) Setting available with MODE set to “T.UP” or “T.DOWN.” 


(*3) Assign the controller to the expression pedal. 
As the assigned parameter, set the PEDAL/GK CTL setting EXP-FUNCTION to“MOD 
CONTROL” (p. 57). 


03: COMP 
Parameter Value Description 
SUSTAIN # 0–100 Adjusts the sustain for the sound. 
ATTACK # 0–100 Adjusts the attack (onset) of the sound. 
LEVEL 0–100 Adjusts the volume level of the effect. 

04: LIMITER 
Parameter Value Description 
THRESHOLD # 0–100 When the input signal level exceeds the level 
set here, limiting will be applied. 
RELEASE # 0–100 Adjusts the release time. 
LEVEL 0–100 Adjusts the volume level of the effect. 

05: OCTAVE 
Parameter Value Description 
OCTAVE LEVEL 0–100 
Adds sound one octave lower than the input, 
giving a weighty feel to the sound. Play single 
notes, with the other strings muted completely. 
This parameter specifies the volume of the 
octave-lowered sound. 
DIRECT LEVEL # 0–100 Adjusts the volume level of the direct sound. 


44 
Effect Settings (EFFECT) 
06: PHASER 
07: FLANGER 
08: TREMOLO 
09: ROTARY 
10: UNI-V 
11: PAN 
12: DELAY 
13: CHORUS 
Parameter Value Description 
TYPE 
Selects the number of stages that the phaser effect uses. 
4 STAGE A four-phase effect. A light phaser effect 
is obtained. 
8 STAGE An eight-phase effect. This is the most 
common phaser effect. 
12 STAGE A twelve-phase effect. A deep phase 
effect is obtained. 
BI-PHASE A phaser with two phase-shift circuits 
connected in series. 
RATE # 0–100, BPM – Adjusts the speed of the effect. 
DEPTH # 0–100 Adjusts the richness of the effect. 
RESONANCE # 0–100 Adjusts the intensity of the effect. 
LEVEL 0–100 Adjusts the volume level of the effect. 
Parameter Value Description 
RATE # 
0–100, 
BPM – 
Adjusts the speed of the effect. 
DEPTH # 0–100 Adjusts the richness of the effect. 
MANUAL # 0–100 Adjusts the modulation frequency of the 
flanger effect. 
RESONANCE # 0–100 Adjusts the intensity of the effect. 
LEVEL 0–100 Adjusts the volume level of the effect. 
Parameter Value Description 
RATE # 
0–100, 
BPM – 
Adjusts the speed of the effect. 
DEPTH # 0–100 Adjusts the intensity of the effect. 
WAVE SHAPE # 0–100 
Adjusts the curve for changes in the volume 
level. A higher value makes the change more 
abrupt. 
LEVEL 0–100 Adjusts the volume level of the effect. 
Parameter Value Description 
RATE SLOW # 
0–100, 
BPM – 
Adjusts the rate of modulation when SPEED 
SELECT is “SLOW.” 
RATE FAST # 
0–100, 
BPM – 
Adjusts the rate of modulation when SPEED 
SELECT is “FAST.” 
DEPTH # 0–100 Adjusts the richness of the effect. 
SPEED SELECT 
# SLOW, FAST Changes the rotation speed of the simulated 
speaker. 
LEVEL 0–100 Adjusts the volume level of the effect. 
Parameter Value Description 
RATE # 
0–100, 
BPM – 
Adjusts the speed of the effect. 
DEPTH # 0–100 Adjusts the richness of the effect. 
LEVEL 0–100 Adjusts the volume level of the effect. 
Parameter Value Description 
RATE # 
0–100, 
BPM – 
Adjusts the rate of change in the pan position. 
DEPTH # 0–100 Adjusts the intensity of the change in the pan 
position. 
WAVE SHAPE # 0–100 Adjusts the curve for pan position changes. 
Higher values produce steeper change. 
LEVEL 0–100 Adjusts the volume level of the effect. 
Parameter Value Description 
TYPE 
Use this to choose the type of delay. 
SINGLE A simple monaural delay. 
PAN Provides a tap delay effect that divides the 
delay time between the left and right channels. 
STEREO 
The direct sound is output from the left 
channel, and the effect sound is output from 
the right channel. 
REVERSE Produces the effect of playback in reverse. 
ANALOG Produces a mild analog delay sound. 
TAPE Provides the characteristic wavering sound of 
a tape echo. 
MODULATE A delay with a pleasant amount of modulation 
added. 
HICUT Produces a warm-sounding delay with the high 
frequencies attenuated. 
TIME # 
1–3400 msec, 
BPM – 
Adjusts the delay time. 
FEEDBACK # 0–100 Adjusts the number of repetitions for the delay. 
EFFECT LEVEL 0–120 
Adjusts the volume level of the effect. 
When TYPE is set to “REVERSE,” this adjusts the 
balance of direct and effect sound. 
Parameter Value Description 
TYPE 
Use this to choose the type of chorus. 
MONO This chorus effect outputs the same sound from 
the left and right channels. 
STEREO 1 A stereo chorus effect that adds different 
chorus sounds to the left and right channels. 
STEREO 2 
This stereo chorus uses spatial synthesis, with 
the direct sound output in the left channel and 
the effect sound output in the right channel. 
MONO MILD Features a more suppressed high end than 
MONO. 
STEREO 1 
MILD 
Features a more suppressed high end than 
STEREO 1. 
STEREO 2 
MILD 
Features a more suppressed high end than 
STEREO 2. 
RATE # 
0–100, 
BPM – 
Adjusts the speed of the effect. 
DEPTH # 0–100 Adjusts the richness of the effect. 
EFFECT LEVEL 0–100 Adjusts the volume level of the effect. 

Effect Settings (EFFECT) 

Effect Settings (EFFECT) 
EQ 
LOW GAIN LO-MID GAIN HI-MID GAIN HIGH GAIN 

MFX 
Frequency 

LO-MID FREQ HI-MID FREQ 

Group Parameter Value Description 
SWITCH OFF, ON Turns MFX OFF/ON. 
Name of 
MFX type 
indicated 
PAN L50–R50 
Adjusts the pan position. 
The PAN parameter is valid even if 
SWITCH is “OFF.” 
EFFECT TYPE Refer to “MFX 
Type” Specifies the MFX type. 

Parameter Value Description 
LOW CUT FLAT, 
55–800 Hz 
Specifies the frequency at which the low 
cut filter begins to take effect. When FLAT is 
selected, the low cut filter will have no effect. 
LOW GAIN # -20–+20 dB Adjusts the low frequency range tone. 
LO-MID FREQ 20.0 Hz– 
10.0 kHz 
Specifies the center of the frequency range that 
will be adjusted by the LO-MID GAIN. 
LO-MID Q 0.5–16 
Adjusts the width of the area affected by the EQ 
centered at the LO-MID FREQ. Higher values will 
narrow the area. 
LO-MID GAIN # -20–+20 dB Adjusts the low-middle frequency range tone. 
HI-MID FREQ 20.0 Hz– 
10.0 kHz 
Specifies the center of the frequency range that 
will be adjusted by the HI-MID GAIN. 
HI-MID Q 0.5–16 
Adjusts the width of the area affected by the EQ 
centered at the HI-MID FREQ. Higher values will 
narrow the area. 
HI-MID GAIN # -20–+20 dB Adjusts the high-middle frequency range tone. 
HIGH GAIN # -20–+20 dB Adjusts the high frequency range tone. 
HIGH CUT 
700 Hz– 
11.0 kHz, 
FLAT 
Specifies the frequency at which the high 
cut filter begins to take effect. When FLAT is 
selected, the high cut filter will have no effect. 
LEVEL -20–+20 dB Adjusts the overall volume of the equalizer. 

MFX Type 

01: EQ 
This EQ lets you modify the tone quality by adjusting the low range, two mid-ranges, 
and the high range. 

L in 


R in 


L outR out4-Band EQ4-Band EQ
Parameter Value Description 
LOW FREQ 200, 400 Hz Specifies the frequency of the 
low range. 
LOW GAIN # -15–+15 dB Adjusts the gain of the low 
range. 
MID1 FREQ 200–8000 Hz Adjusts the frequency of middle 
range 1. 
MID1 GAIN # -15–+15 dB Adjusts the gain of middle 
range 1. 
MID1 Q 0.5, 1.0, 2.0, 4.0, 8.0 
Specifies the width of middle 
range 1. 
Set a higher value for Q to 
narrow the range to be affected. 
MID2 FREQ 200–8000 Hz Adjusts the frequency of middle 
range 2. 
MID2 GAIN # -15–+15 dB Adjusts the gain of middle 
range 2. 
MID2 Q 0.5, 1.0, 2.0, 4.0, 8.0 
Specifies the width of middle 
range 2. 
Set a higher value for Q to 
narrow the range to be affected. 
HIGH FREQ 2000, 4000, 8000 Hz Specifies the frequency of the 
high range. 
HIGH GAIN # -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 


Effect Settings (EFFECT) 

Effect Settings (EFFECT) 
SUPER FILTER 03: PHASER 
This is a filter with an extremely sharp slope. The cutoff frequency can be varied This is a stereo phaser. A phase-shifted sound is added to the original sound and 
cyclically. modulated. 

L in 
Super Filter 
L out 


L in 


PhaserMix2-BandEQPhaser2-BandEQMix
L out 


R in 
Super Filter 
R out 


R in 


R out 


Parameter Value Description 
FILTER TYPE # 
Selects the type of filter. 
Specifies the frequencies allowed to pass through the 
filter. 
LPF Frequencies below the cutoff 
BPF Frequencies in the region of the 
cutoff 
HPF Frequencies above the cutoff 
NOTCH Frequencies other than the 
region of the cutoff 
FILTER SLOPE 
Specifies the slope of the filter (steepness, in terms of the 
attenuation per octave). 
-12 dB Gentle 
-24 dB Steep 
-36 dB Extremely steep 
FILTER CUTOFF # 0–100 
Adjusts the cutoff frequency of 
the filter. 
Increasing this value will raise the 
cutoff frequency. 
FILTER 
RESONANCE # 0–100 
Adjusts the filter resonance level. 
Increasing this value will 
emphasize the region near the 
cutoff frequency. 
FILTER GAIN # 0–+12 dB Adjusts the amount of boost for 
the filter output. 
MODULATION SW OFF, ON This is the on/off switch for cyclic 
change. 
MODULATION WAVE 
Specifies how the cutoff frequency will be modulated. 
TRI Triangle wave 
SQR Square wave 
SIN Sine wave 
SAW1 Sawtooth wave (upward) 
SAW2 Sawtooth wave (downward) 
SAW1 
SAW2 
RATE 0–100, BPM – Adjusts the rate of modulation. 
DEPTH 0–100 Adjusts the depth of modulation. 
ATTACK 0–100 
Adjusts the speed at which the 
cutoff frequency will change. 
This is effective if MODULATION 
WAVE is SQR, SAW1, or SAW2. 
LEVEL 0–100 Adjusts the output volume. 

Parameter Value Description 
MODE 
4-STAGE, 
8-STAGE, 
12-STAGE 
This sets the number of stages in 
the phaser. 
MANUAL # 0–100 
Adjusts the basic frequency 
from which the sound will be 
modulated. 
RATE # 0–100, BPM – 
Adjusts the rate of the 
modulation. 
DEPTH # 0–100 Adjusts the depth of modulation. 
Selects whether the left and right phase of the modulation 
will be the same or the opposite. 
POLARITY INVERSE 
The left and right phase will be 
opposite. When using a mono 
source, this spreads the sound. 
SYNCHRO 
The left and right phase will 
be the same. Select this when 
inputting a stereo source. 
RESONANCE # 0–100 Adjusts the amount of feedback. 
CROSS 
FEEDBACK -98–+98% 
Adjusts the proportion of the 
phaser sound that is fed back 
into the effect. Negative (-) 
settings will invert the phase. 
MIX 0–100 Adjusts the level of the phaseshifted 
sound. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 

04: STEP PHASER 
This is a stereo phaser. The phaser effect will be varied gradually. 

R inR outL inL outStep PhaserMix2-BandEQStep Phaser2-BandEQMix
Parameter Value Description 
MODE 
4-STAGE, 
8-STAGE, 
12-STAGE 
Specifies the number of stages in 
the phaser. 
MANUAL # 0–100 
Adjusts the basic frequency 
from which the sound will be 
modulated. 
RATE # 0–100, BPM – 
Adjusts the rate of the 
modulation. 
DEPTH 0–100 Adjusts the depth of modulation. 


47 
Effect Settings (EFFECT) 
05: RING MODULATOR 
This is an effect that applies amplitude modulation (AM) to the input signal, producing 
bell-like sounds. You can also change the modulation frequency in response to 
changes in the volume of the sound sent into the effect. 
L inR inL outR out06: TREMOLO 
Cyclically alters the volume. 
L inR inL outR out07: AUTO PAN 
Cyclically varies the stereo location of the sound. 
L inR inL outR outParameter Value Description 
POLARITY 
Selects whether the left and right phase of the modulation 
will be the same or the opposite. 
INVERSE 
The left and right phase will be 
opposite. When using a mono 
source, this spreads the sound. 
SYNCHRO 
The left and right phase will 
be the same. Select this when 
inputting a stereo source. 
RESONANCE # 0–100 Adjusts the amount of feedback. 
CROSS 
FEEDBACK -98–+98% 
Adjusts the proportion of the 
phaser sound that is fed back 
into the effect. Negative (-) 
settings will invert the phase. 
STEP RATE # 0–100, BPM – 
Adjusts the rate of the stepwise 
change in the phaser effect. 
MIX 0–100 Adjusts the level of the phase-
shifted sound. 
LOW GAIN -15–+15 dB Adjusts the gain of the low 
range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 
Ring Mod2-Band EQ2-Band EQRing ModParameter Value Description 
FREQUENCY # 0–127 Adjusts the frequency at which 
modulation is applied. 
SENS # 0–100 Adjusts the amount of frequency 
modulation applied. 
POLARITY 
Determines whether the frequency modulation moves 
towards higher frequencies or lower frequencies. 
UP Higher frequencies 
DOWN Lower frequencies 
LOW GAIN -15–+15 dB Adjusts the gain of the low 
frequency range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
frequency range. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the effect sound (W). 
LEVEL 0–100 Adjusts the output volume. 
Tremolo2-Band EQ2-Band EQTremoloParameter Value Description 
MOD WAVE # 
Specifies how the volume will be modulated. 
TRI Triangle wave 
SQR Square wave 
SIN Sine wave 
SAW1/2 Sawtooth wave 
SAW1SAW2RATE # 0–100, BPM – 
Adjusts the frequency of the 
change. 
DEPTH # 0–100 Adjusts the depth of the effect. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 
Auto Pan2-Band EQ2-Band EQAuto PanParameter Value Description 
MOD WAVE 
Specifies how the pan position will be varied. 
TRI Triangle wave 
SQR Square wave 
SIN Sine wave 
SAW1/2 Sawtooth wave 
SAW1SAW2LRLRRATE # 0–100, BPM – 
Adjusts the frequency of the 
change. 
DEPTH # 0–100 Adjusts the depth of the effect. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 

48 
Effect Settings (EFFECT) 
08: SLICER 
By applying successive cuts to the sound, this effect turns a conventional sound into a 
sound that appears to be played as a backing phrase. This is especially effective when 
applied to sustain-type sounds. 
L inR inL outR outSlicerSlicerParameter Value Description 
PATTERN # P01–P20 Selects the slice pattern used to 
cut the sound. 
RATE # 0–100, BPM – 
Specifies the rate at which the 
16-step sequence will repeat. 
ATTACK # 0–100 Adjusts the speed at which the 
level changes between steps. 
INPUT SYNC SW OFF, ON 
Specifies whether an input 
note will cause the sequence to 
resume from the first step of the 
sequence (ON) or not (OFF). 
INPUT SYNC 
THRESHOLD 0–100 Adjusts the volume at which an 
input note will be detected. 
LEVEL 0–100 Adjusts the output volume. 
09: VK ROTARY 
This type provides modified response for the rotary speaker, with the low end boosted 
further. 
This effect features the same specifications as Roland VK-7 organ’s built-in rotary 
speaker. 
L outR outL inR inRotary2-Band EQ2-Band EQParameter Value Description 
SPEED 
This sets the rotational speed of the rotating speaker. 
SLOW Slow 
FAST Fast 
BRAKE OFF, ON 
Switches the rotation of the 
rotary speaker. 
When this is turned on, the 
rotation will gradually stop. When 
it is turned off, the rotation will 
gradually resume. 
WOOFER SLOW 
SPEED # 0–100 Adjusts the low-speed rotation 
speed of the woofer. 
WOOFER FAST 
SPEED # 0–100 Adjusts the high-speed rotation 
speed of the woofer. 
WOOFER TRANS UP 0–100 
Adjusts the rate at which the 
woofer rotation speeds up when 
the rotation is switched from 
SLOW to FAST. 
WOOFER TRANS 
DOWN 0–100 
Adjusts the rate at which the 
woofer rotation speeds up when 
the rotation is switched from 
FAST to SLOW. 
WOOFER LEVEL 0–100 Adjusts the volume of the woofer. 
TWEETER SLOW 
SPEED # 0–100 
These are the settings of the 
tweeter. The parameters are the 
same as for the woofer. 
TWEETER FAST 
SPEED # 0–100 
TWEETER TRANS UP 0–100 
TWEETER TRANS 
DOWN 0–100 
TWEETER LEVEL 0–100 
Parameter Value Description 
SPREAD 0–10 Specifies how the sound of the 
rotary speaker will be spread. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 
10: HEXA-CHORUS 
This type uses a six-phase chorus (six layers of chorused sound) to give richness and 
spatial spread to the sound. 
Balance WBalance WL inR inL outR outHexa ChorusBalance DBalance DParameter Value Description 
PRE DELAY 0.0–100 msec 
Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 
RATE # 0–100, BPM – 
Adjusts the rate of the 
modulation. 
DEPTH # 0–100 Adjusts the depth of modulation. 
PRE DELAY 
DEVIATION 0–20 
Adjusts the deviation with 
respect to the sounding of the 
various chorus sounds. 
DEPTH DEVIATION -20–+20 
Adjusts the difference in 
modulation depth between each 
chorus sound. 
PAN DEVIATION 0–20 
Adjusts the difference in stereo 
location between each chorus 
sound. 
With a setting of “0,” all of the 
sounds will be panned to the 
center. With a setting of “20,” each 
of the chorused sounds will be 
spread apart at 60 degree angles 
relative to the center. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 

Effect Settings (EFFECT) 

Effect Settings (EFFECT) 
SPACE-D 
This is a multiple chorus that applies two-phase modulation in stereo. It gives no 
impression of modulation, but produces a transparent chorus effect. 

Balance D 
L in 


L out2-BandEQSpace D 
Balance W 


2-BandEQSpace D 
Balance W 


R in 


R out 


Balance D 


Parameter Value Description 
PRE DELAY 0.0–100 msec 
Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 
RATE # 0–100, BPM – 
Adjusts the rate of the 
modulation. 
DEPTH # 0–100 Adjusts the depth of the 
modulation. 
PHASE 0–180 deg Adjusts the spatial spread of the 
sound. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 

12: FLANGER 
This is a stereo flanger. 
It produces a metallic resonance that’s comparable to the sound a jet plane makes 
when ascending/descending. A filter is provided so that you can adjust the timbre of 
the flanged sound. 


Balance D 
L in 


FlangerBalance W2-BandEQ
L out 


Feedback 
Feedback 


R in 


FlangerBalance WBalance D2-BandEQ
R out 


Parameter Value Description 
Selects the type of filter. 
OFF No filter is used. 
FILTER TYPE LPF Cuts the frequency range above 
the CUTOFF FREQ. 
HPF Cuts the frequency range below 
the CUTOFF FREQ. 
CUTOFF FREQ 200–8000 Hz 
Adjusts the center frequency 
when using the filter to cut a 
specific frequency range. 
PRE DELAY 0.0–100 msec 
Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is heard. 
RATE # 0–100, BPM – 
Adjusts the rate of the 
modulation. 
DEPTH # 0–100 Adjusts the depth of the 
modulation. 
PHASE 0–180 deg Adjusts the spatial spread of the 
sound. 

Parameter Value Description 
FEEDBACK # -98–+98% 
Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) 
settings will invert the phase. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 

13: STEP FLANGER 
This is a flanger in which the flanger pitch changes in steps. The speed at which the 
pitch changes can also be specified in terms of a note-value of a specified tempo. 

Balance D 


2-BandL in 



L out 


Step FlangerEQ 
Balance W 


Feedback 
Feedback 
Balance W 


R in 


2-BandEQStep Flanger
R out 


Balance D 


Parameter Value Description 
FILTER TYPE 
Selects the type of filter. 
OFF No filter is used. 
LPF Cuts the frequency range above 
the CUTOFF FREQ. 
HPF Cuts the frequency range below 
the CUTOFF FREQ. 
CUTOFF FREQ 200–8000 Hz 
Adjusts the center frequency 
when using the filter to cut a 
specific frequency range. 
PRE DELAY 0.0–100 msec 
Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is heard. 
RATE # 0–100, BPM – 
Adjusts the rate of the 
modulation. 
DEPTH 0–100 Adjusts the depth of the 
modulation. 
PHASE 0–180 deg Adjusts the spatial spread of the 
sound. 
FEEDBACK # -98–+98% 
Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) 
settings will invert the phase. 
STEP RATE # 0–100, BPM – 
Adjusts the rate (period) of pitch 
change. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 


Effect Settings (EFFECT) 

Effect Settings (EFFECT) 
GUITAR AMP SIMULATOR 
This is an effect that simulates the sound of a guitar amplifier. 

