III PANEL DESCRIPTIONS

[Front Panel]
Patch Display---, Group Indicator,.

Input Level -]

r---Edit Button
,---System Bullon r - - - Group Bullon r---a-Dial

Indicator

Input Jack---"

Input Levet Knob-1

Output Channel Indicator
I I L I [III I. Function Bullon I. I L Number Bulton ' I L Bank Bullon [ L - Escape Butlon

Disptay

Powar Switch

--Write Button

[Rear Pan eIJ
MIDI In Conneclor-------, MtDI Oul conneclor~ MIDI Thru Connector

RRC In Connector

Channel 1 iOulput B.,'

-Channel 1 Output A

c:;;:~u_~_"""_':;;_@___@_~_~_-_@_6_,/_o:::c.~,_,~_~_)_~__=f~+:o~=J""':JJ~T:1-.~--j__,>__j. ~-;--~-~-bO-~TQ-~I
1 I /,"""","

><

",:

Balanced Oulput B

-------1

Balanced Oulput A

---------.!

L ~:~~

Channel 2 Output B - - - - - - - - '
Channel 2 Output A _ _ _ _ _.J

II IMPORTANT NOTES

In addition to the items listed under salety Precautions Inside front cover, we request that you please read and adhere to the tollowing.
[Concerning the power supply]
Whenever you make any connections with other devices, always turn oft the power to all equipment first This will help in preventing maliunclion, and damage to speakers. Do not force the unit to share the same power outlet as one usedlordistortion producing devices (suCh as motors. variable lighting devices). Be sure to use a separate power outlet.

[Concerning placement]

Placing the unn near power amplifiers or other equipment containing large transformers may induce hum. Should the unit be operated nearby television or radio receivers, TV pictures may show signs of interference, and stalie might be heard on radios. In such cases, move the unit out of proximity with such devices.

[Maintenance]

., For everyday cleaning, wipe the unit with a soh dry cloth, or one that is dampened slightly. To remove dirt that is more stubborn, wipe uSing a mild, neutral detergent. Afterwards, make sure to wipe thoroughly with a soft cloth. Never apply benzene, thinners, alcohol or any like agents, to avoid the risk of discoloration and deformation.
[Concerning memory backup]
Within the unit is contained a ba1tery which serves in maintaining the contents of memory while the main power is otl. The nonmallife 01 this battery is 3 years or more, but it IS strongly recommended that you change il every 3 years as a rule. When it is time to change the battery, contact a Roland Service Station. The tirst time you need to change the battery could occur betore 3 years have passed. The unij's battery is needed nol only for ordinary operation, but also serves in maintaining the contents of memory while power is oN. When the battery gets low, you risk losing the data you have in memory. To be safe, change the battery ahead of time. When the battery gets weak the following will appear in the display. By this time, it is possible that the conients oj memory have already been 10s1.

128 seninos-- Group A (64 types)---:- Bank 1-,- Number 1 , i
Matching the GP-16 to the guitar
The input signal will vary depending on the type 01 guitar connected. Thus, rt is necessary to adjust the input level for each guitar used.
[Step 1] Input to the GP16 a signal equivalent to what would be the maximum volume used [n performance. [Step 2] While watching the INPUT LEVEL INDICATOR, adjust the INPUT LEVEL knob until you get the highest level possible without causing CLIP to light up.
Bank B-r Number 1 '-- Number B
Adjust nol to light up thIs indicator
~ Group B (64 rypesr-r Bank 1 - , Number 1
Number 8 Number 1 Number 8
Should CLIP be 111 up, accurate conversion of the guitar's signals to digital slgnais becomes difiicull. Thus, you will not fully oblain the sound quality capable with the GP-16.
In other words, on the GP16 Ihe 128 pcssible locations for storing settings are organized and identified In terms of theirGroup/BankiNumber, and each one is referred to as a "Patch". During performance, you can cal! up precisely the selt[ngs (patch) you need Irom arrong those you have stored. Doing this is relerred to as Patch Selectron, and [t [5 possible only when the unit is in a state called the Play mode.
For explanation oj what is shown in the display, see t~J Meaning Df What is Shown in the Display~ (IG" P. 14) The setting automajically made available each time power is turned on is: Group: A, Bank: 1, Number: 1. For information on the correspondence between Patches and Program Change Numbers, refer to the ~1.PalchJ Program Change Number Correspondence Chari~ (a" P.56).
Selection of patches can be made from the GP-16 panel, or alternately using a foot controller (;optional) ,

c. Selection of a Number

Selection otthe number needed is made by pressing one of the Number buttons, from [Dto [[i. The numberthen appears at the Number position in the Patch Display.
1. Selecting patches from the GP'16 panel
Operating the GP16 panel to change patches a. Selection of the Group
Each press of i GROUP /VB I toggles between selection of Group A and Group B. The currently selected group is indicated by the "Group Indicator"
2. Selection using a foot controller

/~----:

-_._--//.
- - --. - - - " - - - - -.