L in 


Pre AmpSpeaker
L out 
Pan L 
Pan R 


R in 



R out 
Parameter Value Description 
PRE AMP SW OFF, ON Turns the amp switch on/off. 
PRE AMP TYPE # 
JC-120, 
CLEAN TWIN, 
MATCH DRIVE, 
BG LEAD, 
MS1959I, 
MS1959II, 
MS1959I+II, 
SLDN LEAD, 
METAL 5150, 
METAL LEAD, 
OD-1, 
OD-2 TURBO, 
DISTORTION, 
FUZZ 
Specifies the type of guitar amp. 
PRE AMP VOLUME # 0–100 Adjusts the volume and amount 
of distortion of the amp. 
PRE AMP MASTER # 0–100 Adjusts the volume of the entire 
pre-amp. 
PRE AMP GAIN LOW, MIDDLE, HIGH Specifies the amount of pre-amp 
distortion. 
PRE AMP BASS 
0–100 
Adjust the tone of the bass/mid/ 
treble frequency ranges. 
PRE AMP MIDDLE cannot be set 
if MATCH DRIVE is selected as the 
PRE AMP TYPE. 
PRE AMP MIDDLE 
PRE AMP TREBLE 
PRE AMP PRESENCE 0–100 Adjusts the tone of the ultra-high 
frequency range. 
PRE AMP BRIGHT OFF, ON 
Turning this ON produces a 
sharper and brighter sound. 
This is available only if PRE AMP 
TYPE is set to “JC-120,”“CLEAN 
TWIN,” or “BGLEAD.” 
SPEAKER SW OFF, ON 
Determines whether the signal 
passes through the speaker (ON), 
or not (OFF). 
SPEAKER TYPE # (See the table below.) Selects the type of speaker. 
MIC SETTING 1, 2, 3 
Adjusts the location of the 
microphone that’s capturing the 
sound of the speaker. 
This can be adjusted in three 
steps, from 1 to 3, with the 
microphone becoming more 
distant as the value increases. 
MIC LEVEL 0–100 Adjusts the volume of the 
microphone. 
DIRECT LEVEL 0–100 Adjusts the volume of the direct 
sound. 
PAN L50–R50 Adjusts the stereo location of the 
output sound. 
LEVEL 0–100 Adjusts the output volume. 

Specifications for Each Speaker Type 

The “Speaker” column indicates the diameter of each speaker unit (in inches) and the 
number of units. 

Type Cabinet Speaker Microphone 
SMALL 1 Small open-back enclosure 10 Dynamic 
SMALL 2 Small open-back enclosure 10 Dynamic 
MIDDLE Open-back enclosure 12 x 1 Dynamic 
JC-120 Open-back enclosure 12 x 2 Dynamic 
BUILT-IN 1 Open-back enclosure 12 x 2 Dynamic 
BUILT-IN 2 Open-back enclosure 12 x 2 Condenser 
BUILT-IN 3 Open-back enclosure 12 x 2 Condenser 
BUILT-IN 4 Open-back enclosure 12 x 2 Condenser 
BUILT-IN 5 Open-back enclosure 12 x 2 Condenser 
BG STACK 1 Sealed enclosure 12 x 2 Condenser 
BG STACK 2 Large sealed enclosure 12 x 2 Condenser 
MS STACK 1 Large sealed enclosure 12 x 4 Condenser 
MS STACK 2 Large sealed enclosure 12 x 4 Condenser 
METAL STACK Large double stack 12 x 4 Condenser 
2-STACK Large double stack 12 x 4 Condenser 
3-STACK Large triple stack 12 x 4 Condenser 

15: COMPRESSOR 
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume. 

L in 


Compressor 
2-Band EQ 


L out 


R in 


R out

Compressor 
2-Band EQ 


Parameter Value Description 
ATTACK # 0–100 
Adjusts the time from when the 
input exceeds the THRESHOLD 
until the volume starts being 
compressed. 
THRESHOLD # 0–100 Adjusts the volume at which 
compression begins. 
POST GAIN # 0–+18 dB Adjusts the output gain. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 


Effect Settings (EFFECT) 

Effect Settings (EFFECT) 
LIMITER 18: TIME CTRL DELAY 
Compresses signals that exceed a specified volume level, preventing distortion from A stereo delay in which the delay time can be varied smoothly. 
occurring. 

L in 


L in 


L out 


R in 


R outL outFeedbackFeedbackPan LPan RTime Ctrl DelayTime Ctrl Delay2-Band EQ2-Band EQ
Limiter 
2-Band EQ 


Limiter 
2-Band EQ

R in 


R out 


Parameter Value Description 
RELEASE # 0–100 
Adjusts the time after the 
signal volume falls below 
the THRESHOLD level until 
compression is no longer 
applied. 
THRESHOLD # 0–100 Adjusts the volume at which 
compression begins. 
RATIO # 1.5:1, 2:1, 4:1, 100:1 This sets the compression ratio. 
POST GAIN # 0–+18 dB Adjusts the output gain. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
LEVEL 0–100 Adjusts the output volume. 

Parameter Value Description 
DELAY TIME # 
1–1300 msec, 
BPM – 
Adjusts the time until the delay 
sounds are heard. 
ACCELERATION # 0–15 
Adjusts the speed at which the 
delay time changes from the 
current setting to a specified new 
setting. The rate of change for 
the delay time directly affects the 
rate of pitch change. 
FEEDBACK # -98–+98% 
Adjusts the amount of the delay 
that’s fed back into the effect. 
Negative (-) settings invert the 
phase. 
HF DAMP 200–8000 Hz, BYPASS 
Adjusts the frequency above 
which sound fed back to the 
effect is filtered out. If you do 
not want to filter out any high 
frequencies, set this parameter 
to BYPASS. 
LOW GAIN -15–+15 dB Adjusts the gain of the low range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 

17: 3TAP PAN DELAY 
Produces three delay sounds; center, left and right. 
L inR inL outR outLeft TapRight TapTriple Tap Delay2-BandEQBalance WBalance DBalance WBalance DFeedbackCenter Tap
2-BandEQ
Parameter Value Description 
DELAY LEFT/RIGHT/ 
CENTER # 
1–2600 msec, 
BPM – 
Adjusts the time from the 
original sound until the left, 
right, and center delayed sounds 
are heard. 
CENTER FEEDBACK # -98–+98% 
Adjusts the amount of the delay 
sound that’s fed back into the 
effect. Negative (-) settings invert 
the phase. 
HF DAMP 200–8000 Hz, BYPASS 
Adjusts the frequency above 
which sound fed back to the 
effect is filtered out. If you do 
not want to filter out any high 
frequencies, set this parameter 
to BYPASS. 
LEFT/RIGHT/CENTER 
LEVEL 0–100 Adjusts the volume of each 
delay. 
LOW GAIN -15–+15 dB Adjusts the gain of the low 
range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
BALANCE D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 


Effect Settings (EFFECT) 

Effect Settings (EFFECT) 
LOFI COMPRESS 
DELAY 

This is an effect that intentionally degrades the sound quality for creative purposes. 

L out 


R out 


Parameter Value Description 
PRE FILTER TYPE # 
Selects the type of filter applied to the sound before it 
passes through the Lo-Fi effect. 
1 The compressor will be off. 
2–6 The compressor will be on. 
LOFI TYPE # 1–9 
Degrades the sound quality. The 
sound quality grows poorer as 
this value is increased. 
Selects the type of filter applied to the sound after it 
passes through the Lo-Fi effect. 
OFF No filter is used. 
POST FILTER TYPE 
LPF Cuts the frequency range above 
the Cutoff. 
HPF Cuts the frequency range below 
the Cutoff. 
POST FILTER CUTOFF 200–8000 Hz Adjusts the basic frequency of 
the POST FILTER. 
LOW GAIN -15–+15 dB Adjusts the gain of the low 
range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 

REVERB 

20: PITCH SHIFTER 
This is a stereo pitch shifter. 

L out 


L inR inCompressorLo-FiLo-FiCompressor2-BandEQ2-BandEQ
Group Parameter Value Description 
TYPE 
SWITCH OFF, ON Turns the DELAY OFF/ON. 
TYPE 
Use this to choose the type of delay. 
01:SINGLE A simple monaural delay. 
02: PAN 
Provides a tap delay effect that divides 
the delay time between the left and 
right channels. 
03: REVERSE Produces the effect of playback in 
reverse. 
04: ANALOG Produces a mild analog delay sound. 
05: TAPE This setting provides the characteristic 
wavering sound of a tape echo. 
06: 
MODULATE 
A delay with a pleasant amount of 
modulation added. 
07: HICUT Produces a warm-sounding delay with 
the high frequencies attenuated. 
DELAY 
TIME # 
1–3400 msec, 
BPM – 
Adjusts the delay time. 
FEEDBACK 
# 0–100 Adjusts the number of repetitions for 
the delay. 
EFFECT 
LEVEL 0–120 Adjusts the volume level of the effect. 
SEND 
MFX SEND 0–100 Adjusts the volume of the signal sent 
from the MFX output to DELAY. 
MOD 
SEND 0–100 Adjusts the volume of the signal sent 
from the AMP-MOD output to DELAY. 
BYPASS 
SEND 0–100 
Adjusts the volume of the signal sent 
from the bypass channel (unprocessed 
by the effect) to DELAY. 

L inR inPitch ShifterPitch Shifter2-Band EQ2-Band EQ
Group Parameter Value Description 
SWITCH OFF, ON Turns the REVERB OFF/ON. 
Use this to choose the type of reverb. 
01: 
AMBIENCE 
Simulates an ambience microphone (offmic, 
placed at a distance from the sound 
source) used in recording and other 
applications. Rather than emphasizing 
the reverberation, this reverb is used to 
produce a sense of openness and depth. 
02: ROOM Simulates the reverberation of a small 
room. Provides warm reverberations. 
TYPE 
03: HALL 1 
Simulates the reverberation of a concert 
hall. Provides clear and spacious 
reverberations. 
TYPE 04: HALL 2 Simulates the reverberation of a concert 
hall. Provides mild reverberations. 
05: PLATE 
Simulates plate reverberation (a studio 
effect unit that uses the vibration 
of a large metal plate to produce 
reverberation). Provides a metallic sound 
with a distinct upper range. 
REVERB 
TIME # 0.1 s–10.0 s Adjusts the length (time) of 
reverberation. 
HIGH 
CUT # 
700 Hz– 
11.0 kHz, 
FLAT 
The high cut filter adjusts the amount 
of high frequencies in the reverb sound. 
When FLAT is selected, the high cut filter 
will have no effect. 
EFFECT 
LEVEL 0–100 Adjusts the volume level of the effect. 

R out 


Parameter Value Description 
COARSE # -24–+12 semi Adjusts the pitch of the pitch 
shifted sound in semitone steps. 
FINE # -100–+100 cent Adjusts the pitch of the pitch 
shifted sound in 2-cent steps. 
DELAY TIME 
1–1300 msec, 
BPM – 
Adjusts the delay time from 
the direct sound until the pitch 
shifted sound is heard. 
FEEDBACK -98–+98% 
Adjusts the proportion of the 
pitch shifted sound that is fed 
back into the effect. Negative (-) 
settings will invert the phase. 
LOW GAIN -15–+15 dB Adjusts the gain of the low 
range. 
HIGH GAIN -15–+15 dB Adjusts the gain of the high 
range. 
BALANCE # D100:0W–D0:100W 
Adjusts the volume balance 
between the direct sound (D) 
and the chorus sound (W). 
LEVEL 0–100 Adjusts the output volume. 


Effect Settings (EFFECT) 

Effect Settings (EFFECT) 
Q


Group Parameter Value Description 
MFX SEND 0–100 Adjusts the volume of the signal sent 
from the MFX output to REVERB. 
SEND 
MOD 
SEND 0–100 Adjusts the volume of the signal sent 
from the AMP-MOD output to REVERB. 
BYPASS 
SEND 0–100 
Adjusts the volume of the signal sent 
from the bypass channel (unprocessed 
by the effect) to REVERB. 

CHORUS 


Group Parameter Value Description 
TYPE 
SWITCH OFF, ON Turns the CHORUS OFF/ON. 
TYPE 
Use this to choose the type of chorus. 
01: MONO This chorus effect outputs the same 
sound from the left and right channels. 
02: STEREO 
This is a stereo chorus effect that adds 
different chorus sounds to L channel and 
R channel. 
03: MONO 
MILD 
This features a more suppressed high 
end than MONO. 
04: STEREO 
MILD 
This features a more suppressed high 
end than STEREO. 
RATE # 
0–100, 
BPM – 
Adjusts the speed of the effect. 
DEPTH # 0–100 Adjusts the richness of the effect. 
EFFECT 
LEVEL 0–100 Adjusts the volume level of the effect. 
SEND 
MFX SEND 0–100 Adjusts the volume of the signal sent 
from the MFX output to CHORUS. 
MOD 
SEND 0–100 Adjusts the volume of the signal sent 
from the AMP-MOD output to CHORUS. 
BYPASS 
SEND 0–100 
Adjusts the volume of the signal sent 
from the bypass channel (unprocessed 
by the effect) to CHORUS. 

Group Parameter Value Description 
EQ 
LOW GAIN LO-MID GAIN 
LO-MID FREQ HI-MID FREQ 
Frequency 
HI-MID GAIN HIGH GAIN 
EQ SWITCH OFF, ON Turns the EQ OFF/ON. 
LOW CUT FLAT, 
55–800 Hz 
Sets the frequency at which 
the low cut filter begins to 
take effect. When FLAT is 
selected, the low cut filter will 
have no effect. 
LOW GAIN # -20 dB–+20 dB Adjusts the low frequency 
range tone. 
LO-MID 
FREQ 20 Hz–10 kHz 
Specifies the center of the 
frequency range that will 
be adjusted by the LO-MID 
GAIN. 
LO-MID Q 0.5–16 
Adjusts the width of the area 
affected by the EQ centered 
at the LO-MID FREQ. Higher 
values will narrow the area. 
LO-MID 
GAIN # -20 dB–+20 dB Adjusts the low-middle 
frequency range tone. 
HI-MID FREQ 20 Hz–10 kHz 
Specifies the center of the 
frequency range that will be 
adjusted by the HI-MID GAIN. 
HI-MID Q 0.5–16 
Adjusts the width of the area 
affected by the EQ centered 
at the HI-MID FREQ. Higher 
values will narrow the area. 
HI-MID 
GAIN # -20 dB–+20 dB Adjusts the high-middle 
frequency range tone. 
HIGH GAIN # -20 dB–+20 dB Adjusts the high frequency 
range tone. 
HIGH CUT 700 Hz–11.0 kHz, 
FLAT 
Sets the frequency at which 
the high cut filter begins to 
take effect. When FLAT is 
selected, the high cut filter 
will have no effect. 
LEVEL -20 dB–+20 dB Adjusts the overall volume of 
the equalizer. 
CHAR CHARACTER -3–0–+3 
Determines whether the 
sound will have clear 
definition (+3) or be more 
mellow (-3). 


Patch Settings (MASTER) 


Basic operation 

1. Select a patch and press the [EDIT] button 
The EDIT screen will appear. 


2. Use the PAGE [ ] [ ] buttons to select the MASTER tab 
3. Use the cursor [ ] [ ] buttons to select the icon for the 
settings you want to edit 
Icon Description Page 
PEDAL/GK CTL Settings for the pedals and 
GK controls. p. 55 
ASSIGN Controller settings. p. 57 
OTHER 
PATCH TEMPO Patch tempo setting. p. 58 
GK SET GK pickup settings for each 
patch. p. 58 
GUITAR OUT GUITAR OUT jack settings. p. 59 
ALT-TUNING Tuning adjustments for each 
string. p. 59 
V-LINK V-LINK settings. p. 59 

4. Press the [ENTER] button 
5. Edit the parameter settings 
Use the cursor [ ] [ ] buttons to select the parameter that you 
want to edit, and use the dial to edit the value of the parameter. 
6. If you want to keep the changes you made, save the patch 
(p 60) 
Pedal and GK Control Settings 
(PEDAL/GK CTL) 
For each patch, you can change the operation that occurs when you 
operate the pedal or operate the GK controls (p. 61). 

For details on the parameters, refer to “PEDAL/GK CTL” (p. 55). 

NOTE! 
This is available if the SYSTEM parameter “FUNCTION” (p. 76) is 
set to “PATCH SETTING.” (If unavailable, the display will indicate 
“**[SYSTEM]**”.) 

Controller Settings (ASSIGN) 
For each parameter, you can specify which controller will control the 
parameter (p. 62). 

For details on the parameters, refer to “ASSIGN” (p. 57). 

Patch Tempo Setting (PATCH TEMPO) 
You can specify the tempo used for tempo-synchronized effects. 
For details on the parameter, refer to “PATCH TEMPO” (p. 58). 

GK Pickup Settings for Each Patch 
(GK SET) 
If you’re using the GR-55 for live performance, you might change 
guitars depending on the song you’re performing. 

If so, you can create a GK SET (“GK SETTING,” p. 69) for each guitar, and 
then specify that the GK SET for the guitar used in a particular song 
will be recalled when you select the patch used for that song. 

For details on the parameters, refer to “GK SETTING” (p. 74). 

GUITAR OUT Jack Settings 
(GUITAR OUT) 
The GUITAR OUT jack can output the normal pickup sound and the 
sound of the modeling tone. 

For example, you can make settings so that the normal pickup sound 
and the modeling tone sound will be played through a guitar amp, 
while the other synthesizer sounds will be played through the PA 
system connected to the OUTPUT jacks. For details, refer to System 
settings “GUITAR OUT Jack Settings (GUITAR OUT)” (p. 70). 

For details on the parameters, refer to “GUITAR OUT” (p. 59). 

MEMO 

If the SYSTEM setting GUITAR OUT (p. 80) is set to anything other than 
“PATCH,” this setting is ignored. 

Changing the Tuning of Each String 
(ALT-TUNING) 
You can change the pitch of each string without changing the tuning 
of your guitar. 

For details on the parameters, refer to “ALT-TUNING” (p. 59). 

* The pitch of the normal pickup sound will not change 

V-LINK Settings (V-LINK) 
You can make settings for V-LINK (p. 68), a function that allows you to 
switch images or control the brightness or hue of an image. 

For details on the parameters, refer to “V-LINK” (p. 59). 


Patch Settings (MASTER) 
Parameter List (MASTER) 

Patch Settings (MASTER) 
Parameter List (MASTER) 
PEDAL/GK CTL 


Tab Parameter Value Description 
CTL, 
EXP SW, 
GK S1, 
GK S2 
STATUS 
(CTL, EXP SW 
only) 
OFF, ON Switches the pedal on/off (reflects the indicator’s illumination status). 
FUNCTION 
Here you can specify the function that will be assigned to the [CTL] pedal, the expression pedal switch, or the GK [S1]/[S2] buttons. 
OFF No function will be assigned to the above pedal or switch. 
HOLD 
(CTL only) 
HOLD parameter Value Description 
HOLD TYPE 
1 
Notes that were sounding when you pressed the pedal 
will be held, and successive notes that are played while 
you continue holding down the pedal will also be held. 
This differs from “HOLD TYPE 4” in that if a note is already 
sounding on the same string, the previous note will be 
silenced, and the note newly played on that string will take 
its place. This allows you to play without a break even if the 
note is on a distant fret. 
2 
Notes that were sounding when you pressed the pedal will 
be held as long as you continue holding down the pedal. 
Notes played after you started holding down the pedal will 
not sound. 
3 
Notes that were sounding when you pressed the pedal will 
be held as long as you continue holding down the pedal. 
Notes played after you started holding down the pedal will 
sound, but will not be held. 
4 
Notes that were sounding when you pressed the pedal will 
be held, and successive notes that are played while you 
continue holding down the pedal will also be held. 
SWITCH MODE 
LATCH Hold will turn on/off each time you press the pedal. 
MOMENT Hold will be on only while you hold down the pedal. 
PCM TONE 1 OFF, ON Choose the “OFF” setting if you don’t want the tone to be 
held. PCM TONE 2 OFF, ON 
TAP TEMPO Sets the tempo to the timing at which you press the pedal. 
TONE SW 
Controls the on/off switch for each tone and the normal pickup. 
TONE SW parameter Value Description 
SW OFF 
PCM TONE 1 
OFF/ON 
PCM TONE 2 
OFF/ON 
MODELING 
TONE OFF/ON 
NORMAL PU 
OFF/ON 
These settings are for when the STATUS of each controller 
([CTL] pedal, expression pedal switch) is “OFF.” 
GK S1/S2 are the settings for the default state (i.e., before 
you’ve pressed a switch). 
SW ON 
PCM TONE 1 
OFF/ON 
PCM TONE 2 
OFF/ON 
MODELING 
TONE OFF/ON 
NORMAL PU 
OFF/ON 
These settings are for when the STATUS of each controller 
([CTL] pedal, expression pedal switch) is “ON.” 
GK S1/S2 are the settings for when the switch has been 
pressed once. 
AMP SW Switches AMP on/off. 
MOD SW Switches MOD on/off. 
MFX SW Switches MFX on/off. 
DELAY SW Switches DELAY on/off. 
REVERB SW Switches REVERB on/off. 
CHORUS SW Switches CHORUS on/off. 


Patch Settings (MASTER) 

Patch Settings (MASTER) 
Parameter Value Description 
CTL, 
EXP SW, 
GK S1, 
GK S2 
FUNCTION 
AUDIO PLAYER PLAY/ 
STOP Starts/stops the audio player. 
AUDIO PLAYER SONG 
INC 
Selects the audio file in USB memory played by the audio player. 
AUDIO PLAYER SONG 
DEC 
AUDIO PLAYER SW Performs the same operation as when the panel’s [AUDIO PLAYER] button is pressed. 
V-LINK SW Performs the same operation as when the panel’s [V-LINK] button is pressed. 
LED MOMENT The pedal indicator lights up while you press the pedal, and it goes out when you release the pedal. 
LED TOGGLE The pedal indicator lights up and goes out when alternate each time you press the pedal. 
EXP, 
EXP ON, 
GK VOL 
FUNCTION 
Here you can specify the functions that will be assigned to the expression pedal or to the GK volume knob. 
Two different functions can be assigned separately to the expression pedal; one function for when the expression pedal switch is on, 
and another function for when it is off. 
OFF No function will be assigned to the above pedal or knob. 
PATCH VOLUME Adjusts the volume of the patch. 
TONE VOLUME 
Adjusts the volume of the tones and the normal pickup. 
TONE VOLUME 
parameter Value Description 
PCM TONE 1 OFF, ON 
If you don’t want the control to adjust the volume of the 
respective tone or pickup, choose “OFF.” 
PCM TONE 2 OFF, ON 
MODELING TONE OFF, ON 
NORMAL PU OFF, ON 
PITCH BEND 
Changes the pitch of PCM tone 1, PCM tone 2, and the modeling tone. 
PITCH BEND parameter Value Description 
DEPTH -12–+12 Specifies the maximum pitch change that will occur when 
you fully depress the pedal. 
PCM TONE 1 OFF, ON Choose “OFF” if you don’t want to change the pitch of PCM 
TONE 1. 
PCM TONE 2 OFF, ON Choose “OFF” if you don’t want to change the pitch of PCM 
tone 2. 
MODELING TONE OFF, ON 
Choose “OFF” if you don’t want to change the pitch of the 
modeling tone. 
There will be no effect if “12STR SW” (p. 29) is “ON.” 
MODULATION 
Controls the depth of modulation for PCM tone 1 and PCM tone 2. 
The effect will differ depending on the PCM tone that’s selected. 
MODULATION 
parameter Value Description 
MIN 0–100 Specifies the depth of modulation when the pedal is fully 
released. 
MAX 0–100 Specifies the depth of modulation when the pedal is fully 
depressed. 
PCM TONE 1 OFF, ON Choose “OFF” if you don’t want to apply modulation to PCM 
tone 1. 
PCM TONE 2 OFF, ON Choose “OFF” if you don’t want to apply modulation to PCM 
tone 2. 
CROSS FADER 
Controls the volume balance of the tones. 
CROSS FADER 
parameter Value Description 
PCM TONE 1 POLARITY 
PCM TONE 2 POLARITY 
MODELING TONE 
POLARITY 
NORMAL PU POLARITY 
OFF The volume of the tone will not change. 
TOE The volume of the tone will increase as you depress the 
pedal. 
HEEL The volume of the tone will increase as you lift up on the 
pedal. 
DELAY LEVEL 
REVERB LEVEL 
CHORUS LEVEL 
Controls the DELAY/REVERB/CHORUS effect level. 
Parameter Value Description 
MIN 0–120 (DELAY) 
0–100 (REVERB, 
CHORUS) 
Specifies the effect level when the pedal is fully released. 
MAX Specifies the effect level when the pedal is fully depressed. 


Patch Settings (MASTER) 

Patch Settings (MASTER) 
Parameter Value Description 
EXP, 
EXP ON, 
GK VOL 
FUNCTION MOD CONTROL 
Controls the principal parameter for each type of MOD effect. 
This is valid if MOD SWITCH is “ON.” 
MOD CONTROL 
Parameter Value Description 
MIN Specifies the range of change for the parameter. The values will depend on the 
parameter that’s assigned by MOD type. MAX 
MOD Type Parameter MOD Type Parameter 
OD/DS DRIVE TREMOLO RATE 
WAH (*1) PEDAL POSITION ROTARY SPEED SELECT 
COMP SUSTAIN UNI-V RATE 
LIMITER THRESHOLD PAN RATE 
OCTAVE OCTAVE LEVEL DELAY EFFECT LEVEL 
PHASER RATE CHORUS EFFECT LEVEL 
FLANGER RATE EQ HI-MID FREQ 

(*1) Set the MODE parameter (p. 43) to “MANUAL.” 

ASSIGN 

Tab Parameter Value Description 
ASSIGN 
1–8 
SWITCH OFF, ON Turns ASSIGN 1–8 on/off. 
TARGET Selects the parameter that will be controlled. For details on the parameters, refer to the explanations of each parameter in this 
manual. 
TARGET MIN 
TARGET MAX 
Specifies the range of change for the parameter. The values will depend on the parameter that’s assigned by TARGET. 
SOURCE 
Selects the controller to which the function will be assigned. 
CTL [CTL] pedal 
EXP Expression pedal 
EXP ON Expression pedal when the expression pedal switch is on 
EXP SW Expression pedal switch 
INT PDL Internal pedal (p. 62) 
WAVE PDL Wave pedal (p. 62) 
GK S1 [S1] button of the GK pickup 
GK S2 [S2] button of the GK pickup 
GK VOL Volume knob of the GK pickup 
CC1–31, 
CC64–95 Control change number from an external MIDI device 
SOURCE MODE 
Specifies how the value will change for each operation. 
MOMENT The value will normally be off (minimum value), and will be on (maximum value) only while the 
control is being operated. 
TOGGLE The value will toggle between off (minimum) and on (maximum) each time the control is operated. 
ACT RANGE LO 0–126 Within the operating range of the source, this specifies the range that will control the target 
parameter. 
The target parameter will be controlled within the range specified by ACT RANGE LO and ACT 
RANGE HI. Normally, you should leave ACT RANGE LO at “0” and ACT RANGE HI at “127.” 
1–127ACT RANGE HI 


Patch Settings (MASTER) 

Patch Settings (MASTER) 
Parameter Value Description 
ASSIGN 
1–8 
INT TRIG 
Specifies how the motion of the internal pedal will be triggered. *1 
PATCH CHANGE Triggered when you switch patches. 
CTL PDL Triggered when you operate the [CTL] pedal. 
EXP LOW Triggered when you move the expression pedal to minimum. 
EXP MID Triggered when you depress the expression pedal through the center value. 
EXP HIGH Triggered when you move the expression pedal to maximum. 
EXP ON LOW Triggered when you move the expression pedal to minimum while the expression pedal switch is 
on. 
EXP ON MID Triggered when you depress the expression pedal through the center value while the expression 
pedal switch is on. 
EXP ON HIGH Triggered when you move the expression pedal to maximum while the expression pedal switch is 
on. 
EXP SW Triggered when you operate the expression pedal switch. 
GK S1 Triggered when you operate the [S1] button of the GK pickup. 
GK S2 Triggered when you operate the [S2] button of the GK pickup. 
INT TIME 0–100 Specifies the time over which the internal pedal will move from the released (heel) position to the 
depressed (toe) position. *1 
INT CURVE 
LINEAR, 
SLOW RISE, 
FAST RISE 
Selects one of the following curves to specify the change produced by the internal pedal. *1 
LINEAR 
SLOW RISE 
FAST RISE 
WAVE RATE 0–100, BPM 
Specifies the time for one cycle of the wave pedal. *2 
If you choose BPM, the value of this parameter will be set according to the “PATCH TEMPO” (p. 58) 
setting of each patch. This is an easy way to make the effect sound synchronize to the tempo of each 
song. 
* If the time determined by the tempo exceeds the allowable length, it will be set to 
synchronize to 1/2 or 1/4 of that time 
WAVE FORM SAW, TRI, SIN 
Select one of the following to specify the change produced by the wave pedal. *2 
SAW 
TRIANGLE 
SINE 


*1 INT TRIG, INT TIME, and INT CURVE are used if SOURCE is set to “INT PDL.” 
*2 WAVE RATE and WAVE FORM are used if SOURCE is set to “WAVE PDL.” 

PATCH TEMPO 

Group Parameter Value Description 
PATCH TEMPO TEMPO 20–250 
Specifies the tempo for tempo-synchronized effects. 
If SYSTEM–MIDI/USB–GENERAL–MIDI SYNC (p. 79) is “ON,” the tempo is determined by 
MIDI clock from an external device. 

GK SET 


Group Parameter Value Description 
GK SET SELECT SYSTEM, 1–10 Normally, you can leave this set to “SYSTEM.” If you swap guitars for different patches, 
choose the GK SET you specified for the guitar you use with this patch. 


Patch Settings (MASTER) 

Patch Settings (MASTER) 

Group Parameter Value Description 
GUITAR OUT SOURCE 
For each patch, specifies the signal that will be sent from the GUITAR OUT jack. 
The system parameter GUITAR OUT lets you specify whether to use the GUITAR OUT setting for each patch or the 
overall setting (system setting) for the entire GR-55. For details, refer to “GUITAR OUT Jack Settings (GUITAR OUT)” 
(p. 70). 
OFF Nothing will be output from the GUITAR OUT jack. 
NORMAL PU The normal pickup sound will be output. 
MODELING The modeling tone sound will be output. 
BOTH Both the normal pickup sound and the modeling tone sound will be output. 

ALT-TUNING 


Group Parameter Value Description 
ALTERNATETUNING 
SWITCH OFF, ON Turns the ALT-TUNING function on/off. 
TYPE 
OPEN-D 
OPEN-E 
OPEN-G 
OPEN-A 
DROP-D 
D-MODAL 
-1 STEP 
-2 STEP 
BARITONE 
NASHVL 
-1 OCT 
+1 OCT 
USER 
Tuning that produces a D chord when you play the open strings. 
Tuning that produces an E chord when you play the open strings. 
Tuning that produces a G chord when you play the open strings. 
Tuning that produces an A chord when you play the open strings. 
Tuning that drops only the 6th string by one note (D). 
Tuning that drops the 6th, 2nd, and 1st string by one note to create an ethnic feel; also 
called “DADGAD.” 
Tuned one semitone lower. 
Each string is tuned one semitone (one fret) lower. 
Tuned one full step lower. 
Each string is tuned a full step (two frets) lower. 
Tuning that drops each string by a perfect fourth (five frets); suitable for heavy 
phrases. 
Tuning that raises the 6th, 5th, 4th, and 3rd strings by one octave; like a 12-string 
guitar’s supplementary strings by themselves. 
Tuning that lowers all strings by one octave. 
Tuning that raises all strings by one octave. 
Tuning specified by USER SHIFT. 
USER USER SHIFT 1–6 -24–+24 Specifies the amount of shift for each string. 

V-LINK 


Group Parameter Value Description 
V-LINK 
PALETTE LAST, 1–32 Selects the V-LINK device’s palette that you want to use with the current patch. 
If you don’t want to switch palettes, choose “LAST.” 
CLIP LAST, 1–32 
Selects the V-LINK device’s clip that you want to use when you switch to the current 
patch. 
If you don’t want to switch clips, choose “LAST.” 
NOTE CLIP CHANGE 
When you play your guitar, the V-LINK device will switch clips according to the pitch of the note you play. 
OFF If you don’t want your performance to switch clips, choose “OFF.” 
1 The clip corresponding to the lowest note of those being sounded will be output. 
2 The clip corresponding to the highest note of those being sounded will be output. 
3 Clips will be output consecutively, regardless of the notes being sounded. 
4 The clip corresponding to the note will be output. 
EXP 
EXP ON 
GK VOL 
You can use controllers to modify the image. 
OFF No effect. 
COLOR Cb 
The hue of the image will change. 
COLOR Cr 
BRIGHT The brightness of the image will change. 
PLAY SPEED If the image is motion video, the playback speed will change. 


Saving a Patch (PATCH WRITE) 


Saving a Patch (PATCH WRITE) 
Changing the Order of Patches 
(PATCH EXCHANGE) 
If you edit a patch and then select another patch before saving the 
edited patch, the changes you made will be lost. If you want to keep 
the changes for future use, you must save the patch. 
Patches are saved as “user patches.”You can’t save by overwriting a 
preset patch. 

1. Press the [WRITE] button 
The WRITE screen will appear. 


2. Use the dial to select the write-destination user patch number 
3. To save the patch, press the [WRITE] button 
The screen will indicate “NOW WRITING...” and the patch will be saved. 


If you decide not to save the patch, press the [EXIT] button. 

Renaming a Patch 

Here’s how to rename a user patch (p. 16). 

1. Select the patch that you want to rename, and press the 
[WRITE] button 
The WRITE screen will appear. 

2. Press the [ENTER] button 
3. Use the cursor [ ] [ ] buttons to move the cursor to the 
character that you want to change 
4. Use the dial and the following buttons to change the 
character 
As you continue turning the dial, the type of character will change in 
the order of uppercase . lowercase . numerals . symbols. 

Button Description 
Cursor [ ] (INSERT) Inserts a space at the cursor location. 
Cursor [ ] (DELETE) 
Deletes the character, and moves subsequent 
characters forward. 
PAGE [ ] (A0!) 
Switches between letters, numerals, and 
symbols. 
PAGE [ ] (A<=>a) 
Switches between uppercase and lowercase 
letters. 

5. Repeat steps 3–4 to rename the patch 
You can specify up to 16 characters. 

6. Press the [ENTER] button 
The name will be finalized. 

Here’s how to exchange a user patch with another user patch. If you 
bring frequently used patches together in consecutive locations, 
you’ll be able to conveniently select them using the foot pedals. 

* You can’t change the order of the preset patches 

1. Select a user patch (p 16) 
2. Press the [WRITE] button 
3. Use the PAGE [ ] [ ] buttons to select the EXCHANGE tab 
The screen shows the number and name of the exchangedestination 
patch. 


4. Use the dial to specify the desired exchange-destination 
patch 
5. Press the [WRITE] button 
The screen will indicate “NOW EXCHANGING...” and the current patch 
will be exchanged with the patch you specified. 

If you decide not to exchange, press the [EXIT] button. 

Initializing the Settings of a Patch 
(PATCH INITIALIZE) 
Here’s how to initialize all parameters of a user patch. This is 
convenient when you want to create a patch from scratch. 

* You can’t initialize a preset patch 

1. Select the user patch that you want to initialize (p 16) 
2. Press the [WRITE] button 
3. Use the PAGE [ ] [ ] buttons to select the INITIALIZE tab 
The screen shows the number and name of the patch to be 
initialized. 


4. Press the [WRITE] button 
The screen will indicate “NOW INITIALIZING...” and the patch will be 
initialized. 

If you decide not to initialize, press the [EXIT] button. 


61 
Controller Assignments 
Controllers Whose Assignment Can 
Be Changed 
For the following controllers, you are free to change the operation that 
will occur when they are pressed. 
Expression pedal 
[CTL] pedal 
[S1]/[S2] buttons, 
GK volume 
Making a Pedal Have the Same Operation 
for All Patches 
When the GR-55 is shipped, each patch assigns the pedals to the 
functions that are most useful for that particular patch. If you want 
a pedal to have the same function regardless of the patch that is 
selected, proceed as follows. 
1. In the system parameter PEDAL/GK CTL section, change the 
setting of the desired controller (CTL, EXP, EXP ON, EXP SW, 
GK S1/S2, GK VOL) to other than “PATCH SETTING.” 
For details on how to set system parameters, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69). 
Example setting 
Switch delay on/off by pressing the [CTL] pedal 
Make the following parameter settings. 
• SYSTEM 
PEDAL/GK CTL 
Tab Parameter Value Page 
CTL FUNCTION DELAY SW p. 76 
MEMO 
You should first raise the “EFFECT LEVEL” (p. 52) setting for DELAY. 
Changing the Pedal Assignments for Each 
Patch 
1. In the system parameter PEDAL/GK CTL section, change the 
setting of the desired controller (CTL, EXP, EXP ON, EXP SW, 
GK S1/S2, GK VOL) to “PATCH SETTING.” 
For details on how to set system parameters, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69) 
2. Select the patch whose pedal assignment you want to 
change (p. 16). 
3. In the EDIT screen, choose the MASTER tab and then the 
PEDAL/GK CTL icon, and change the assignment of the 
desired controller (CTL, EXP, EXP ON, EXP SW, GK S1/S2, GK 
VOL) to the desired setting. 
For details on how to set master parameters, refer to “Patch Settings 
(MASTER)” (p. 54). 
4. Save the patch (p. 60). 
Example setting 
When a specific patch is selected, use the expression pedal 
to control the volume of the modeling tone 
Select the patch whose settings you want to edit, then make the 
following parameter settings. 
Also be sure to verify that the tone switch (p. 23) of the modeling tone is 
turned on. 
• SYSTEM 
PEDAL/GK CTL 
Tab Parameter Value Page 
EXP FUNCTION PATCH SETTING p. 77 
• MASTER 
PEDAL/GK CTL 
Tab Parameter Value Page 
EXP FUNCTION 
TONE VOLUME 
p. 56 
PCM TONE 1: OFF 
PCM TONE 2: OFF 
MODELING TONE: ON 
NORMAL PU: OFF

Controller Assignments 
Specifying the Parameter to be Controlled 
by the Controller 

Controller Assignments 
Specifying the Parameter to be Controlled 
by the Controller 
For each parameter, you can specify, in detail, which controller will 
control which parameter. 

You can create eight sets of such assignments. 

1. In the system parameter PEDAL/GK CTL section, set the 
assignment of each controller (CTL, EXP, EXP ON, EXP SW, GK 
S1/S2, GK VOL) to “PATCH SETTING ” 
For details on how to set system parameters, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69). 

2. Select the patch whose assignments you want to change 
(p 16) 
3. In the EDIT screen, choose the MASTER tab and set ASSIGN 
1–8 (p 57) 
For details on how to set master parameters, refer to “Patch Settings 
(MASTER)” (p. 54). 

4. If you want to keep the settings, save the patch (p 60) 
Virtual expression pedal system 
(Internal Pedal / Wave Pedal) 
By assigning a desired parameter to the virtual expression 
pedal, you can produce an effect as though you were 
operating a physical expression pedal to change the volume 
or tone quality in real time. 
The virtual expression pedal system provides the following 
two types of functions, and you can use the SOURCE (p. 57) 
setting for ASSIGN 1–8 to choose the desired type. 
* If you want to use the internal pedal or wave pedal, set the 
ASSIGN parameter SOURCE MODE to “MOMENT ” 
Internal pedal 
If SOURCE is set to “INT PDL,” the 
virtual expression pedal will begin 
operating when started by the 
specified trigger (INT TRIG, p. 58), 
modifying the parameter specified 
by TARGET (p. 57). 
For details on the parameters that 
can be assigned to the internal 
pedal, refer to “INT TIME” (p. 58) and 
“INT CURVE” (p. 58). 
Wave pedal 
If SOURCE is set to “WAVE PDL,” the virtual expression pedal 
will cyclically modify the parameter specified by TARGET (p. 57) 
in a fixed wave form. 
Always changes in a fixed curve regardless of the 
actual pedal 
For details on the parameters that can be assigned to the 
wave pedal, refer to “WAVE RATE”(p. 58) and “WAVE FORM”(p. 58). 
The value changes in 
a curve 
When the trigger occurs 
Example setting 1 

Make PCM tone 1 smoothly bend up one octave when you 
press the [CTL] pedal 

Select the patch whose settings you want to edit, and then make the 
following parameter settings. 

• SYSTEM 
Tab Parameter Value Page 
CTL FUNCTION PATCH SETTING p. 76 
PEDAL/GK CTL 
• MASTER 
Tab Parameter Value Page 
ASSIGN 1 
SWITCH ON 
p. 57 
TARGET PCM1 TONE1 BEND 
TARGET MIN 0 
TARGET MAX +12 
SOURCE INT PDL 
SOURCE MODE MOMENT 
ACT RANGE LO 0 
ACT RANGE HI 127 
INT TRIG CTL 
INT TIME 
20 
(Adjust the time over 
which the pitch rises an 
octave.) 
INT CURVE 
LINEAR 
(You can select a different 
curve to modify the way in 
which the change occurs.) 
ASSIGN 
If you use ASSIGN2 and ASSIGN3 to make the same settings for PCM 
TONE 2 and MODELING TONE, you’ll be able to bend up all tones. 


Example setting 2 

Example setting 2 

Select the patch whose settings you want to edit, and then make the 
following parameter settings. 

• SYSTEM 
PEDAL/GK CTL 
Tab Parameter Value Page 
CTL FUNCTION PATCH SETTING p. 76 
• MASTER 
Controller Assignments 

NOTE! 
If you edit the value of a parameter that’s assigned to a controller, 
and then save the patch, some parameters will be overwritten with 
the initial state of the controller. This will make it seem as though 
the edited value has not been saved. 

To avoid this situation, choose the OFF setting for the PEDAL/GK 
CTL parameter FUNCTION (p. 55, p. 76) and for the ASSIGN parameter 
SWITCH (p. 57) of the function being assigned. 

Tab Parameter Value Page 
ASSIGN 1 
SWITCH ON 
p. 57 
TARGET AMP “SOLO SW” 
TARGET MIN OFF 
TARGET MAX ON 
SOURCE CTL 
SOURCE MODE TOGGLE 
ACT RANGE LO 0 
ACT RANGE HI 127 
ASSIGN 2 
SWITCH ON 
p. 57 
TARGET AMP “GAIN SW” 
TARGET MIN LOW 
TARGET MAX MID 
SOURCE CTL 
SOURCE MODE TOGGLE 
ACT RANGE LO 0 
ACT RANGE HI 127 
ASSIGN 

64 
You can record up to 20 seconds of a performance and play back the recorded section over and over. 
You can also layer additional performances with the recording as it plays back (overdubbing). 
When playback stops, the recorded data is deleted. 
1. 
6. 
2. 
3. 
4. 
5. 5. 
4. 
OVERDUB PLAY 
STANDBY REC 
Press & hold 
[3] pedal indicator 
Lit 
Off 
1. Press the [3] pedal and [CTL] pedal simultaneously (recording-standby mode). 
Phrase Loop goes into recording standby and the [3] pedal’s indicator flashes at a fixed interval. 
2. Press the [CTL] pedal (REC). 
Recording starts as soon as you press the [CTL] pedal, and the [CTL] pedal’s indicator flashes rapidly. 
3. Press the [CTL] pedal again (PLAY). 
Recording ends. As soon as recording stops, repeated playback of what you’ve recorded starts, and the [CTL] pedal’s indicator lights continuously. 
NOTE 
An oscillating sound may be audible when the recording time is extremely short. 
4. To layer additional recordings (overdubbing), repeat steps 2 and 3 (OVERDUB). 
You can switch patches even during phrase loop play, which lets you record a variety of overdubbed sounds. 
5. To stop loop playback, press the [CTL] pedal twice in quick succession (STANDBY). 
Loop playback/recording stops. 
* When playback stops, the recorded data is deleted. 
6. Press the [3] pedal and [CTL] pedal simultaneously. 
This exits Phrase Loop mode. 
Using Phrase Loop

Using the GR-55 as an Audio Playe r 


Audio files (WAV, AIFF) copied from your computer to 
USB memory can be played back on the GR-55. 