: ~:~~:~~.7~ () ,

llsing a foot controller to change patches
A greater measure of convenience during performances is gained through connecting a toot controller (FC-l 00 or FC-MKii; optlonali to the GP-16, thus allowing you to change patches by pressing the pedal. Patch selection is made in basically the same manner as that tor selection tram the panel. For details, reterto the owner's manual supplied with the toot controller.
For Information on the functions that can be employed when a foot controller is connected, see" Concerning

Atter changes in parameter settings have been completed, you have the option of selecting anew the patch where it is to be stored, SO any patch can be altered without afiecting the original. Rapid, more efiicient creation of new patches can be accomplished by firsl choosing a patCh already similar in timbre (settings) to what you have in mind, and

Ihen editing that.

.'Settil1!J for whether Bffects:areDnllrDff
Seleci the effects you wish to use. Up to a maximum of 12 can be used at the same time.
[Step 2] Press I EDIT! to enter the Edit mode (state where patch contents can be allered).
During editing. if you periorm "7. Escaping" (is" P.23). the setting changes made will not take effect, and you are returned 10 the Play mode.
Each effect has several parameters which conlrol Ihe timbre. By setting the numerical values needed to satisfy these parameters, the timbre is determined.
These parameters can be likened tD the knobs on ordinary pedal elieets units.
While in this mode, you can make a copy of the patch by pressing I WRITE! before any changes have been made. For details. see u [I] Copying" (19'" P.24).
The process of making Ihe seffings above is called "Changing the contents of a patch". Keep in mind Ihat your eflorts in making settings tor the effects will be wasted if you have nol pertormed the "Write Procedure", and.you.pertorm "7. Escaping" (I&P.23) and retumto the "Play mode", ortum powerofl. since Ihe seffings will not be in memory. II you wish to save settings, always carry oul the write procedure and store them in the GP-16's memory once you are completed.
For information on howto Slore set1ings, se: Procedure~ (12" P.23).
[Step 3] From here on the procedures are carried Oul by first using !FUNCTION i to call up the necessary parameters so they appear in Ihe display.
<Here the settings forthe parameters are explained in their logical order. You can, however, work on making settings in any onier you desire. >
1. Connection order for the effects
Changing the sequence in which effects are connected
The following allows you to change the sequence in which Ihe effects are used in each Block (AlB).

''LgJThe Write

The procedure is the same tor both Btocks A and B.
2. Setting for Effect On/Off
Selecting effects to be used
The lollowing setting deterrmnes whetherornot an effecI will be active (Ellecl On/Off). Both blocks, A and S, are set in the same manner. [Step1J From the Edit mode, using i FUNCTIONi call up the tollowing parameter (Have it appear in the display). EMecls, once in the Elfect On Slate, will have their corresponding number appear in the display. The" '" " symbol will appear at that position in the sequence for eHects that are "Off",
[Step 1J From the Edit mode, using ~FUI\I~Tt_QI\I: call up the parameter (have It appear In the disptay) shown betow.
The display shows the connection sequence for the
eHecls, tor A then B blocks, with the signal flowing in order tram left to right.

When setting Block A

SEC!UEHC;;:.-,.,.

E:LOCf:-H

When setting BloCK B

I E:LOCf'-~i

! "'" ','

-.!.' ".;.' :':

Ci['{ "'-OFF

c,';. _, ,

-------

When setting Block B

[Step 2J Using enherthe i a-Dial' or !VALUE Imove the symbol to the position where you want to insert

something.

E:LOCi -H
[Step 2] Selecl the effects you want to use by pressing the Number buttons 11 i - [J that correspond to them.
[Step 3] Press the Number button, [KJ, that corresponds to the number at Ihe effect you wish 10 insert
,= ~I,'-.'. " :::. fIT.
__________ '_'_. ('.____ ______~________~.::J~ -_,.

1i,1')-

"",,--w-

U:~.-'"

E:L Oc:(-~ I
Once an effect is "On", its number appears in the display at Its position in the sequence.
(Example: When [[] is pressed at the position moved to with Ihe symbol in [Step 2].)