Playing Back Audio 
1. Press the [AUDIO PLAYER] button to access the AUDIO 
PLAYER screen 
Audio files that can be played 

File name 
File format WAV, AIFF 
Sampling frequency 44.1 kHz 
Bit depth 8/16/24 bits 

Copying Audio Files From Your 
Computer to USB Memory 
Before you continue, you’ll need to copy audio files from your 
computer to the root directory (the top level) of your USB memory. 

WAV, AIFF 
Copy to USB memory 
Inserting the USB Memory 
1. As shown in the illustration below, insert your USB memory 
into the USB MEMORY connector 
Open the cover and insert the USB 
memory. 
NOTE! 
• Never insert or remove a USB memory while this unit’s power is 
on. Doing so may corrupt the unit’s data or the data on the USB 
memories. 
• Carefully insert the USB memory all the way in-until it is firmly in 
place. 
• If the GR-55 is connected to your computer via a USB cable, you 
won’t be able to use USB memory to play audio files. 
• Dimensions of USB memory that can be installed: 60 (length: including 
connector) x 26 (width) x 13 5 (thickness) mm or smaller 
2. Use the cursor buttons to select the file name, and turn the 
dial to choose the file that you want to play back 
The songs are shown in the order of their file name (sorted by number, 
uppercase letters, and lowercase letters). 

3. Press the [ENTER] button to confirm the audio file you 
choose 
4. Press the [ENTER] button once again to start playback 
MEMO 

During playback, you can use the PAGE [ ] [ ] buttons to rewind 

or fast-forward. 

5. Use the cursor buttons to select “AUDIO LEVEL,” and use the 
dial to adjust the volume 
6. Press the [ENTER] button to stop playback 
7. Press the [AUDIO PLAYER] button to return to the top screen 
Using the Pedal to Control the Audio 
Player 
When you’re in the AUDIO PLAYER screen, the pedals will perform the 
following operations. 

Pedal Description 
[1] pedal 
[2] pedal 
Select an audio file. 
[3] pedal Starts/stops audio file playback. 
[CTL] pedal 
Closes the AUDIO PLAYER screen (*1). Closing the AUDIO 
PLAYER screen will not stop playback. From the top 
screen, you can return to the AUDIO PLAYER screen by 
pressing the [CTL] pedal once again. 
(*1) The Phrase Loop function is not available while 
you’re using the audio player. 


What is the USB driver? 
The USB driver is software that transfers data between the 
GR-55 and the application (e.g., DAW software) on your 
computer when the GR-55 is connected via USB to your 
computer. 
The USB driver sends data from your application to the GR-55, 
and data from the GR-55 to your application. 
What is the USB driver? 
The USB driver is software that transfers data between the 
GR-55 and the application (e.g., DAW software) on your 
computer when the GR-55 is connected via USB to your 
computer. 
The USB driver sends data from your application to the GR-55, 
and data from the GR-55 to your application. 
t 


Connecting a Computer via USB 
2. Use a USB cable (sold separately) to connect the GR-55 to 
your computer 
If you use a commercially available USB cable to connect the 
GR-55’s rear panel USB connector to a USB connector on your 
computer, you’ll be able to do the following things. 
USB audio 
• The sound of the GR-55 can be brought into your computer 
and played. Sound from your computer can also be played 
through the equipment connected to the GR-55’s OUTPUT 
jacks. 
USB MIDI 
• Performance information from the GR-55 can be input via 
MIDI to your DAW software. 
* It’s not possible to play the GR-55’s sound generator 
via input from the MIDI IN connector or the USB-MIDI 
connector 
• You can use “GR-55 Librarian” software to back up and 
manage GR-55 patches on your computer. 
“GR-55 Librarian” can be downloaded from the Roland 
website. 
Roland website 
http://www.roland.com/products/en/GR-55/ 
Connecting the GR-55 to a Computer 

1. Install the USB driver in your computer 
In order to use the GR-55’s USB functionality, you must first install the 
USB driver in your computer. 

Download the dedicated GR-55 driver from the Roland website. 

Roland website 
http://www.roland.com/products/en/GR-55/ 


Refer to the Roland website for details on the operating 
requirements. The program and procedure for installing the driver 
will differ depending on your system. Carefully read the Readme.htm 
file included with the downloaded file. 

Computer’s USB connector 
(Supports USB 2.0 Hi-Speed) 

USB cable 
(Supports USB 2.0 Hi-Speed) 
USB connector 


NOTE! 
• This might not work correctly for some types of computers. Refer 
to the Roland website for details on the operating systems that 
are supported. 
• Before connecting the GR-55 to other devices, you must minimize 
the volume of all devices and turn off their power in order to 
prevent malfunctions and speaker damage. 
• Use a USB cable that supports USB 2.0 Hi-Speed operation. 
• Use a USB connector on your computer that supports USB 2.0 
Hi-Speed operation. 
• Turn on the GR-55’s power before you start up your DAW software 
on the computer. Do not turn the GR-55’s power on/off while the 
DAW software is running. 
USB function settings 

You can make various settings for the USB functionality, such as the 
volume of USB audio. For the procedure, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69). For details on each parameter, refer to 
“MIDI/USB” (p. 79). 


67 
Connecting External Equipment 
Connecting the GR-55 to MIDI Devices 
What is MIDI? 
MIDI (Musical Instrument Digital Interface) is a standard 
specification that allows musical data to be transferred 
between electronic musical instruments and computers. If 
a MIDI cable is connected between devices equipped with 
MIDI connectors, you’ll be able to play multiple devices from a 
single MIDI keyboard, perform ensembles using multiple MIDI 
instruments, program the settings to change automatically as 
the song progresses, and more. 
The GR-55 has the following two types of MIDI connectors, which 
operate in different ways. 
MIDI Controller 
FC-300 etc. 
MIDI OUT USB (MIDI) 
External MIDI sound Computer 
GK IN
Guitar 
MIDI IN 
MIDI RX Patch No. 
PC MAP 
Guitar to MIDI 
conversion 
+ 
+ 
* It’s not possible to play the GR-55’s sound generator via input from 
the MIDI IN connector or the USB-MIDI connector. 
About the MIDI Connectors 
MIDI IN connector 
This connector receives MIDI data sent from an external MIDI device. 
The GR-55 can switch patches in response to the incoming MIDI data. 
* It’s not possible to play the GR-55’s sound generator via input from 
the MIDI IN connector or the USB-MIDI connector. 
MIDI OUT connector 
This connector transmits MIDI data to an external MIDI device. You 
can use this to control an external MIDI device. 
Example connection 
MIDI IN 
connector 
MIDI OUT 
connector 
Synthesizer etc. MIDI Foot Controller 
MIDI Settings 
You can make MIDI settings that apply to the entire GR-55, such as 
specifying the MIDI channel. For the procedure, refer to “Settings for 
the Entire GR-55 (SYSTEM)” (p. 69). For details on each setting, refer to 
“MIDI/USB” (p. 79).

Connecting External Equipment 
Connecting the GR-55 to V-LINK 
Devices (V-LINK) 

Connecting External Equipment 
Connecting the GR-55 to V-LINK 
Devices (V-LINK) 
What is V-LINK? 
V-LINK ( ) is a function that allows music and 
images to be performed together. By using MIDI to connect 
two or more V-LINK compatible devices, you can easily enjoy 
performing a wide range of visual effects that are linked to the 
expressive elements of a music performance. 
For example, if the GR-55 is connected to a Roland P-10 Visual Sampler, 
you would be able to switch images and control the brightness or hue 
of the image. 

Example connection 

This example shows connections with a Roland P-10. 

Use a MIDI cable (sold separately) to connect the GR-55’s MIDI OUT 
connector to the MIDI IN connector of the Roland P-10. 

Roland P-10 

MIDI IN 
connector 
MIDI OUT connector 
* V-LINK communication is not possible via USB 

Turning V-LINK On/Off 

1. Press the [V-LINK] button so it’s lit 
V-LINK will turn on. 

2. Press the [V-LINK] button once again 
The [V-LINK] button will go dark, and V-LINK will turn off. 

V-LINK Settings 

V-LINK settings for the system 
(SYSTEM-MIDI) 

You can specify the MIDI transmit channel used for V-LINK. For the 
procedure, refer to “Settings for the Entire GR-55 (SYSTEM)” (p. 69). For 
details on each parameter, refer to “V-LINK TX CH” (p. 79). 

V-LINK settings for a patch 
(PATCH-MIDI/GK SET) 

You can specify the V-LINK effect (switching images, or controlling 
the brightness or hue) for each patch. For the procedure, refer to 
“Patch Settings (MASTER)” (p. 54). For details on each parameter, refer to 
“V-LINK” (p. 59). 


Settings for the Entire GR-55 (SYSTEM) 


Settings that affect the overall operation of the entire GR-55, such as 
tuning and pedal assignments, are called “system settings.”This section 
explains the procedure for setting system parameters, and how each 
system parameter operates. 

Basic procedure 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the icon for the 
settings you want to edit 
Icon Description Page 
GK SETTING GK pickup settings. p. 69 
OUTPUT SELECT 
Specify the device (amp) 
connected to the OUTPUT 
jacks. 
p. 70 
PEDAL/GK CTL Pedal-related settings. p. 70 
MIDI/USB MIDI and USB settings. p. 70 
OTHER 
GUITAR OUT GUITAR OUT jack settings. p. 70 
TUNER Tune your guitar. p. 71 
AUDIO PLAYER Play back audio files (WAV, 
AIFF). p. 65 
LCD Adjust the display contrast. p. 71 
POWER Auto Power Off settings. p. 71 
BACKUP 
/INIT 
BACKUP/ 
RESTORE 
Back up the GR-55’s 
settings to USB memory, 
or restore these settings to 
the GR-55. 
p. 72 
PEDAL CALIB Calibrate the sensitivity of 
the pedal. p. 73 
FACTORY RESET 
Return the GR-55’s 
settings to the factory-set 
condition. 
p. 73 
GUITAR<->BASS 
Specify whether you’re 
using the GR-55 with a 
guitar or a bass. 
p. 71 

4. Press the [ENTER] button 
The editing screen for the selected parameters will appear. 

5. Edit the parameter settings 
Use the PAGE [ ] [ ] buttons to move between tabs. 
Use the cursor [ ] [ ] buttons to select the parameter that you 
want to edit, and use the dial to edit the value of the parameter. 
For details on each parameter, refer to “Parameter List (SYSTEM)” (p. 74). 
6. When you’ve finished editing, press the [EXIT] button 
Setting the GK Pickups (GK SETTING) 
To ensure that the GR-55 will perform optimally, it’s important to make 
settings for the divided pickup (GK settings). These settings must be 
made when you newly attach a divided pickup to a guitar, or when 
you’ve adjusted the height of the divided pickup. 

The GR-55 lets you create and store ten sets of GK settings (GK set). If 
you’re using the GR-55 with more than one guitar, you should prepare 
and store GK sets for each guitar, so that you can quickly switch to the 
appropriate settings for a particular guitar when you switch guitars. 

These settings are remembered even while the power is turned off. 
Once you’ve made them, there’s no need to make them again each 
time you perform; simply choose the appropriate GK set. 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to access the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the GK SETTING 
icon, and press the [ENTER] button 
4. Use the cursor buttons to move the cursor to the position 
shown in the illustration 
5. Use the dial to select a GK SET (1–10) 
6. Edit the GK setting 
The edited values are saved directly in the GK set you selected. 
For details on each parameter, refer to “GK SETTING” (p. 74). 


Settings for the Entire GR-55 (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 
Press the [EXIT] button to return to the top screen 
The GK set you selected will be enabled. 

* If the MASTER parameter GK SET (p 58) is set to “SYSTEM,”the setting 
you specified for the SYSTEM parameter “GK SET SELECT” (p 74) will 
take priority 

Switching GK Sets 
Select a GK set (1–10) as described in steps 1–5 of “Setting the GK 

Pickups (GK SETTING)” (p. 69). 

* If the MASTER parameter GK SET (p 58) is set to “SYSTEM,” the GK 
setting that’s selected in this screen will take priority You can also 
select “1–10” to specify a GK set for each patch 

Renaming a GK Set 
You can assign a name to each GK set. 

By naming each GK set to identify the guitar that it’s for, you can avoid 
selecting the wrong GK set when switching guitars. 

1. Select a GK set (1–10) as described in steps 1–5 of “Setting 
the GK Pickups (GK SETTING)” (p 69) 
2. Press the [ENTER] button 
3. Use the cursor [ ] [ ] buttons to move the cursor to the 
character that you want to change 
4. Use the dial and the following buttons to change the 
character 
As you continue turning the dial, the type of character will change in 
the order of uppercase . lowercase . numerals . symbols. 

Button Description 
Cursor [ ] (INSERT) Inserts a space at the cursor location. 
Cursor [ ] (DELETE) 
Deletes the character, and moves 
subsequent characters forward. 
PAGE [ ] (A0!) 
Switches between letters, numerals, and 
symbols. 
PAGE [ ] (A<=>a) 
Switches between uppercase and 
lowercase letters. 

5. Repeat steps 3 and 4 to rename the GK set 
You can specify up to eight characters. 

6. Press the [ENTER] button 
The name will be finalized. 

Specifying the Output Device 
(OUTPUT SELECT) 
You can specify the device (amp) that’s connected to the OUTPUT 
jacks. The tone will be adjusted inside the GR-55 to ensure that the 
optimal sound will be heard on the specified device. 

For details on this setting, refer to “Specifying the Output System 
(OUTPUT SELECT)” (p. 12) in the editing section. 


Pedal and GK Control Settings 
(PEDAL/GK CTL) 
You can make the pedal assignments operate identically regardless of 
the patch that is selected. 

For details, refer to “Controller Assignments” (p. 61). 

MIDI and USB Settings (MIDI/USB) 
You can make settings for MIDI and USB. 

For details, refer to “Connecting the GR-55 to MIDI Devices” (p. 67) and 
“Connecting a Computer via USB” (p. 66). 

GUITAR OUT Jack Settings 
(GUITAR OUT) 
The GUITAR OUT jack can output the normal pickup sound and the 
modeling tone sound. 

For example, you can play the normal pickup sound and the modeling 
tone sound through your guitar amp, and play the other synthesizer 
sounds through the PA equipment connected to the OUTPUT jacks. 


Always Outputting the Normal Pickup Sound 
from the GUITAR OUT Jack for All Patches 


1. Set the system parameter GUITAR OUT–SOURCE (p 80) to 
“NORMAL PU ” 
For details on setting the system parameters, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69). 

Always Outputting the Modeling Tone Sound 
from the GUITAR OUT Jack for All Patches 


1. Set the system parameter GUITAR OUT–SOURCE (p 80) to 
“MODELING ” 
For details on setting the system parameters, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69). 


Settings for the Entire GR-55 (SYSTEM) 
Changing the Output Sound from the 
GUITAR OUT Jack for Each Patch 

Settings for the Entire GR-55 (SYSTEM) 
Changing the Output Sound from the 
GUITAR OUT Jack for Each Patch 
Auto Power Off Settings 
(POWER) 
1. Set the system parameter GUITAR OUT–SOURCE (p 80) to 
“PATCH ” 
For details on setting the system parameters, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69). 

2. Set the master parameter GUITAR OUT–SOURCE (p 59) to the 
setting you want to use 
For details on editing the master parameters, refer to “Patch Settings 
(MASTER)” (p. 54). 

MEMO 

• The setting of the GUITAR OUT jack does not affect the output from 
the OUTPUT jacks. 
If you don’t want the output from the GUITAR OUT jack to be 
included in the sound that’s output from the OUTPUT jacks, you 
must separately set each of the patch’s tone settings to “OFF.” 
• If the GUITAR OUT–SOURCE setting is “BOTH,” the normal pickup 
sound and the modeling tone sound will be mixed and output. 
• The OUTPUT SELECT (p. 70) setting does not apply to the sound that’s 
output from the GUITAR OUT jack. 
Tuning Your Guitar (TUNER) 
You can use the GR-55’s tuner function to tune your guitar. 


For details on how to set system parameters, refer to “Settings for the 
Entire GR-55 (SYSTEM)” (p. 69). 
For details on each parameter, refer to “OTHER” (p. 80). 


Adjusting the Display Contrast 
(LCD) 
Here’s how to adjust the contrast of the display. 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the OTHER icon, and 
press the [ENTER] button 
4. Use the cursor [ ] [ 
] buttons to select “LCD ” 
5. Turn the dial to adjust the contrast of the display 
The GR-55 can turn off its power automatically. The power will turn 
off automatically when 10 hours have passed since you last played or 
operated the unit. The display will show a message approximately 15 
minutes before the power turns off. 

With the factory settings, this function is turned “ON” (power-off in 10 
hours). If you want to turn it “OFF,” change the setting as follows. 

NOTE! 

When the power is turned off, any settings you were editing will be 
lost. You must save settings that you want to keep. 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to access the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the OTHER icon, and 
press the [ENTER] button 
4. Use the cursor [ 
] [ 
] buttons to select “POWER ” 
5. Turn the dial to specify the time until shutdown 
Value Description 
ON The power will automatically turn off when 10 hours have passed 
since you last played or operated the GR-55. 
OFF The power will not turn off automatically. 
Switching Between Guitar and Bass 
(GUITAR<->BASS) 
Before you use the GR-55, you must specify whether you’re playing a 
guitar or a bass. For details, refer to “Selecting Guitar or Bass (GUITAR<>
BASS)” (p. 9). 


Settings for the Entire GR-55 (SYSTEM) 
Saving GR-55 Settings to USB 
Memory (BACKUP) 

Settings for the Entire GR-55 (SYSTEM) 
Saving GR-55 Settings to USB 
Memory (BACKUP) 
Here’s how to save (back up) all of the GR-55’s settings to USB memory. 

* One set of backup data can be saved to each USB memory device 
* Pedal calibration settings are not saved 

1. Connect your USB memory to the GR-55 
For details, refer to “Inserting the USB Memory” (p. 65). 

Restoring GR-55 Settings from USB Memory 
(RESTORE) 

Here’s how data that you backed up to USB memory can be restored to 
the GR-55. 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the BACKUP/INIT 
icon, and press the [ENTER] button 
2. Press the [EDIT] button to access the EDIT screen 
3. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
4. Use the cursor [ ] [ ] buttons to select the BACKUP/INIT 
icon, and press the [ENTER] button 
4. Use the cursor [ ] [ ] buttons to select the BACKUP/ 
RESTORE icon, and press the [ENTER] button 
5. Use the cursor [ ] [ ] buttons to select the BACKUP/ 
RESTORE icon, and press the [ENTER] button 
5. Use the cursor [ 
] [ 
] buttons to select “RESTORE,” and 
press the [ENTER] button 
6. Use the cursor [ 
] [ 
] buttons to select “BACKUP,” and press 
the [ENTER] button . 
6. Use the cursor [ ] [ ] buttons to select “OK,” and press the 
[ENTER] button 
7. Use the cursor [ ] [ ] buttons to select “OK,” and press the 
[ENTER] button 
7. When the following screen appears, turn off the power 
The next time you turn on the GR-55’s power, the backup data will 
have been restored. 

NOTE! 

This operation will rewrite all of the GR-55’s settings. If you’ve stored 
important data in the GR-55, be sure to save the data to separate 
USB memory before you execute this operation. 


Settings for the Entire GR-55 (SYSTEM) 
Adjusting the Pedal Sensitivity 
(CALIB) 
Restoring the Factory Settings 
(FACTORY RESET) 

Settings for the Entire GR-55 (SYSTEM) 
Adjusting the Pedal Sensitivity 
(CALIB) 
Restoring the Factory Settings 
(FACTORY RESET) 
Here’s how to calibrate the sensitivity of the pedal. 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the BACKUP/INIT 
icon, and press the [ENTER] button 
4. Use the cursor [ ] [ ] buttons to select the PEDAL CALIB 
icon, and press the [ENTER] button 
The PEDAL CALIBRATION screen will appear. 

Here’s how the settings stored in the GR-55 can be returned to their 
factory-set condition. 

NOTE! 

If important data you’ve created has been stored in the GR-55, be 
aware that the data you’ve edited or created will all be lost if you 
execute a factory reset. If you want to keep this data, you must save 
it to USB memory (p. 72). 

* The pedal calibration settings will not be reset 

1. Press the [EDIT] button to access the EDIT screen 
2. Use the PAGE [ ] [ ] buttons to select the SYSTEM tab 
3. Use the cursor [ ] [ ] buttons to select the BACKUP/INIT 
icon, and press the [ENTER] button 
4. Use the cursor [ ] [ ] buttons to select the FACTORY RESET 
icon, and press the [ENTER] button 
5. Move the expression pedal to the heel-down position, and 
press the [ENTER] button 
The display will indicate “OK,” and then the following screen will 
appear. 


6. Move the expression pedal to the fully depressed (toe down) 
position, and press the [ENTER] button 
The display will indicate “OK,” and then the following screen will 
appear. 


7. Apply strong pressure to the toe area of the expression pedal 
Verify that the EXP PEDAL SW indicator lights when you apply pressure 
to the toe area. If you want to change the sensitivity at which the EXP 
PEDAL SW indicator lights, adjust the THRESHOLD setting. 


5. Use the cursor [ ] [ ] buttons to select “OK,” and press the 
[ENTER] button 
The factory reset will be executed. 

* Never turn off the power while the factory reset is being carried out 

6. When the following screen appears, turn off the power 
The next time you power up the GR-55, it will start up in the factory-set 
condition. 

NOTE! 

If the GR-55 is set to “BASS MODE,” it will return to “GUITAR MODE” 

(p. 9). 
8. When you’ve finished making calibration settings, press the 
[ENTER] button 
The screen will indicate “COMPLETE!” 


Settings for the Entire GR-55 (SYSTEM) 
Parameter List (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 
Parameter List (SYSTEM) 
GK SETTING 


Tab Parameter Value Description 
GK SET SELECT 
GK SET SELECT 1–10 
Selects the GK SET that will be used when the master parameter “GK SET” (p. 58) is set 
to “SYSTEM.”This is also where you’ll select the GK SET whose GK settings you want 
to edit. 
NAME Edits the name of the GK set (up to eight characters). 
PICKUP 
PU TYPE 
Specifies the type of GK pickup on the guitar or bass you’re using. 
If GUITAR<->BASS is set to “GUITAR” (p. 9) 
GK-3 Choose this if you’re using a GK-3. 
GK-2A Choose this if you’re using a GK-2A. 
PIEZO This setting is appropriate when using a piezo pickup with a flat response. 
PIEZO F This setting is appropriate for a Fishman piezo pickup. 
PIEZO G This setting is appropriate for a Graph Tech piezo pickup. 
PIEZO L This setting is appropriate for a L.R. Baggs piezo pickup. 
PIEZO R This setting is appropriate for an RMC piezo pickup. 
If GUITAR<->BASS is set to “BASS” (p. 9) 
GK-3B Choose this if you’re using a GK-3B. 
GK-2B Choose this if you’re using a GK-2B. 
PIEZO This setting is appropriate when using a piezo pickup with a flat response. 
PIEZO G This setting is appropriate for a Graph Tech piezo pickup. 
PIEZO R This setting is appropriate for an RMC piezo pickup. 
SCALE 
If GUITAR<->BASS is set to “GUITAR” (p. 9) 
500–660 mm, 
ST (648 mm), 
LP (628 mm) 
Specify the scale length of the guitar you’re using. 
If GUITAR<->BASS is set to “BASS” (p. 9) 
710–940 mm, 
SHORT (760 mm), 
MEDIUM (812 mm), 
LONG JB/PB (864 mm), 
EXTRA LONG (914 mm) 
Specify the scale length of the bass you’re using. 
Specifies the position of the divided pickup. 
* This setting applies only if GUITAR<->BASS is set to “BASS” (p 9) 
4STR-1 
GK PU POS 
Position for a 4-string bass. 4STR-2 
4STR-3 
5STR Lo1 
Position for a 5-string bass (Low B–G). 
5STR Lo2 
5STR Hi1 
Position for a 5-string bass (E–Hi C). 
5STR Hi2 
6STR Position for a 6-string bass. 
PU PHASE 
Specifies the phase of the divided pickup and the guitar’s normal pickup. 
Set this to “NORMAL,” and if the low-frequency range is cut, change it to the “INVERSE” setting. 
MEMO 
The phase will be easier to detect if the divided pickup sound is mixed with the normal pickup sound. 
NORMAL The phase will be normal. 
INVERSE The phase will be inverted. 


Settings for the Entire GR-55 (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 
Parameter Value Description 
PICKUP 
PU DIRECTION 
Specifies the direction in which the divided pickup is attached. 
NORMAL The cable extends from the side of the 6th string. 
REVERSE The cable extends from the side of the 1st string. 
S1/S2 POSITION 
Swaps the functions of the [S1] and [S2] buttons of the GK-3 or GK-2A. 
NORMAL The switches will not be swapped. 
REVERSE The functions of the [S1] and [S2] buttons will be swapped. 
NORM PU GAIN -20–+20 dB Adjusts the input level of the normal pickup. 
When making this setting, set the GK pickup’s select switch to “MIX.” 
PIEZO TONE LOW -10–+10 dB 
Adjusts the low-frequency range 
* This setting applies if the PU TYPE is set to “PIEZO,”“PIEZO F,”“PIEZO G,”“PIEZO 
L,” or “PIEZO R ” 
PIEZO TONE HIGH -10–+10 dB 
Adjusts the high-frequency range. 
* This setting applies if the PU TYPE is set to “PIEZO,”“PIEZO F,”“PIEZO G,”“PIEZO 
L,” or “PIEZO R ” 
DISTANCE PU<->BRIDGE 
If GUITAR<->BASS is set to “GUITAR” (p. 9) 
10.0–30.0 mm 
Specifies the distance between the divided pickup and the bridge. 
This setting is ignored if the PU TYPE is set to “PIEZO,”“PIEZO F,”“PIEZO G,”“PIEZO L,” or 
“PIEZO R.” 
If GUITAR<->BASS is set to “BASS” (p. 9) 
5.5–55.5 mm 
Specifies the distance between the divided pickup and the bridge. 
This setting is ignored if the PU TYPE is set to “PIEZO,”“PIEZO G,” or “PIEZO R.” 
SENSITIVITY SENS 0–100 Specifies the input sensitivity of the divided pickup. 
VELOCITY 
VELOCITY DYNAMICS 1–10 
Adjusts the sensitivity of the PCM tone’s volume (velocity) change. 
The further you raise this setting, the more easy it becomes to produce higher values 
for velocity. 
PLAY FEEL 1–5 
Adjusts the volume (velocity) change curve of the PCM tone. 
The lower-numbered settings give you a wider range of volume change in response 
to your picking dynamics. 
With higher-numbered settings, the volume becomes more consistent regardless of 
your picking dynamics. 
The “5” setting gives you a completely fixed velocity. 
LOW VELOCITY CUT 0–10 Adjust this if simply touching a string causes a note to be unintentionally triggered. 
Raising this value will make it more difficult to trigger notes. 
NUANCE 
These settings adjust the way in which Nuance (p. 28) responds to your playing. 
Adjust these settings so that the level meter reaches the maximum position when you play with the softest touch, and so that the level meter does 
not move very much when you play normally. 
NUANCE DYNAMICS 0–10 Adjusts the sensitivity at which Nuance occurs. Higher settings will make it easier to 
produce the Nuance effect. 
NUANCE TRIM 0–10 Specifies the threshold value at which Nuance occurs. If the Nuance effect occurs 
more often than you would like with normal playing, lower this value. 
DOWN TUNE SHIFT 0– -5 If the guitar/bass you’re using has been tuned down, specify the number of 
chromatic steps by which it has been down-tuned. 

OUTPUT SELECT 


Parameter Value Description 
LINE/PHONES Choose this setting if you’re using headphones, or if the GR-55 is connected to a keyboard amp, bass amp, 
mixer, or digital recorder. 
JC-120 Choose this setting if the GR-55 is connected to the guitar input of a Roland JC-120 guitar amp. 
SMALL Choose this setting if the GR-55 is connected to a small guitar amp. 
COMBO 
Choose this setting if the GR-55 is connected to the guitar input of a combo-type guitar amp (a type in 
which the amp and speaker are in a single unit) other than the JC-120. Depending on the amp you’re 
using, the “JC-120” setting might produce better results. 
OUTPUT SELECT 
STACK Choose this setting if the GR-55 is connected to the guitar input of a stack-type guitar amp (a type in which 
the amp and speaker are separate units). 
JC-120 RETURN Choose this setting if the GR-55 is connected to the JC-120’s RETURN jack. 
COMBO RETURN Choose this setting if the GR-55 is connected to a combo-type guitar amp’s RETURN jack. 
STACK RETURN 
Choose this setting if the GR-55 is connected to the RETURN jack of a stack-type guitar amp. You should 
also choose the “STACK RETURN” setting if you’re using a guitar power amp together with a speaker 
cabinet. 
B-AMP WITH TWEETER Choose this setting if the GR-55 is connected to a bass amp that has a tweeter. 
B-AMP NO TWEETER Choose this setting if the GR-55 is connected to a bass amp that does not have a tweeter. The highfrequency 
range will be corrected. 


Settings for the Entire GR-55 (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 

Tab Parameter Value Description 
CTL, 
EXP SW, 
GK S1, 
GK S2 
FUNCTION 
Here you can specify the function that will be assigned to the [CTL] pedal, the expression pedal switch, or the GK [S1]/[S2] buttons. 
OFF No function will be assigned to the above pedal or switch. 
PATCH SETTING Choose this if you want the function of the pedals and switches to change for each patch. 
HOLD 
(CTL only) 
HOLD parameter Value Description 
HOLD TYPE 
1 
Notes that were sounding when you pressed the pedal will be 
held, and successive notes that are played while you continue 
holding down the pedal will also be held. This differs from 
“HOLD TYPE 4” in that if a note is already sounding on the 
same string, the previous note will be silenced, and the note 
newly played on that string will take its place. This allows you 
to play without a break even if the note is on a distant fret. 
2 
Notes that were sounding when you pressed the pedal will 
be held as long as you continue holding down the pedal. 
Notes played after you started holding down the pedal will 
not sound. 
3 
Notes that were sounding when you pressed the pedal will be 
held as long as you continue holding down the pedal. Notes 
played after you started holding down the pedal will sound, 
but will not be held. 
4 
Notes that were sounding when you pressed the pedal will be 
held, and successive notes that are played while you continue 
holding down the pedal will also be held. 
SWITCH MODE 
LATCH Hold will turn on/off each time you press the pedal. 
MOMENT Hold will be on only while you hold down the pedal. 
PCM TONE 1 OFF, ON 
Choose the “OFF” setting if you don’t want the tone to be held. 
PCM TONE 2 OFF, ON 
TAP TEMPO Sets the tempo to the timing at which you press the pedal. 
TONE SW 
Controls the on/off switch for each tone and the normal pickup. 
TONE SW parameter Value Description 
SW OFF 
PCM TONE 1 
OFF/ON 
PCM TONE 2 
OFF/ON 
MODELING 
TONE OFF/ON 
NORMAL PU 
OFF/ON 
These settings are for when the STATUS of each controller 
([CTL] pedal, expression pedal switch) is “OFF.” 
GK S1/S2 are the settings for the default state (i.e., before 
you’ve pressed a switch). 
SW ON 
PCM TONE 1 
OFF/ON 
PCM TONE 2 
OFF/ON 
MODELING 
TONE OFF/ON 
NORMAL PU 
OFF/ON 
These settings are for when the STATUS of each controller 
([CTL] pedal, expression pedal switch) is “ON.” 
GK S1/S2 are the settings for when the switch has been 
pressed once. 
AMP SW Switches AMP on/off. 
MOD SW Switches MOD on/off. 
MFX SW Switches MFX on/off. 
DELAY SW Switches DELAY on/off. 
REVERB SW Switches REVERB on/off. 
CHORUS SW Switches CHORUS on/off. 
SOUND STYLE INC 
Switches the sound style. 
SOUND STYLE DEC 
BANK NUMBER INC 
Switches the bank number. 
BANK NUMBER DEC 
PATCH NUMBER INC 
Switches the patch number. 
PATCH NUMBER DEC 


Settings for the Entire GR-55 (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 
Parameter Value Description 
CTL, 
EXP SW, 
GK S1, 
GK S2 
FUNCTION 
AUDIO PLAYER PLAY/ 
STOP Starts/stops the audio player. 
AUDIO PLAYER SONG 
INC 
Selects the audio file in USB memory played by the audio player. 
AUDIO PLAYER SONG 
DEC 
AUDIO PLAYER SW Performs the same operation as when the panel’s [AUDIO PLAYER] button is pressed. 
V-LINK SW Performs the same operation as when the panel’s [V-LINK] button is pressed. 
EXP, 
EXP ON, 
GK VOL 
FUNCTION 
Here you can specify the functions that will be assigned to the expression pedal or to the GK volume knob. 
Two different functions can be assigned separately to the expression pedal; one function for when the expression pedal switch is on, 
and another function for when it is off. 
OFF No function will be assigned to the above pedal or knob. 
PATCH SETTING Choose this if you want the function of the pedals and switches to change for each patch. 
PATCH VOLUME Adjusts the volume of the patch. 
TONE VOLUME 
Adjusts the volume of the tones and the normal pickup. 
TONE VOLUME 
parameter Value Description 
PCM TONE 1 OFF, ON 
If you don’t want the control to adjust the volume of the 
respective tone or pickup, choose “OFF.” 
PCM TONE 2 OFF, ON 
MODELING TONE OFF, ON 
NORMAL PU OFF, ON 
PITCH BEND 
Changes the pitch of PCM tone 1, PCM tone 2, and the modeling tone. 
PITCH BEND 
parameter Value Description 
DEPTH -12–+12 Specifies the maximum pitch change that will occur when you 
fully depress the pedal. 
PCM TONE 1 OFF, ON Choose “OFF” if you don’t want to change the pitch of PCM 
tone 1. 
PCM TONE 2 OFF, ON Choose “OFF” if you don’t want to change the pitch of PCM 
tone 2. 
MODELING TONE OFF, ON Choose “OFF” if you don’t want to change the pitch of the 
modeling tone. 
MODULATION 
Controls the depth of modulation for PCM tone 1 and PCM tone 2. 
The effect will differ depending on the PCM tone that’s selected. 
MODULATION 
parameter Value Description 
MIN 0–100 Specifies the depth of modulation when the pedal is fully 
released. 
MAX 0–100 Specifies the depth of modulation when the pedal is fully 
depressed. 
PCM TONE 1 OFF, ON Choose “OFF” if you don’t want to apply modulation to PCM 
tone 1. 
PCM TONE 2 OFF, ON Choose “OFF” if you don’t want to apply modulation to PCM 
tone 2. 
CROSS FADER 
Controls the volume balance of the tones. 
CROSS FADER 
parameter Value Description 
PCM TONE 1 
POLARITY 
PCM TONE 2 
POLARITY 
MODELING TONE 
POLARITY 
NORMAL PU 
POLARITY 
OFF The volume of the tone will not change. 
TOE The volume of the tone will increase as you depress the pedal. 
HEEL The volume of the tone will increase as you lift up on the 
pedal. 
DELAY LEVEL 
REVERB LEVEL 
CHORUS LEVEL 
Controls the DELAY/REVERB/CHORUS effect level. 
Parameter Value Description 
MIN 0–120 (DELAY) 
0–100 (REVERB, 
CHORUS) 
Specifies the effect level when the pedal is fully released. 
MAX Specifies the effect level when the pedal is fully depressed. 


Settings for the Entire GR-55 (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 
Parameter Value Description 
EXP, 
EXP ON, 
GK VOL 
FUNCTION MOD CONTROL 
Controls the principal parameter for each type of MOD effect. 
This is valid if MOD SWITCH is ON. 
MOD CONTROL 
Parameter Value Description 
MIN Specifies the range of change for the parameter. The values will depend on the 
parameter that’s assigned by MOD type. MAX 
Type of MOD effect Parameter Type of MOD effect Parameter 
OD/DS DRIVE TREMOLO RATE 
WAH (*1) PEDAL POSITION ROTARY SPEED SELECT 
COMP SUSTAIN UNI-V RATE 
LIMITER THRESHOLD PAN RATE 
OCTAVE OCTAVE LEVEL DELAY EFFECT LEVEL 
PHASER RATE CHORUS EFFECT LEVEL 
FLANGER RATE EQ HI-MID FREQ 
ASSIGN HOLD OFF, ON When you switch patches, this setting specifies whether the state of the expression pedal and GK volume 
will be applied to the next patch (ON) or will not be applied to the next patch (OFF). 

(*1) Set the MODE parameter (p. 43) to “MANUAL.” 


Settings for the Entire GR-55 (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 

Tab Parameter Value Description 
GENERAL 
PATCH CH 1–16 
Specifies the MIDI channel that will control patches. 
To switch patches on the GR-55, send a program change message on this MIDI channel. 
MIDI messages from an external device are also received on this MIDI channel. Received control changes 
are sent to ASSIGN SOURCE (p. 57). 
PC RX SWITCH OFF, ON 
Turn this “ON” if you want program change messages from an external device to switch patches. You can 
use the RX BANK/PC MAP to change the correspondence between incoming program change numbers 
and the GR-55’s patches. 
PC TX SWITCH OFF, ON Turn this “ON” if you want program change messages to be transmitted when you switch patches on the 
GR-55. 
MIDI SYNC OFF, ON Turn this “ON” if you want the tempo of tempo-synchronized effects to synchronize with an external 
device. 
MIDI CLOCK OUT OFF, ON 
If this is “ON,” MIDI clock data will be transmitted to an external MIDI device. 
This data will not be transmitted if MIDI SYNC is “ON.” 
V-LINK TX CH 1–16 Specifies the MIDI channel used to control V-LINK devices. 
GTR-MIDI 
SWITCH OFF, ON If this is “OFF,” guitar performance data will not be transmitted from MIDI OUT. 
MODE 
This sets the transmission mode for the MIDI messages. 
MONO 
In this mode, one channel per string is used, thus using a total of six channels. 
Since each string uses a different MIDI channel, you can select a different tone for each string, using string 
bending or continuously varying the pitch on a specific string; however, this requires use of a multitimbral 
sound module. 
POLY 
In this mode, the messages for all six strings are transmitted over a single channel. 
While transmitting the MIDI messages for all of the strings over one channel does simplify the settings 
needed for the sound module and reduces the number of MIDI channels used, it does impose certain 
limitations; for example, permitting only one tone to be selected for all of the strings. 
CHROMATIC OFF, ON Turn this ON if you want to play an external sound module chromatically. 
STRING CH 1–11 
Specifies the MIDI channel used to transmit guitar performance data. If MODE is set to “MONO,” the data 
will be transmitted using six channels starting with the channel you specify here. If it is set to “POLY,” 
performance data for all strings will be sent on the channel you specify here. 
DATA THIN OFF, ON If this is “ON,” pitch bend data will be thinned-out to reduce the volume of MIDI data. 
CTL PDL CC OFF, 1–31, 64–95 Specifies the control change numbers that are transmitted when you operate a pedal. Turn this “OFF” if 
you don’t want the pedals to transmit data. EXP PDL CC OFF, 1–31, 64–95 
EXP PDL BEND 
RANGE -24–+24 
Specifies the maximum pitch change amount when transmitting pitch bend data from the expression 
pedal to an external sound module. Set this to “0” if you don’t want the expression pedal to transmit pitch 
bend data. 
GK VOL CC OFF, 1–31, 64–95 
Determine the control change numbers that will be transmitted when you operate the GK pickup’s 
volume knob or [S1]/[S2] buttons. 
Turn this “OFF” if you don’t want these controls to transmit data. 
GK S1 CC OFF, 1–31, 64–95 
GK S2 CC OFF, 1–31, 64–95 
RX PC MAP 
MAP SELECT 
When using program change data transmitted from an external MIDI device to switch patches on the GR-55, this setting specifies 
whether the correspondence between the received program number and the patch will be fixed, or whether it can be specified 
freely. 
FIX The incoming program change data will select the predetermined patch regardless of the BANK/PC 
settings. 
PROG The patch specified by BANK/PC will be selected. 
BANK 0–63 Select the bank number (MSB 0–63) of the program change shown in the RX PC MAP (the LSB is fixed at 0). 
PC 
Here you can edit the correspondence between the incoming program change numbers and the patch that will be selected for 
each number. 
[LEAD] **-* 
[RHYTHM] **-* 
[OTHER] **-* 
[USER] **-* 
Specify the patch number ([LEAD] 01-1–[USER] 99-3) that will correspond to each incoming program 
change number (bank number). 


Settings for the Entire GR-55 (SYSTEM) 

Settings for the Entire GR-55 (SYSTEM) 
Parameter Value Description 
USB 
AUDIO IN LEVEL 0–200 Adjusts the volume of the digital audio signal from USB (computer). 
AUDIO OUT LEVEL 0–200 Adjusts the volume of the digital audio signal output to USB (computer). 
DIRECT MONITOR 
OFF 
Turn this setting off if the audio data is 
being passed through by the computer. 
In this case, you won’t hear sound 
unless the computer is passing the 
audio through. 
Audio signal AUDIO IN 
USB IN 
Guitar amp 
OUTPUT 
L/R 
AUDIO OUT 
USB OUT 
Headphones 
PHONES 
DIRECT 
MONITOR 
The GR-55’s 
sound 
Computer 
ON 
The sound of the GR-55 will be output 
directly. Turn this setting “ON” if you’re 
using the GR-55 by itself. (If this is “OFF,” 
only the sound being input via USB will 
be output.) 

OTHER 


Group Parameter Value Description 
GUITAR OUT SOURCE 
Specifies the signal that is output from the GUITAR OUT jack. 
If you choose “PATCH,” the GUITAR OUT setting (p. 59) of each patch will be used. If you choose any other setting, 
that setting will apply at all times. For details, refer to “GUITAR OUT Jack Settings (GUITAR OUT)” (p. 70). 
PATCH The GUITAR OUT setting (p. 59) of each patch will be used. 
OFF Nothing will be output from the GUITAR OUT jack. 
NORMAL PU The normal pickup sound will be output. 
MODELING The modeling tone sound will be output. 
BOTH Both the normal pickup sound and the modeling tone sound will be output. 
TUNER 
MASTER TUNE 435 Hz–445 Hz 
Specifies the reference pitch. 
* With the factory settings this is set to “440 Hz ” 
TUNER MUTE OFF, ON 
Turn this setting “OFF“ if you want sound will be output while you tune your 
instrument. If you set this “ON,” sound will not be output while you tune your 
instrument 
* With the factory settings this is turned “ON ” 
AUDIO PLAYER LEVEL 0–200 Adjusts the volume of the audio player. 
LCD CONTRAST 1–10 Adjusts the contrast of the display. 
POWER AUTO POWER OFF OFF, ON 
The GR-55 is able to turn off its power automatically. The power will automatically 
turn off when 10 hours have passed since you last played or operated the unit. A 
message will appear in the display approximately 15 minutes before the power 
turns off. 
With the factory settings, this function is turned “ON” (power switches off after 10 
hours elapses). Turn this setting “OFF” if you want the power to stay on. 

BACKUP/INITIALIZE 


Icon Description 
BACKUP/RESTORE Refer to “Saving GR-55 Settings to USB Memory (BACKUP)” (p. 72). 
PEDAL CALIBRATION Refer to “Adjusting the Pedal Sensitivity (CALIB)” (p. 73). 
FACTORY RESET Refer to “Restoring the Factory Settings (FACTORY RESET)” (p. 73). 
GUITAR-BASS SELECT Refer to “Selecting Guitar or Bass (GUITAR<->BASS)” (p. 9). 


Appendix 



GR-55 Patch List 


GUITAR MODE 


SOUND STYLE: LEAD 


Patch No Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
01-1 Metal Synth Lead Synth Lead 477 Synth Lead 548 E.GTR 03 
01-2 Rock Lead Organ E.Organ 062 ----
SYNTH 
22 
01-3 GR-300 Ctl:+1Oct ----
--
--
SYNTH 
18 
02-1 Nice Tenor Sax 407 ----
--
--
02-
2 Flute Solo Flute 393 ----
--
--
02-
3 Jazz Guitar Vibe Mallet 143 Mallet 142 E.GTR 10 
03-1 Legato Solo Pulsating 821 ----
E.
GTR 05 
03-2 SlowAttack Solo Synth Lead 524 Synth Lead 524 ----
03-
3 Synth Brass Lead Synth Lead 453 Synth Lead 524 SYNTH 23 
04-1 Drive Blues Harp Harmonica 119 ----
--
--
04-
2 Tp Section Ensemble Brass 379 Solo Brass 370 ----
04-
3 MELLOW CELLO Solo Strings 339 ----
--
--
05-
1 Strange Whistle Recorder 414 ----
--
--
05-
2 EMOTIONAL LEAD Synth Lead 446 ----
--
--
05-
3 WAVE SYNTH SOLO ----
--
--
SYNTH 
19 
06-1 Dual Sync Lead Synth Lead 486 Synth Lead 486 E.GTR 02 
06-2 Funky Syn Lead Synth Lead 466 Synth Lead 467 E.GTR 05 
06-3 SqrPipe For You Synth Lead 527 Synth Lead 527 ----
07-
1 Concert Grand Ac.Piano 002 ----
--
--
07-
2 Mute Trumpet/EXP Solo Brass 377 ----
--
--
07-
3 Epf + 335 Unison E.Piano1 035 ----
E.
GTR 09 
08-1 P90 & Organ Bell E.Organ 082 ----
E.
GTR 06 
08-2 Feedback Guitar E.Guitar 193 ----
E.
GTR 01 
08-3 CTL=DLY/EXP=WAH ----
--
--
E.
GTR 05 
09-1 More Blacklord E.Organ 060 E.Organ 065 E.GTR 01 
09-2 Pdl Bend Guitar ----
--
--
E.
GTR 02 
09-3 POLY DISTOTION ----
--
--
SYNTH 
19 
10-1 NaturalResoLead Synth Lead 560 Synth Lead 501 E.GTR 01 
10-2 Organ Syn Lead Synth Lead 554 E.Organ 087 SYNTH 22 
10-3 Crims-O-Tron E.Bass 215 Vox/Choir 418 SYNTH 18 
11-1 Dist Sync Lead Synth Lead 488 Synth Lead 548 E.GTR 03 
11-2 5th Layer Synth Lead 469 Synth Lead 465 E.GTR 05 
11-3 Screamin Lead Synth Lead 460 ----
--
--
12-
1 Portamento Lead Synth Lead 471 Synth Lead 471 SYNTH 19 
12-2 Dist Sine Solo Synth Lead 524 Synth Lead 524 E.GTR 05 
12-3 Dist Square Lead Synth Lead 536 Synth Lead 535 E.GTR 03 
13-1 Buzz Lead Synth Lead 476 Synth Lead 538 SYNTH 18 
13-2 METAL SAW LEAD Synth Lead 447 ----
E.
GTR 05 
13-3 BrassyLead Sax 406 Synth Brass 590 SYNTH 23 
14-1 LONG ECHO LEAD Synth Lead 471 ----
E.
GTR 05 
14-2 RockyOrgan E.Organ 084 E.Organ 087 SYNTH 22 
14-3 MILD SAW LEAD Synth Lead 523 ----
--
--
15-
1 Simple Square Synth Lead 533 ----
--
--
15-
2 +1oct Mild Lead Synth Lead 533 ----
--
--
15-
3 Unison Lead Dist.Guitar 201 ----
E.
GTR 01 
16-1 Lead Beast Synth Lead 455 Synth Lead 456 SYNTH 19 
16-2 Dream Bell Vox/Choir 416 Mallet 156 AC 11 
16-3 Female Chorus Synth Bellpad 693 Vox/Choir 435 ----




GR-55 Patch List 

GR-55 Patch List 
Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
17-1 70s Unison Dist.Guitar 199 Dist.Guitar 199 E.GTR 01 
17-2 Comfortable Solo ----
--
--
E.
GTR 02 
17-3 Wah Feedback Synth Lead 524 Synth Lead 524 E.GTR 05 
18-1 Gtr+Organ Unison E.Organ 060 E.Organ 060 E.GTR 03 
18-2 Vibraphone Mallet 152 ----
--
--
18-
3 Dark Trumpet Solo Brass 371 ----
--
--
19-
1 High Note Tp Solo Brass 370 ----
--
--
19-
2 Fat Brass Sec Ensemble Brass 380 Ensemble Brass 384 ----
19-
3 Solo Fr Horn Solo Brass 369 ----
--
--
20-
1 SGT Fr Horn Ensemble Brass 383 ----
--
--
20-
2 Solo Trombone Solo Brass 372 ----
--
--
20-
3 Super Low Brass Solo Brass 375 Orchestral 365 ----
21-
1 Clarinet>EXP Vib Wind 390 ----
--
--
21-
2 Oboe Wind 387 ----
--
--
21-
3 Soprano Sax Sax 405 ----
--
--
22-
1 Alto Sax Sax 409 ----
--
--
22-
2 Moody Sax Sax 406 ----
--
--
22-
3 Guitar+SaxUnison Sax 410 Sax 411 E.GTR 09 
23-1 Flute+Gtr Unison Flute 399 ----
E.
GTR 10 
23-2 Pan Flute Flute 397 ----
--
--
23-
3 Piccolo Flute 398 ----
--
--
24-
1 Flutey GT Flute 401 Flute 403 ----
24-
2 Heaven Ocarina Recorder 412 ----
--
--
24-
3 LofiFlute&Glockn Mallet 156 Flute 399 ----
25-
1 Recorder Recorder 413 ----
--
--
25-
2 Chromatic Harmo Harmonica 118 ----
--
--
25-
3 FILTER HARP Harmonica 118 ----
--
--
26-
1 Gt + HARMONICA Harmonica 118 ----
E.
GTR 09 
26-2 Heavy Harmonica Recorder 415 Harmonica 118 E.GTR 05 
26-3 LEAD VIOLIN Solo Strings 333 ----
--
--
27-
1 DIST VIOLIN Solo Strings 333 ----
--
--
27-
2 DRIVE+VLN+CELLO Solo Strings 337 Solo Strings 339 E.GTR 05 
27-3 DOUBLE CELLO Solo Strings 339 Solo Strings 339 ----
28-
1 GLASS CELLO Solo Strings 339 Synth Pad/Strings 681 ----
28-
2 OVERDRIVE+CELLO Solo Strings 339 ----
E.
GTR 09 
28-3 SMOOTH LEAD+VLN Solo Strings 336 ----
E.
GTR 09 
29-1 Brass + Drive Ensemble Brass 379 Sax 411 E.GTR 05 
29-2 Organ,Pf & OD Gt E.Organ 060 Ac.Piano 003 E.GTR 06 
29-3 Shamisen Plucked/Stroke 329 ----
--
--
30-
1 for Normal PU L1 Pipe Organ 094 E.Organ 080 SYNTH 20 
30-2 for Normal PU L2 Sax 406 Synth Bass 280 SYNTH 18 
30-3 for Normal PU L3 Synth Lead 486 Synth Lead 535 SYNTH 23 


GR-55 Patch List 
SOUND STYLE: RHYTHM 

GR-55 Patch List 
SOUND STYLE: RHYTHM 
Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
01-1 12st AG & Ch Org Pipe Organ 095 ----
AC 
11 
01-2 DoubleFlatHeavy Synth Bass 253 Synth Lead 450 E.GTR 05 
01-3 SoftBrightPad+L4 Synth Pad/Strings 682 Synth Pad/Strings 680 E.GTR 10 
02-1 RICH STRINGS Ensemble Strings 363 Solo Strings 340 ----
02-
2 POLY SITAR Plucked/Stroke 327 Synth PolyKey 725 ----
02-
3 HeavyBrassRock Ensemble Brass 384 Ensemble Brass 381 E.GTR 05 
03-1 Syn Str Pdl Reso Synth Pad/Strings 633 Synth Pad/Strings 627 E.GTR 02 
03-2 TB-303 Bass Synth Bass 289 Synth Bass 289 ----
03-
3 AG+Bell Pad Bell 121 Synth FX 784 AC 11 
04-1 Double Low Piano Ac.Piano 003 Ac.Piano 003 ----
04-
2 E Piano E.Piano2 054 ----
--
--
04-
3 Xylophone Plus Mallet 148 Pulsating 801 ----
05-
1 30 String Guitar Ac.Guitar 178 Ac.Guitar 175 E.GTR 08 
05-2 ST + TWEED ----
--
--
E.
GTR 01 
05-3 LP + STACK ----
--
--
E.
GTR 05 
06-1 AcGt12st+STRINGS Ensemble Strings 346 Solo Strings 339 AC 11 
06-2 Jazz Guitar ----
--
--
E.
GTR 10 
06-3 TL&Rotary Organ E.Organ 064 ----
E.
GTR 04 
07-1 Ballade Wurly E.Piano1 041 ----
--
--
07-
2 RnB Section Ensemble Brass 379 Sax 411 ----
07-
3 NYLON Gt+STRINGS Ensemble Strings 346 ----
AC 
12 
08-1 Symphonic Rock! Percussion 885 Ensemble Strings 350 E.GTR 03 
08-2 GR Brass+Strings Synth Brass 584 Ensemble Strings 344 SYNTH 18 
08-3 RockInCathedral Vox/Choir 418 Pipe Organ 092 E.GTR 02 
09-1 DADGAD PHASER Ensemble Strings 350 ----
E.
GTR 07 
09-2 Asian DADGAD Plucked/Stroke 329 Plucked/Stroke 315 AC 11 
09-3 TL+StFlanger Pad Synth Pad/Strings 632 Synth Pad/Strings 609 E.GTR 04 
10-1 Heavy Gt W/Sweep Synth Brass 581 Synth Pad/Strings 655 E.GTR 03 
10-2 Fat Drive Mix Synth Lead 468 Synth Lead 468 E.GTR 05 
10-3 Bright Gtr + Pad Ac.Piano 006 Synth Pad/Strings 618 AC 11 
11-1 Electric 12str ----
--
--
E.
GTR 08 
11-2 AC->12stAC(CTL) ----
--
--
AC 
11 
11-3 Nylon String Gtr ----
--
--
AC 
12 
12-1 Pedal Wah ----
--
--
E.
GTR 01 
12-2 Stolling Rones ----
--
--
E.
GTR 04 
12-3 Flat Tuned Drive ----
--
--
E.
GTR 03 
13-1 BlueGrass 12-St Plucked/Stroke 328 ----
AC 
11 
13-2 Bell Clean Synth Bellpad 694 Synth Pad/Strings 618 E.GTR 09 
13-3 AG & Epf E.Piano1 033 ----
AC 
11 
14-1 HnkyTonk Piano Ac.Piano 008 Ac.Piano 008 AC 14 
14-2 Phaser E Pf E.Piano1 032 ----
--
--
14-
3 Piano + Anlg Pad Ac.Piano 007 Synth Pad/Strings 614 SYNTH 21 
15-1 Dyno Epf w/Pad E.Piano1 032 ----
SYNTH 
23 
15-2 ST+FM Epf+Voice E.Piano2 049 Vox/Choir 442 E.GTR 02 
15-3 Drive Wurly E.Piano1 040 ----
--
--
16-
1 80s Piano Pop Piano 018 Synth Pad/Strings 631 SYNTH 20 
16-2 Analog Clav S&H Clav 106 Synth FX 775 E.GTR 06 
16-3 E PIANO/AcPIANO Ac.Piano 001 E.Piano1 022 ----
17-
1 Pipe Organ Pipe Organ 095 ----
--
--
17-
2 Cheap Organ E.Organ 086 ----
--
--
17-
3 3xOrganPower E.Organ 067 E.Organ 065 SYNTH 22 


GR-55 Patch List 

GR-55 Patch List 
Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
18-1 Simple Clavi Clav 103 ----
--
--
18-
2 R12st+Clavi+Xylo Clav 104 Mallet 161 E.GTR 08 
18-3 Harpsichord CTL Harpsichord 098 ----
--
--
19-
1 Celesta Celesta 111 ----
--
--
19-
2 Accordion Accordion 112 ----
--
--
19-
3 Bell&Mallet+(Bs) Bell 139 Mallet 145 ----
20-
1 TE+FM Bell Pad Bell 121 Synth Pad/Strings 613 E.GTR 04 
20-2 Marimba Mallet 146 ----
--
--
20-
3 SteelDrums/Ethno Mallet 147 Mallet 150 SYNTH 21 
21-1 Voice Pad SL Vox/Choir 420 Synth Pad/Strings 662 SYNTH 20 
21-2 AG+Voice Vox/Choir 419 ----
AC 
11 
21-3 Rotary G & Pad Vox/Choir 426 Synth Bass 229 E.GTR 06 
22-1 Gt & Vo Unison Vox/Choir 438 ----
E.
GTR 10 
22-2 Vox+Pf+Crystal Vox/Choir 417 Pop Piano 017 SYNTH 21 
22-3 Crunch & Voice Vox/Choir 430 Pulsating 799 E.GTR 04 
23-1 80s Stack Piano Pop Piano 017 Synth Brass 569 SYNTH 20 
23-2 Like 60s E.Organ 072 E.Organ 061 E.GTR 01 
23-3 Reed Organ(+LP) Reed Organ 097 ----
E.
GTR 05 
24-1 Full Section Ensemble Brass 382 Sax 411 ----
24-
2 Real & Syn Brass Ensemble Brass 379 Synth Brass 605 ----
24-
3 Edge Brass Ensemble Brass 381 Ensemble Brass 379 ----
25-
1 ORCHESTRA Orchestral 367 Orchestral 367 ----
25-
2 PIZZICATO Gt Ensemble Strings 360 Ensemble Strings 361 E.GTR 01 
25-3 FLANGE STRINGS Ensemble Strings 344 Solo Strings 340 ----
26-
1 PHASE STRINGS Ensemble Strings 346 Ensemble Strings 358 ----
26-
2 SynthBrass Synth Brass 597 Ensemble Brass 380 SYNTH 18 
26-3 BLADE RUNNING Synth Brass 575 ----
--
--
27-
1 Seychelles Tour Vox/Choir 443 Sound FX 863 E.GTR 01 
27-2 EmotionalBallad E.Piano1 042 E.Piano2 053 E.GTR 09 
27-3 Analog Voice Pad E.Bass 215 Vox/Choir 418 SYNTH 18 
28-1 -2 Tubular & LP Bell 136 Pipe Organ 095 E.GTR 05 
28-2 Bridge of Sy's E.Piano1 042 Synth FX 765 E.GTR 01 
28-3 Faded Cherry E.Guitar 190 Mallet 159 AC 12 
29-1 Acid Bass Synth Bass 308 Synth Bass 308 SYNTH 23 
29-2 Acoustic Bass Ac.Bass 210 ----
AC 
11 
29-3 Heavy P-Funk BS Synth Bass 242 Plucked/Stroke 328 E.GTR 02 
30-1 for Normal PU R1 Synth Bellpad 693 Ensemble Strings 345 AC 11 
30-2 for Normal PU R2 Synth Brass 569 E.Organ 088 AC 11 
30-3 for Normal PU R3 Ensemble Strings 362 Synth Pad/Strings 627 SYNTH 19 


GR-55 Patch List 
SOUND STYLE: OTHER 

GR-55 Patch List 
SOUND STYLE: OTHER 
Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
01-1 Ultimate Pulse Synth Pad/Strings 612 Pulsating 824 SYNTH 18 
01-2 Heavy Hit&Groove Hit 843 Beat&Groove 835 E.GTR 02 
01-3 Jazz Trio Percussion 884 Ac.Bass 212 E.GTR 10 
02-1 Seq*Tempo Dly+EG Synth Pad/Strings 615 Synth Seq/Pop 788 E.GTR 01 
02-2 DarkSideOfTheSun Bell 128 Synth Pad/Strings 669 E.GTR 03 
02-3 KOTO DREAMS Plucked/Stroke 330 Synth PolyKey 726 ----
03-
1 Voice Hit Pulsating 825 Hit 844 E.GTR 04 
03-2 Heavens Bells Bell 129 Synth Pad/Strings 666 E.GTR 08 
03-3 Sine Air Bend Synth Lead 549 Synth Lead 549 ----
04-
1 Question+Answer Plucked/Stroke 318 E.Grand Piano 020 E.GTR 03 
04-2 Metamorphosis Synth FX 775 Pulsating 797 SYNTH 21 
04-3 HighlanderGTR Synth Bellpad 704 Wind 391 AC 15 
05-1 Sitar Fantasy Synth Lead 553 Ensemble Strings 355 AC 13 
05-2 GR-300 Triplet Synth Pad/Strings 675 Synth Pad/Strings 684 SYNTH 18 
05-3 Noize Mix Drive Synth FX 764 Synth FX 760 E.GTR 03 
06-1 Scat & Guitar Scat 444 E.Piano1 034 E.GTR 10 
06-2 SE Pad & LP+MS Pulsating 825 Synth Pad/Strings 640 E.GTR 05 
06-3 DancingAcoustic Synth Pad/Strings 692 Ac.Guitar 173 AC 11 
07-1 Heavy Pulse Synth Lead 553 Synth Lead 538 E.GTR 03 
07-2 NEW WAVES Synth Lead 492 ----
--
--
07-
3 FourthOfFifth Synth PolyKey 735 Synth Bellpad 708 E.GTR 02 
08-1 E Sitar& Dly Toy Mallet 141 ----
AC 
13 
08-2 Trio Concerto Ac.Piano 002 Ensemble Strings 346 AC 12 
08-3 PARADISE LOST Synth PolyKey 754 Synth Bellpad 708 ----
09-
1 Trademark Riff -----
Synth FX 779 ----
09-
2 Touchy 5th Synth PolyKey 735 E.Guitar 190 E.GTR 09 
09-3 Scuba-Diving Synth FX 779 Pulsating 798 SYNTH 23 
10-1 Big Syn Drum Percussion 893 Synth Pad/Strings 633 E.GTR 03 
10-2 Sequence Clean Pulsating 812 Synth Pad/Strings 620 E.GTR 01 
10-3 Acoustic Heaven Pulsating 815 Synth Pad/Strings 610 AC 11 
11-1 SparkleBellGTR Bell 128 Plucked/Stroke 324 E.GTR 02 
11-2 Metal Timpani Percussion 885 Percussion 885 E.GTR 03 
11-3 Cheezy Movie Hit 840 Orchestral 365 E.GTR 04 
12-1 Stalker Violin Solo Strings 333 Synth Pad/Strings 681 E.GTR 08 
12-2 OverblownClnGTR Sax 409 Flute 401 E.GTR 10 
12-3 MotionBuilder Pulsating 823 Pulsating 809 SYNTH 18 
13-1 Pulsing Bell+EG Pulsating 811 Synth Bellpad 696 E.GTR 06 
13-2 Flying Tremolo Synth FX 775 Pulsating 803 E.GTR 09 
13-3 Trance Organ Pulsating 810 E.Piano1 038 SYNTH 22 
14-1 Sequence Trio Pulsating 812 Pulsating 814 E.GTR 02 
14-2 Extreme FX Sound FX 859 Sound FX 863 E.GTR 02 
14-3 Rhythmic Pulse Pulsating 808 E.Organ 063 E.GTR 02 
15-1 Scared Score Sound FX 863 Percussion 886 AC 12 
15-2 EasternFluteGT Plucked/Stroke 327 Flute 394 AC 13 
15-3 Odd Guitar Ac.Guitar 175 Plucked/Stroke 330 E.GTR 02 
16-1 DissonantBeauty E.Piano1 033 Plucked/Stroke 322 SYNTH 19 
16-2 PluckdBaritoned ----
Plucked/
Stroke 325 E.GTR 04 
16-3 GroovePusher Beat&Groove 831 Pulsating 809 E.GTR 04 
17-1 JazzEP/BassSplit E.Piano2 055 Ac.Bass 210 E.GTR 10 
17-2 Metal Scat Scat 444 Scat 444 E.GTR 05 
17-3 Quantum Physics Synth Pad/Strings 657 Vox/Choir 429 SYNTH 22 


GR-55 Patch List 

GR-55 Patch List 
Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
18-1 Enigmatic Rick Synth FX 755 Synth FX 761 E.GTR 08 
18-2 Euro Beat Slicer Synth Bass 242 Synth Lead 553 ----
18-
3 Fuzz Heaven Synth PolyKey 754 Pulsating 797 SYNTH 18 
19-1 Arabian Nights ----
Plucked/
Stroke 322 AC 14 
19-2 Morpheus Bell 129 Synth Pad/Strings 665 E.GTR 08 
19-3 Unison+5thPower Synth Seq/Pop 795 Synth Lead 553 E.GTR 09 
20-1 BassFluteSaxTrio Sax 410 Flute 402 E.BASS 17 
20-2 Exorbitanz Synth Pad/Strings 652 Synth FX 757 AC 14 
20-3 Armageddon Sound FX 850 Sound FX 849 SYNTH 18 
21-1 Grinder Bell 132 Pulsating 800 AC 13 
21-2 EmoCarillion Ac.Guitar 169 Bell 138 SYNTH 18 
21-3 Unbelievable Synth Pad/Strings 653 Synth Pad/Strings 668 E.GTR 08 
22-1 FAB 4 Together E.Piano1 042 E.Piano2 056 E.BASS 17 
22-2 Esoteric Vibe Plucked/Stroke 321 Mallet 152 E.GTR 06 
22-3 Deja Vu Bass Synth Lead 542 Synth PolyKey 743 E.BASS 16 
23-1 GK Paradise Synth FX 775 Synth PolyKey 726 AC 13 
23-2 Is Dis Fat? Synth PolyKey 747 Synth Lead 482 E.GTR 05 
23-3 Gladiator Percussion 885 Vox/Choir 425 ----
24-
1 SlowGearSynth Bell 130 Ac.Guitar 174 E.GTR 04 
24-2 Oxygen Lead Plucked/Stroke 320 E.Piano1 035 SYNTH 18 
24-3 SteelPan + Agogo Percussion 886 Mallet 147 E.GTR 01 
25-1 GHOSTLY Synth FX 783 Synth FX 783 E.GTR 01 
25-2 SNEAKING UP Ensemble Strings 353 Synth Pad/Strings 681 ----
25-
3 Big Ben Plucked/Stroke 320 Bell 137 E.GTR 03 
26-1 AggroClav Reed Organ 096 Clav 106 SYNTH 20 
26-2 Cinematic Art Sound FX 863 Mallet 156 ----
26-
3 Strictly E Mallet 142 Synth Lead 492 E.GTR 06 
27-1 Beat Provider Beat&Groove 830 Beat&Groove 829 ----
27-
2 Shanai+Rhythm Wind 392 Beat&Groove 834 ----
27-
3 BackToDaCrib Beat&Groove 839 Beat&Groove 838 SYNTH 23 
28-1 Hyper TE Beat Sound FX 851 Beat&Groove 837 E.GTR 04 
28-2 HOUSE FIRE Beat&Groove 838 Pulsating 822 ----
28-
3 Trance Groove Beat&Groove 831 Synth PolyKey 713 E.GTR 03 
29-1 RAINSTORM Sound FX 850 Sound FX 849 ----
29-
2 Scary Scream Sound FX 860 Sound FX 876 ----
29-
3 COMEDIAN Sound FX 875 Sound FX 874 ----
30-
1 for Normal PU O1 Mallet 143 E.Piano2 054 AC 13 
30-2 for Normal PU O2 Synth Lead 553 Beat&Groove 832 SYNTH 20 
30-3 for Normal PU O3 Synth FX 783 Orchestral 367 SYNTH 18 


GR-55 Patch List 

GR-55 Patch List 
E 


SOUND STYLE: LEAD 

Patch No Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
01-1 Double String Bs Ensemble Strings 342 Synth Pad/Strings 632 E.BASS 01 
01-2 Oct Unison Lead Synth Lead 523 Synth Lead 523 SYNTH 10 
01-3 Cotton Harp Harmonica 119 ----
--
--
02-
1 Jazz Trio Percussion 884 Mallet 152 E.BASS 01 
02-2 Mond MG Lead Synth Lead 482 Solo Brass 378 E.GTR 16 
02-3 Pipe & Organ Flute 393 E.Organ 071 ----
03-
1 Indian Fretless Plucked/Stroke 319 E.Bass 218 E.BASS 01 
03-2 EP Unison E.Piano1 022 E.Piano1 032 E.BASS 01 
03-3 Mellow Fretless E.Bass 218 ----
E.
BASS 01 
04-1 AnalogBass+Pedal Synth Lead 481 Synth Pad/Strings 688 SYNTH 10 
04-2 OrgBass+PedalSyn Synth Lead 561 E.Organ 062 E.BASS 05 
04-3 ModBass+PedalSyn Synth Brass 577 Synth Pad/Strings 639 E.BASS 08 
05-1 Deep Ensemble Ensemble Strings 358 Solo Strings 340 SYNTH 10 
05-2 Rock Organic E.Organ 061 E.Organ 088 E.BASS 06 
05-3 Pedal Synth Bend Synth Lead 477 Synth Lead 548 E.BASS 01 
06-1 Soft Lead Recorder 414 ----
E.
BASS 01 
06-2 70s Mond Org E.Organ 077 ----
E.
GTR 16 
06-3 Flange GR-500 Synth Lead 456 ----
SYNTH 
10 
07-1 Solo Cello Solo Strings 335 Solo Strings 333 ----
07-
2 Trumpet&Strings Solo Brass 371 Ensemble Strings 356 E.BASS 01 
07-3 OctaPiano Ac.Piano 001 Ac.Piano 001 E.BASS 01 
08-1 Strings&FL Sound Ensemble Strings 342 Flute 399 E.BASS 01 
08-2 Ska Melody Solo Strings 340 Ensemble Brass 384 E.BASS 01 
08-3 Spacy Jazz Bass ----
--
--
E.
BASS 01 
09-1 Delayed Nylon Ac.Guitar 163 ----
E.
BASS 08 
09-2 Experience ----
--
--
E.
GTR 16 
09-3 Extreme Dist ----
--
--
E.
BASS 05 
10-1 for Normal PU L1 Pipe Organ 094 E.Organ 080 SYNTH 12 
10-2 for Normal PU L2 E.Piano1 038 Synth Lead 502 SYNTH 10 
10-3 for Normal PU L3 Synth Lead 486 Synth Lead 535 SYNTH 15 

SOUND STYLE: RHYTHM 


Patch No Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
01-1 Super Saw Bass Synth Bass 229 Synth PolyKey 723 SYNTH 11 
01-2 M-Man Brass Ensemble Brass 379 Sax 411 E.BASS 05 
01-3 Fat Upright Ac.Bass 211 ----
SYNTH 
12 
02-1 Organ ViolinBass E.Organ 070 E.Organ 073 E.BASS 09 
02-2 Bell Sweep Bass Synth Lead 553 Synth Bellpad 693 SYNTH 10 
02-3 Heavy E Piano E.Piano1 022 E.Piano1 023 E.BASS 04 
03-1 Shaker Synth Synth Lead 556 Synth Brass 569 SYNTH 12 
03-2 FilterBassSynth ----
--
--
SYNTH 
12 
03-3 MM & Fat Poly Synth PolyKey 721 Synth Pad/Strings 656 E.BASS 05 
04-1 FastTrackin'Bass Synth Bass 240 ----
SYNTH 
12 
04-2 Soft Bass Synth Bass 283 Synth Bass 265 ----
04-
3 BrightJB+SynBass Synth Bass 303 ----
E.
BASS 02 
05-1 Fat Synth Bass Synth Bass 235 Synth Bass 237 SYNTH 10 
05-2 Big Synth Synth Bass 275 ----
--
--
05-
3 DecayFilterBass ----
--
--
SYNTH 
12 


GR-55 Patch List 

GR-55 Patch List 
Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
06-1 Bass Synth Synth Bass 237 ----
SYNTH 
11 
06-2 Reso Fuzz Bass Synth Bass 288 ----
E.
BASS 04 
06-3 ACID CLAV Synth Bass 262 Clav 105 ----
07-
1 Space Funk Clav 108 Synth Bass 253 E.BASS 03 
07-2 Trem E Piano E.Piano1 022 ----
E.
BASS 01 
07-3 Bass + Clav Clav 103 ----
E.
BASS 03 
08-1 OctaClavz Clav 109 Clav 110 E.BASS 03 
08-2 High Strings Ensemble Strings 342 Ensemble Strings 363 ----
08-
3 Brass Mix Ensemble Brass 379 Synth Brass 579 E.BASS 08 
09-1 Organ Bass E.Organ 062 E.Organ 070 E.BASS 01 
09-2 Octave M-Man ----
--
--
E.
BASS 05 
09-3 P-Bass Crunch ----
--
--
E.
BASS 04 
10-1 for Normal PU R1 Synth Bellpad 693 Ensemble Strings 345 E.BASS 07 
10-2 for Normal PU R2 Synth Brass 569 E.Organ 088 E.BASS 08 
10-3 for Normal PU R3 Ensemble Strings 362 Synth Pad/Strings 627 SYNTH 10 

SOUND STYLE: OTHER 


Patch No Patch Name 
PCM TONE1 PCM TONE2 MODELING TONE 
Category Tone No Category Tone No Category Tone No 
01-1 Ultimate Pulse Synth Pad/Strings 612 Pulsating 824 SYNTH 10 
01-2 Ambient Sparkle Bell 120 Synth Pad/Strings 680 ----
01-
3 Auto Groove Beat&Groove 835 Synth Brass 569 E.BASS 01 
02-1 Avalon Bell 120 Plucked/Stroke 318 ----
02-
2 Bollywood Stack Plucked/Stroke 327 Ensemble Strings 359 SYNTH 10 
02-3 Gel Sequence Pulsating 813 Synth Pad/Strings 645 ----
03-
1 Seq Str Hit Pulsating 815 Ensemble Strings 351 ----
03-
2 Vint Seq Bass Synth FX 773 Synth FX 773 SYNTH 12 
03-3 Techno Sequence Pulsating 824 Pulsating 808 ----
04-
1 Tubular Strings Bell 133 Ensemble Strings 361 E.BASS 05 
04-2 TIME>TRAVELER Pulsating 805 Pulsating 808 ----
04-
3 STRINGTHEORY Pulsating 803 Pulsating 797 ----
05-
1 Ambient Organ E.Organ 067 Flute 402 ----
05-
2 RingLoop&E Piano E.Piano1 024 Pulsating 809 E.BASS 01 
05-3 Unknown Kingdom Pulsating 825 Synth Pad/Strings 646 E.BASS 01 
06-1 Arrival Of King Percussion 885 Ensemble Strings 345 E.BASS 01 
06-2 Ringing Bell -----
Synth Pad/Strings 680 ----
06-
3 TOKYO LIGHTS Synth PolyKey 718 Synth FX 778 ----
07-
1 Sad Memory Pulsating 823 Vox/Choir 433 E.BASS 01 
07-2 Wandering Pipe Bell 120 Flute 394 ----
07-
3 LUNAR LANDING Synth FX 759 Pulsating 805 ----
08-
1 Techno Opening Pulsating 824 Synth Lead 486 E.BASS 01 
08-2 Inner Journey Pulsating 822 Vox/Choir 436 SYNTH 10 
08-3 HOUSE PARTY Beat&Groove 839 Hit 842 ----
09-
1 Compu-Strings Beat&Groove 831 Ensemble Strings 362 E.BASS 01 
09-2 5th & Groovin' Beat&Groove 829 Synth PolyKey 735 E.BASS 01 
09-3 Shamisen Beat Plucked/Stroke 329 Beat&Groove 839 E.BASS 08 
10-1 for Normal PU O1 Mallet 143 E.Piano2 054 SYNTH 14 
10-2 for Normal PU O2 Synth Lead 553 Beat&Groove 832 SYNTH 12 
10-3 for Normal PU O3 Synth FX 783 Orchestral 367 SYNTH 10 


Troubleshooting 


If the GR-55 is not producing sounds or if you think it is not operating properly, first check the following points. If checking these points fails to resolve 
the problem, consult your dealer or the nearest Roland service center. 

During normal performance using the GR-55 alone 

Problem Items to check Action Page 
No sound/Low volume 
Is the [OUTPUT LEVEL] knob turned 
down completely? Adjust the knob to an appropriate setting. p. 16 
Could the volume of the GK pickup be 
turned down? Raise the volume of the GK pickup to an appropriate level. p. 16 
Could the select switch of the GK 
pickup be set to “GUITAR”? Set the switch of the GK pickup to GK (or SYNTH) or MIX. p. 22 
Could the expression pedal be 
released? Depress the expression pedal. p. 20 
Could the PATCH LEVEL be turned 
down? Try raising the PATCH LEVEL in the EZ EDIT or other screen. p. 18 
Is there a short in any connecting 
cable? Try replacing the connecting cable. — 
Are the GR-55 and other devices 
connected properly? Check the connections with the other devices. p. 8 
Is the power to the connected amp or 
mixer not turned on, or is the volume 
turned down? 
Check the settings for the connected device. — 
Is the tuner on? The direct sound is not output when the tuner is on if the volume setting 
during tuning is set to “MUTE ON.” p. 13 
If there are no sounds through USB, 
are the [SYSTEM] - USB settings 
correct? 
Adjust the settings to the appropriate values. p. 80 
Is the [SYSTEM] - USB - DIRECT MON 
switched off? Set this to ON. p. 80 
Unwanted synthesizer sound is 
heard when you play softly 
Synthesizer sound is inconsistent 
in volume 
Check the setting for “VELOCITY” 
under “GK SETTING.” 
If you raise the LOW VELOCITY CUT value, unwanted triggering will be 
reduced; softly played notes will be less likely to sound. p. 75 
Adjust the “PLAY FEEL” parameter. 
The “5” setting gives you a completely fixed velocity and sound regardless 
of your playing strength (picking). 
p. 75 
Volume is uneven among the 
strings 
Was the “GK SENS” setting adjusted 
correctly for each string? Perform the adjustment. p.10,p.11 
Is the GK pickup attached correctly? 
Refer to the manual of your GK pickup, and attach the GK pickup correctly. 
On the Roland website, the “GK-3/3B Installation Tips” page provides an 
explanation and photos on how to attach a GK pickup. Be sure to take a 
look! 
http://www.roland.com/GK/ 
— 
When using the GR-55’s pedal 
effects or expression pedal, the 
result is different for each patch 
The effect produced using the 
expression pedal is different for each 
sound (patch). 
Check the effect of each patch beforehand. — 
The pitch of the synth sound does 
not change in the same way as the 
pitch of the guitar 
The pitch of some tones (such as 
percussion instruments and sound 
effects) will change in a different way 
than the pitch of your guitar. 
It does not indicate a malfunction. — 
The pitch changes in half-steps 
when bending or etc 
On some sounds (patches) such 
as piano or organ, the pitch will 
not change smoothly, but change 
only in semitone steps. This is done 
intentionally in order to make the 
instrument sound more realistic. 
It does not indicate a malfunction. — 
Oscillation occurs 
In the effect settings, could a gain 
value or volume-related parameter be 
set too high? 
Decrease the value. p. 41 
Cannot change parameters with 
pedals or buttons 
Are you using INTERNAL PEDAL with 
Control Assign? 
When INTERNAL PEDAL or WAVE PEDAL is used for the assign source, the 
effect parameters set as the assign targets change automatically. 
If you want to change parameters with the knobs or PATCH/VALUE dial, first 
switch off Control Assign and cancel the INTERNAL PEDAL setting. 
p. 57 
Patches not switching Is some screen other than the Play 
screen shown in the display? 
With the GR-55, you cannot switch patches in any screen other than the 
Play screen. Press the [EXIT] button one or more times to return to the Play 
screen. 
p. 20 
Unable to control parameters set 
with Assign as expected 
Are the effects switched off? Check to make sure the effects incorporating the parameters being 
controlled are on. p. 38 
Are the MIDI channels matched? When carrying out operations using MIDI, check to confirm that both 
devices are set to the same MIDI channel. p. 79 
Are the controller numbers (CC#) 
matched? Check to confirm that the controller numbers you are using are the same. p. 79 


Troubleshooting 

Troubleshooting 

Problem Items to check Action Page 
The external sound module 
connected to the MIDI OUT 
connector does not sound 
Do the MIDI channels of the transmitting 
and receiving devices match? Match the MIDI channels. p. 79 
Could you have turned down the volume 
using the volume control of the GK pickup or 
the expression pedal? 
Raise the controller or volume. — 
Only one string sounds on the 
external sound module (some 
strings do not sound) 
Could you be using Mono mode to transmit 
from the GR-55 to a sound module that 
is unable to receive six MIDI channels 
simultaneously? 
Use a sound module that supports multitimbral operation. 
Use the GR-55 in Poly mode. 
p. 79 
Pitch is incorrect (different than the 
guitar pitch) 
Is the Bend Range of your external sound 
module set to +/- 24? Set the Bend Range of your external sound module to +/- 24. — 
Is your guitar tuned accurately? 
Use the GR-55’s Tuner function to tune your guitar accurately. You 
must also adjust your guitar so that accurate pitches are sounded 
even on the high frets. 
p. 13 
When you view the note messages 
recorded in your sequencer, the 
pitches differ from what is actually 
sounded 
The GR-55 expresses the pitch as a 
combination of note data and pitchbend 
data. This means that if you’re looking only 
at the note data, the pitches may appear 
different than what you played. 
Check the pitchbend data. — 
MIDI messages not being 
transmitted/received 
Could there be a short in the MIDI cable? Try replacing the MIDI cable. — 
Are the GR-55 and the external MIDI device 
connected properly? Check the connection with the external MIDI device. p. 67 
Are the MIDI channels matched? Check to confirm that both devices are set to the same MIDI channel. p. 79 
If you are transmitting from the GR-55, have 
the settings for transmission been made? 
Check the Program Change message transmission ON/OFF setting 
and the settings for the controller number to be transmitted. p. 79 
Pitch does not change smoothly Could the master parameter GTR-MIDICHROMATIC 
be “ON”? 
If this is turned “ON,” pitch bend data will not be output, and the 
pitch will change in semitone steps. Check the master parameter 
GTR-MIDI-CHROMATIC, and turn it “OFF.” 
p. 79 

When using USB memory 

Problem Items to check Action Page 
USB memory is not detected / Song 
files are not displayed 
Check the format of your USB memory. The 
GR-55 can use USB memory that is formatted 
as FAT. (Normally, when you purchase USB 
memory, it will be formatted as FAT, so you 
can start using it immediately.) However, USB 
memory that was formatted by a computer 
or other device as something other than FAT 
(e.g., NTFS) will not be recognized by the 
GR-55. 
Use your computer to format the USB memory in FAT format. (It is not 
possible to format USB memory using the GR-55.) 
In Computer (or My Computer), right-click the USB drive, choose 
“Format,” and then choose “FAT” as the file system so that the USB 
memory will be formatted in FAT format. For details on formatting 
USB memory, refer to your computer’s documentation. 
* When you format USB memory, all of its contents will be lost 
— 
Could the USB memory be write protected? Disable write protection. — 
Can’t back up to USB memory Is there sufficient free space on the USB 
memory? Use USB memory that has sufficient free space. — 


Error Messages 


Message Meaning Action 
MIDI OFFLINE! The MIDI IN connection was broken. 
Check that there is no problem with the MIDI cable connected 
to the GR-55’s MIDI IN, and that the MIDI cable was not 
disconnected. 
MIDI BUFFER FULL! An unusually large amount of MIDI data was received, 
and could not be processed. 
Reduce the amount of MIDI messages that are being 
transmitted. 
MEMORY DAMAGED! It is possible that the contents of memory have been 
damaged. 
Please execute a Factory Reset. 
If this does not resolve the problem, contact your dealer or a 
nearby Roland service center. 
USB MEMORY NOT READY! USB memory is not connected. Connect USB memory. 
USB MEMORY READ ERROR! The USB memory could not be read. 
Use your computer to format the USB memory. 
* When you format USB memory, all of its contents will be 
lost 
USB MEMORY WRITE ERROR! The USB memory could not be written. 
Check whether the USB memory might be write protected. 
If the USB memory is not write protected, use your computer to 
format the USB memory. 
* When you format USB memory, all of its contents will be 
lost 
UNFORMATTED USB MEMORY! The USB memory is not formatted. 
The GR-55 can use USB memory that is formatted as FAT. 
(Normally, when you purchase USB memory, it will be formatted 
as FAT, so you can start using it immediately.) However, USB 
memory that was formatted by a computer or other device as 
something other than FAT (e.g., NTFS) will not be recognized by 
the GR-55. 
Use your computer to format the USB memory in FAT format. (It 
is not possible to format USB memory using the GR-55.) 
In Computer (or My Computer), right-click the USB drive, 
choose “Format,” and then choose “FAT” as the file system so 
that the USB memory will be formatted in FAT format. For 
details on formatting USB memory, refer to your computer’s 
documentation. 
* When you format USB memory, all of its contents will be 
lost 
CURRENTLY CONNECTED TO 
COMPUTER VIA USB! 
Since there is a USB cable connected to the USB 
COMPUTER connector, the AUDIO PLAYER function 
cannot be used. 
Disconnect the USB cable from the USB COMPUTER connector, 
then try using the AUDIO PLAYER function. 
AUDIO FILE NOT FOUND! There is no audio file for the AUDIO PLAYER to play. Save the audio file that you want to play on the USB memory. 
UNSUPPORTED AUDIO FILE! This audio file cannot be played by the GR-55. — 


MIDI OUT 
/
COMPUTER (USB) MIDI OUT 


GK IN 


Signal Flow 
DIVIDEDPUNORMALPUGKSETTINGPATCHSYSTEMSTRUCTURELINE SELECTGUITAR OUT 
SELECTPATCH NO.
(PROGRAM CHANGE)
GUITAR TO MIDIOUTPUT LEVELPCM TONE 1MODELINGTONENORMAL PUPCM TONE 2MODAMPREVERBCHORUSDELAYBYPASSMFXEQPHRASE 
LOOPOUTPUTSELECT
COMPUTER 
MIDI IN /

(USB)
COMPUTER

AUDIO OUT(USB) MIDI IN 


AUDIO IN 


PHONESOUTPUT

GUITAROUT 



MIDI Implementation Chart 


Date : September 9, 2010

GUITAR SYNTHESIZER 
Model GR-55 

Version : 1.00 

Function... Transmitted Recognized Remarks 
Basic 
Channel 
Default 
Changed 
1–16 
1–16 
1–16 
1–16 
Memorized 
Mode 
Default 
Messages 
Altered 
Mode 3, 4 (M = 6) 
x 
************** 
Mode 3 
x 
Memorized 
Note 
Number True Voice 
0–127 
************** 
x 
Velocity 
Note On 
Note O. 
o 
x 
x 
x 
After 
Touch 
Key’s 
Ch’s 
x 
x 
x 
x 
Pitch Bend o x 
Control 
Change 
0, 32 
1–31 
33–63 
64–95 
o 
o 
x 
o 
o 
o 
x 
o 
*1 
*1 
*1 
Bank Select 
Program 
Change True # 
o 
0–127 
o 
0–127 Program Number 1–128 
System Exclusive o o 
Common 
Song Position 
Song Select 
Tune Request 
x 
x 
x 
x 
x 
x 
System 
Realtime 
Clock 
Commands 
o 
x 
o 
x 
AUX 
Messages 
Local ON/OFF 
All Notes OFF 
All Sound OFF 
Reset All Controller 
Active Sense 
System Reset 
x 
x 
x 
x 
o 
x 
x 
x 
x 
x 
o 
x 
Notes *1 Can be received only through the Basic channel. 

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO o: Yes 
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO x: No 



Main Specifications 


Roland GR-55: Guitar Synthesizer 

Sound Generator 
PCM 2 tones 
Modeling 1 tone 
Tones 
PCM 910 types 
Modeling 
23 types (guitar mode) 
17 types (bass mode) 
Effects 
MFX (Multi-Effects) 20 types 
Preamp 42 types 
Modulation 14 types 
Chorus 7 types 
Delay 5 types 
Reverb 4 types 
EQ 1 type 
Patch Memory 
Guitar mode: 270 (Preset) + 297 (User) 
Bass mode: 90 (Preset) + 297 (User) 
AD Conversion 
GK Pickup 24-bit 
Normal Pickup 
24-bit + AF method 
* AF method (Adaptive Focus method) 
This is a proprietary method from Roland & BOSS that vastly improves 
the signal-to-noise (S/N) ratio of the A/D and D/A converters 
DA Conversion 24-bit 
Sampling Frequency 44.1 kHz 
Nominal Output Level 
OUTPUT jacks -10 dBu 
GUITAR OUT -10 dBu 
Output Impedance 
OUTPUT jacks 2 k ohms 
GUITAR OUT 2 k ohms 
USB Memory Audio Player File Format: WAV, AIFF 
Display Graphic LCD 240 x 64 dots 
Connectors 
GK IN connector (13 pins DIN type) 
GUITAR OUT jack (1/4 inch phone type) 
OUTPUT L/MONO, R jacks (1/4 inch phone type) 
PHONES jack (Stereo 1/4 inch phone type) 
MIDI connectors (IN, OUT) (5-pin DIN type) 
USB COMPUTER connector (supports USB 2.0 Hi-Speed USB MIDI and USB Audio) 
USB MEMORY connector (supports USB 2.0 Hi-Speed Flash Memory) 
DC IN jack 
Dimensions of USB memory that can be installed: 60 (length: including connector) x 26 (width) x 13 5 (thickness) mm or 
smaller 
Power Supply DC 9 V 
Current Draw 700 mA 
Dimensions 
405 (W) x 244 (D) x 78 (H) mm 
16 (W) x 9-5/8 (D) x 3-1/8 (H) inches 
Maximum height: 
405 (W) x 244 (D) x 106 (H) mm 
16 (W) x 9-5/8 (D) x 4-3/16 (H) inches 
Weight 3.3 kg / 7 lbs 5 oz (excluding AC adaptor) 
Accessories 
Model with included GK pickup Model for separately sold GK pickup 
AC adaptor 
Owner’s manual 
Divided pickup (GK-3) 
GK cable (5 m) 
AC adaptor 
Owner’s manual 
Options 
Divided pickup: GK-3 (for guitar), GK-3B (for bass guitar) 
GK cable: GKC-5 (5 m), GKC-10 (10 m) 
MIDI foot controller: FC-300 
Unit selector: US-20 

* 0 dBu=0 775 Vrms 
* In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice . 



Index 


A 


ALT-TUNING ....................................................... 54, 59 
AMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 
ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 57 
Assignments 

Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 
Audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 
Audio Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 
AUTO POWER OFF ..................................................... 71 

B 


BACKUP ........................................................... 72, 80 
Bank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 


C 


CALIB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 
CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 
Connecting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 

External Equipment ................................................. 66 
Controller 

Assignments ........................................................ 61 
COSM .................................................................. 6 


D 


DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 
Display ................................................................ 71 


E 


EDIT screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 
Effect 

Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 

Editing (Detailed Settings) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 
EFFECT parameter ..................................................... 41 
EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 
Error messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 
Expression pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 
EZ EDIT function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 

F 


FACTORY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 
Front Panel ............................................................ 20 
Functional ground terminal ............................................ 21 

G 


GK CTL .........................................................54, 55, 76 
Assignments ........................................................ 61 
GK pickups .....................................................22, 54, 69 
GK SET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 58, 69 
GK SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 69, 74 
GUITAR<->BASS ........................................................ 9 
GUITAR OUT ....................................................... 59, 70 
GUITAR OUT Jack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 

I 


INITIALIZE ............................................................. 80 
Internal pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 


L 


LCD CONTRAST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 

M 


MASTER parameter .................................................... 55 
MFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 
MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67, 79 
MIDI Implementation Chart ............................................ 94 
MOD .................................................................. 42 
MODELING TONE ...................................................... 22 

N 


NORMAL PICKUP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 
Nuance parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 


O 


OTHER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 
Output Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 
OUTPUT SELECT ................................................12, 70, 75 

P 


Parameter List 
EFFECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 
MASTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 
MODELING TONE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 
PCM TONE 1/PCM TONE 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 
SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 
Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 22 
Changing the Order ................................................. 60 
Initializing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 
Renaming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 
Saving .............................................................. 60 
Writing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 
PATCH EXCHANGE ..................................................... 60 
PATCH INITIALIZE ...................................................... 60 
PATCH NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 
PATCH TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 58 
PATCH WRITE .......................................................... 60 
PCM TONE 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 
PCM TONE 1/PCM TONE 2 parameter ................................... 25 
Pedal 
Assignments ........................................................ 61 
PEDAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 55, 76 
Audio Player ........................................................ 65 
Pedal Sensitivity ....................................................... 73 
Phrase Loop ........................................................... 64 
Pickups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 
Playing Back 
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 
POWER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 
Preset patch ....................................................... 16, 22 

R 


Rear Panel ............................................................. 21 
RESTORE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 
Restoring 

Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 

GR-55 Settings ...................................................... 72 
REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 

S 


Saving 
GR-55 Settings ...................................................... 72 
Patch ........................................................... 18, 60 
Selecting 
GUITAR<->BASS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 
Patch ............................................................... 16 
User Patch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 
Setting 
Effect ............................................................... 38 
GK Control .......................................................... 54 
GK Pickup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 
GUITAR OUT Jack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 
MASTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 
Patch Tempo ........................................................ 54 
Pedal/GK Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 
SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 
V-LINK .............................................................. 54 
Side Panel ............................................................. 21 
Sound Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 
Structure .............................................................. 40 
Switching 
Effect Type .......................................................... 38 
GK Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 
SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69, 74 

T 


Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 
Tone 

Changing ........................................................... 23 


Connection Destination ............................................. 40 


Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 

Editing (Detailed Settings) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 
Tone category ......................................................... 23 
Tone Switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 
Top Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 
Tuner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 
TUNER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 71 
Tuning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 71 


Index 

U 


USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 
USB audio ............................................................. 66 
USB driver ............................................................. 66 
USB memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65, 72 
USB MIDI .............................................................. 66 
User patch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 22 

Virtual expression pedal system ........................................ 62 
V-LINK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 59, 68 


W 


Wave pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 


For China 
For EU Countries

For the U.K . 


IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. 

BLUE: NEUTRAL 
BROWN: LIVE 


As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the 
terminals in your plug, proceed as follows: 
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. 
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. 
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug. 


For EU Countries 

This product complies with the requirements of EMC Directive 2004/108/EC. 


For the USA 

FEDERAL COMMUNICATIONS COMMISSION 
RADIO FREQUENCY INTERFERENCE STATEMENT 


This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. 
These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment 
generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause 
harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular 
installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning 
the equipment o. and on, the user is encouraged to try to correct the interference by one or more of the following measures: 

– Reorient or relocate the receiving antenna. 
– Increase the separation between the equipment and receiver. 
– Connect the equipment into an outlet on a circuit di.erent from that to which the receiver is connected. 
– Consult the dealer or an experienced radio/TV technician for help. 
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:

 (1) this device may not cause harmful interference, and 
(2) this device must accept any interference received, including interference that may cause undesired operation. 
ThisequipmentrequiresshieldedinterfacecablesinordertomeetFCCclassBlimit. 
Any unauthorized changes or modi.cations not expressly approved by the party responsible for compliance could void the user’s 
authoritytooperatetheequipment. 


This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. 
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. 
NOTICE 
AVIS 
For Canada 
For C.A. US (Proposition 65) 

WARNING 

This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead. 


Model Name : 
Type of Equipment : 
Responsible Party : 
Address : 
Telephone : 

For the USA 


DECLARATION OF CONFORMITY 
Compliance Information Statement 


GR-55 
Guitar Synthesizer 
Roland Corporation U.S. 
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938 

(323) 890-3700 

When you need repair service, call your nearest Roland Service Center or authorized Roland 

When you need repair service, call your nearest Roland Service Center or authorized Roland 

distributor in your country as shown below. 

TAIWAN ECUADOR 

RUSSIA OMAN
AFRICA ROLANDTAIWAN ENTERPRISE Mas Musika EUROPE Roland Music LLC TALENTZ CENTRE L.L.C. 
CO., LTD. Rumichaca 822 y Zaruma 


Dorozhnayaul.3,korp.6 Malatan House No.1 
9F-5, No. 112 Chung Shan Guayaquil-ECUADOR 117545Moscow, RUSSIA Al Noor Street, Ruwi 
EGYPT NorthRoadSec.2Taipei 104, TEL: (593-4) 2302364 BELGIUM/FRANCE/ TEL: (495) 981-4967 SULTANATE OF OMAN 
AlFanny TradingOce TAIWAN R.O.C. 

TEL: 2478 3443

EL SALVADOR HOLLAND/ SERBIA

9,EBNHagarAlAskalanyStreet, TEL: (02) 2561 3339 
ARDE1Golf, Heliopolis, OMNI MUSIC LUXEMBOURG MusicAPLtd. QATAR 
Cairo 11341, EGYPT THAILAND 75 Avenida NorteyFinal Alameda Roland CentralEuropeN.V. Sutjeska br. 5 XS - 24413 Palic, AL-EMADI TRADING & 

TEL: (022)-417-1828 Theera Music Co.,Ltd. 
Juan Pablo II, Houtstraat 3, B-2260, Oevel SERBIA CONTRACTING CO. 

100-108 Soi Verng Nakornkasem, Edi.cio No.4010 San Salvador, (Westerlo) BELGIUM TEL: (024) 539 395 P.O.Box 62, Doha, QATAR 
REUNION New Road,Sumpantawong, EL SALVADOR TEL: (014) 575811 TEL: 4423-554 
MARCELFO-YAMSarl Bangkok 10100, THAILAND TEL: 262-0788 SLOVAKIA 
25 Rue Jules Hermann, TEL: (02) 224-8821 CROATIA DAN Acoustics.r.o. SAUDI ARABIA 
Chaudron - BP79 97 491 GUATEMALA ART-CENTAR Povazská 18. aDawliah Universal Electronics 

Ste Clotilde Cedex, VIET NAM 
Degenova3. SK-94001NovéZámky, 

Casa Instrumental 

APL 

VIETTHUONG CORPORATION Calzada Roosevelt 34-01,zona 11 HR-10000Zagreb, CROATIA SLOVAKIA 
TEL: (0262) 218-429 386CACH MANG THANG TAM ST. Ciudad de Guatemala, TEL: (1) 466 8493 TEL: (035) 6424 330 Prince Turkey Street 
DIST.3, HO CHI MINH CITY, GUATEMALA aDawliahBuilding, SOUTH AFRICA VIET NAM TEL: (502) 599-2888 CZECH REP. SPAIN PO BOX 2154, 

REUNION ISLAND 
Behind Pizza Inn 

T.O.M.S. Sound & Music (Pty)Ltd. TEL: (08) 9316540 
CZECH REPUBLIC DISTRIBUTOR Roland Iberia, S.L. Alkhobar 31952, 
2ASTRONROAD DENVER HONDURAS s.r.o PaseoGarcíaFaria, 33-35 SAUDI ARABIA 
JOHANNESBURG ZA 2195, Voctárova247/16 TEL: (03) 8643601

Almacen Pajaro Azul S.A. de C.V. 
08005 Barcelona, SPAIN 

BO.Paz Barahona 
TEL: 93 493 91 00

SOUTH AFRICA 

180 00 Praha 8, CZECH REP. 
TEL: (011) 417 3400 OCEANIA TEL: (2) 830 20270 SYRIA 

3 Ave.11 Calle S.O 
San Pedro Sula, HONDURAS SWEDEN 

Technical Light & Sound Center 

TEL: (504) 553-2029 DENMARK 
RolandScandinavia A/S 

Paul Bothner(PTY)Ltd. 
POBox 13520 Bldg No.49 

Royal Cape Park,Unit24 AUSTRALIA/ 
RolandScandinavia A/S SWEDISH SALES OFFICE KhaledAbnAlwalidSt. 

MARTINIQUE

Londonderry Road, Ottery 7800 Skagerrakvej 7 Postbox 880 Mårbackagatan 31, 4 tr. Damascus, SYRIA 
Cape Town, SOUTH AFRICA NEW ZEALAND Musique&Son DK-2100 Copenhagen, SE-123 43 Farsta, SWEDEN TEL: (011) 223-5384 

TEL: (021) 799 4900 
DENMARK

Roland Corporation Z.I.Les Mangle TEL: (0) 8 683 04 30 
Australia Pty.,Ltd. 97232 Le Lamantin, TEL: 3916 6200 TURKEY 

MARTINIQUE F.W.I. SWITZERLAND 
Dee WhyWest. NSW 2099, TEL: 596 596 426860 FINLAND Roland (Switzerland) AG GalipDedeCad.No.33 
ASIA AUSTRALIA RolandScandinaviaAs,Filial Landstrasse 5, Postfach, Beyoglu, Istanbul, TURKEY 
Gigamusic SARL Finland CH-4452 Itingen, SWITZERLAND TEL: (0212) 249 85 10 
For Australia 10 RteDeLaFolie TEL: (061) 975-9987 


38CampbellAvenue 
ZUHAL DIS TICARET A.S. 

Vanha Nurmijarventie62 
TEL: (02) 9982 8266 97200 FortDeFrance 01670 Vantaa, FINLAND U.A.E. 

CHINA 

For New Zealand MARTINIQUE F.W.I. 
TEL: (0) 9 68 24 020 UKRAINE Zak Electronics & Musical 

Roland Shanghai Electronics TEL: (09) 3098 715 
TEL: 596 596 715222 EURHYTHMICSLtd. 

Instruments Co. L.L.C. 

Co.,Ltd. GERMANY/AUSTRIA P.O.Box: 37-a. Zabeel Road, Al Sherooq Bldg., 
5F. No.1500 Pingliang Road MEXICO Roland Elektronische NedeceyStr. 30 No. 14, Ground Floor, Dubai, 

Casa Veerkamp,s.a.dec.v. 
UA - 89600 Mukachevo, UKRAINE 

Shanghai 200090, CHINA 

Musikinstrumente HmbH. 
U.A.E. 

TEL: (021) 5580-0800 CENTRAL/LATIN 
Av. Toluca No. 323, Col.Olivar Oststrasse 96, 22844 Norderstedt, TEL: (03131) 414-40 TEL: (04) 3360715de los Padres01780MexicoD.F., 

GERMANY 

Roland Shanghai Electronics AMERICA 
MEXICO UNITED KINGDOM

TEL: (040) 52 60090

TEL: (55) 5668-6699 
Roland (U.K.)Ltd. 

Co.,Ltd.(BEIJINGOFFICE) 

AtlanticClose,SWANSEASA79FJ, 
ARGENTINA NICARAGUA UNITEDKINGDOM 

3F, Soluxe Fortune Building 
GREECE/CYPRUS NORTH AMERICA 

63 West Dawang Road, Chaoyang STOLLAS S.A. 
District,Beijing, CHINA Instrumentos Musicales S.A. Bansbach Instrumentos 
MusicSoundLight 
TEL: (01792) 702701 


TEL: (010) 5960-2565 Av.Santa Fe 2055 
MusicalesNicaragua 155, New National Road CANADA 

(1123)BuenosAires, ARGENTINA Altamira D'Este Calle Principal 

Patras 26442, GREECE 

Roland CanadaLtd. 

HONG KONG TEL: (011) 4508-2700 
de la Farmacia 5ta.Avenida 

TEL: 2610 435400 

Tom Lee Music 1 Cuadra al Lago.#503 MIDDLE EAST (HeadO.ce) 
11/FSilvercordTower 1 BARBADOS Managua, NICARAGUA HUNGARY 

5480 Parkwood Way Richmond B. 
30CantonRd A&B Music Supplies LTD TEL: (505) 277-2557 C., V6V 2M4, CANADA 

Roland East EuropeLtd. 

12 Webster Industrial Park TEL: (604) 270 6626 
HONG KONG Wildey,St.Michael, BARBADOS PANAMA 

Tsimshatsui, Kowloon, 
2045 Torokbalint, FSD Park, BAHRAIN 

building 3., HUNGARY MoonStores 

TEL: (246) 430-1100 SUPRO MUNDIAL, S.A. 
Roland CanadaLtd. 

TEL: 852-2737-7688 
TEL: (23) 511011 No.1231&1249 Rumaytha 

Boulevard Andrews, Albrook, 

Building Road 3931, (TorontoO.ce) 
ParsonsMusicLtd. BRAZIL PanamaCity, REP. DE PANAMA IRELAND Manama 339, BAHRAIN 170 Admiral Boulevard 

8th Floor, RailwayPlaza,39 
Roland Ireland TEL: 17 813 942 Mississauga On L5T 2N6, 

Roland BrasilLtda. TEL: 315-0101 

Rua San Jose, 211 
Kowloon, HONG KONG Parque Industrial San Jose PARAGUAY Avenue, Dublin 12, IRAN TEL: (905) 362 9707Cotia - Sao Paulo - SP, BRAZIL Distribuidora De Instrumentos 

Chatham Road South, T.S.T, 
E2CalmountPark,Calmount CANADA 

TEL: 852-2333-1863 
Republic of IRELAND MOCO INC. 

TEL: (011) 4615 5666 Musicales 
U. S. A. 

TEL: (01) 4294444 NO.16 End of Nike St. Shariaty INDIA J.E. Olear y ESQ. Manduvira Ave,Roberouye Cerah Mirdamad Roland Corporation U.S. 

CHILE

RiveraDigitec(India)Pvt.Ltd. Asuncion, PARAGUAY ITALY Teheran, IRAN 5100 S. Eastern Avenue 
411, Nirman Kendra Mahalaxmi Comercial Fancy II S.A. TEL: (595) 21 492147 Roland Italy S. p. A. TEL: (021)-2288-2998 Los Angeles, CA 90040-2938, 
Flats Compound O¢. Dr. Edwin Viale delle Industrie 8, U. S. A. 

Rut.: 96.919.420-1 
Nataniel Cox #739, 4th Floor PERU 


Moses Road, Mumbai-400011, 
20020 Arese, Milano, ITALY ISRAEL TEL: (323) 890 3700

Santiago - Centro, CHILE Audionet 

INDIA TEL: (02) 937-78300 Halilit P.Greenspoon&Sons 
TEL: (022) 2493 9051 TEL: (02) 688-9540 Distribuciones Musicales SAC 

Juan Fanning 530 NORWAY Ltd. 

8 Retzif Ha'alia Hashnia St. INDONESIA Mira.ores RolandScandinavia Avd. Tel-Aviv-Yafo ISRAEL 

COLOMBIA 

CentroMusicalLtda. Lima - PERU

PT. CitraIntirama 

KontorNorge TEL: (03) 6823666 

Cra 43 B No 25 A 41 Bododega 9

Ruko Garden Shopping Arcade TEL: (511) 4461388 Lilleakerveien 2 Postboks 95 
Unit 8 CR, PodomoroCity Lilleaker N-0216 Oslo, JORDAN 

Medellin, COLOMBIA 

TEL: (574) 3812529 TRINIDAD 

Jl.Letjend. S.Parman Kav.28 
NORWAY 

MUSIC HOUSE CO. LTD. 
Jakarta Barat 11470, INDONESIA AMRLtd TEL: 2273 0074

COSTA RICA 
FREDDY FOR MUSIC 

TEL: (021) 5698-5519/5520 
Ground Floor 

P.O.Box922846 
Amman 11192, JORDAN 
JUAN Bansbach Instrumentos MaritimePlaza 
POLAND

KOREA Musicales 
Barataria TRINIDAD W.I. 

ROLANDPOLSKA SP. Z O.O. 

TEL: (06) 5692696 

Cosmos Corporation Ave.1. Calle 11, Apartado 10237, 
TEL: (868) 638 6385 ul. Kty Grodziskie 16B 

1461-9, Seocho-Dong, San Jose, COSTA RICA 
03-289 Warszawa, POLAND KUWAIT 

URUGUAY 

SeochoKu,Seoul,KOREA TEL: 258-0211 
TEL: (022) 678 9512 

EASA HUSAIN AL-YOUSIFI & 

TEL: (02) 3486-8855 Todo Musica S.A. 
CURACAO Francisco Acuna de Figueroa PORTUGAL SONS CO. 
MALAYSIA/ Zeelandia Music CenterInc. 1771 

Al-YousiªService Center 

Roland Iberia, S.L. 

P.O.Box 126 (Safat) 13002, SINGAPORE BranchO.cePorto KUWAIT 

Orionweg 30 C.P.: 11.800 

Curacao, Netherland Antilles Montevideo, URUGUAY 

Roland Asia Paci	c Sdn. Bhd. 
Edifício Tower Plaza 

TEL: 00 965 802929 
45-1, Block C2, Jalan PJU 1/39, Rotunda Eng.EdgarCardoso 
Dataran Prima, 47301 Petaling 23, 9ºG LEBANON 

TEL: (305) 5926866 TEL: (02) 924-2335 

DOMINICAN REPUBLIC VENEZUELA 

Jaya, Selangor, MALAYSIA 
4400-676 Vila Nova de Gaia, Chahine S.A.L.

Instrumentos Fernando Giraldez Instrumentos Musicales

TEL: (03) 7805-3263 
PORTUGAL 

George Zeidan St., Chahine Bldg., 
TEL: (+351) 22 608 00 60 Achraªeh, P.O.Box: 16-5857 

Calle ProyectoCentralNo.3 Allegro,C.A. 

PHILIPPINES Ens.La Esperilla 
Av.las industrias edf.Guitar import 

Beirut, LEBANON

Santo Domingo, #7 zona Industrial de Turumo 
DOMINICAN REPUBLIC Caracas,VENEZUELA 


G.A. Yupangco & Co.Inc. 
ROMANIA 
TEL: (01) 20-1441

339 Gil J.PuyatAvenue 
FBS LINES

TEL: (809) 683 0305 TEL: (212) 244-1122

Makati, Metro Manila 1200, Piata Libertatii 1, 
PHILIPPINES 535500 Gheorgheni, ROMANIA 
TEL: (02) 899 9801 TEL: (266) 364 609 

AsofOct. 1, 2010 (ROLAND)