I E:LOCV-R

Ot~/OFF

[1:i-::t:546

Repeat [Steps 2 and 3J until you have the connection

sequence you want.

"Block A-6: Noise Suppressor and "Block 8-6: Lineout

Filter" cannot be moved.
Repeat [Step 2] until you arrive at the configuration you

desire.

Theposrtionwithinthesequence occupied by eHectswhich are "OW has no bearing on the resuhing sound. For example, the tollDwing two configurations resu~ in the same sound.

When setting BloCK B2

. _-,----_.----'---

I BLOCh.-H

Clh./OFF
(Example: To selecl Group A, Bank: 4, Number: 2) [Step 2] The effeel wh'lch is currently aelive will appear inthe display. If one of its variations IS deSired, make seleelion of the effeel using the ! aDlal: or!VALUEI.

i E:LClCk-H

OH."'-Cirr

4. Checking the sequence

The order of the sequence can be checked
Your completed configuration, including settings tor the order, whether eHects are on or ofl, and the variations, can be viewed tor confirmation. [Step 1] From the Edit mode, using !FUNCTION! call up Ihe parameter (have it appear In the display) shown below.
3. Selecting among the variations
Is it Distortion or Overdrive?
Whenever "Block A-2" or "Block B-2" have been turned on, you need TO make selection of the type of effect that wilt be used.

c:oc::

When Block A-2 has been turned on
a. Distortion b. Overdrive

!SEQl!ENCE ORDER

[INPUTJ~P~P~METR!
Select which of the above two effects will be used.
When BlocK B-2 has been turned on
a. b. c. d. Chorus Flanger Pitch ShITter Space-D
[Step 2] Using the 1D.Diali or IVALUE i, the names of all the effeCTS that are connected will appear in order in the display, starting from the input jacks and going to the output jacks.
5. Settings for effects which are on
Changing settings for each effect
With each effeci there are several parameters which determine the way it creatively alters a sound. On the GP 16, you design precisely the effeeled sound you wish by one al a time calling up the parameter you need, and.making changes in its settings. [Step 1] From Ihe Edn mode, using !FUNCTION! call up the parameter (it should appear in the display) you wish tD make setting for.

Sets the amountol delay with respect to the direct sound.

'PRElJELAY

, ; ::. i.

L) "- ;. -

Selling which determines the ameunt 01 time with respect to the direct sound that passes until Ihe chorus (ellected) sound is output

VALUE 0-100 ms

iCHCiPUS F'. L'cLt=;\'::::::

EFfETaVEL

VALUE 0-100ms
Sets the amplitude at Ihe delayed sound (efleeted sound)
respective to the direct sound. As the value is set higher, the greater the delayed sounds become. When set 10
"100", the delayed sound and drrect sound will be 01 equal strength
Sets the rate lor the Chorus sweep. With higher values the rate becomes taster.

Sri Ui-

[) =. L H\I

CHCFUS

F'l'H_= E _

.. __. _ _ _ _ _ -.-J

VALUE- 0-100

,. DEPIfi

Sets the depth 01 the Chorus With higher values the
modulation becomes deeper

"-------1

<B2b> FLANGER
Sets the mixing level of the Chorus sound with respect to the direct sound. As the value is set higher, the Chorus becomes more prevalent. With the value set at "100", the direci sound will be equal to that of the Chorus.
A digital flanger capable of a wide range of flanging effects.

i CHDF:US

Sets the rate tor the modulation. With higher values Ihe rate becomes faster.

: E. LEI.)EL=

VALUE: 1}-100
:::: L ,', ,.J I'~;-'F-'- - - - -.::l. "

, r; , ,

IPH'=-=
-.---'------------------~

lJEPTfl

Sets the width for the modulation. The higher the value is set the broader the sweep becomes.

. MANUAL

Sets the cenler frequency used by the flanging effect. The higher the value, the higherthefrequency becomes

3 II1II

,--_._"'-- - - - - _. _ -.

I t'1 I'

i FLHt'~i3=:F:

.1 "-

'RESONANCE
Sets the amount of feedback. The higher the value is set. the greater the amount of feedback becomes, and thus the uniqueness of the flanging eHect becomes more

pronounced.

FLHrii3EF: F:ESCltjRHCE=
<B-2e> PITCH SHIFTER
The Pitch Shifter allows for a pitch shiff of any desired amount up to 1 octave to be obtained respective to the original sound.

,. fiNE

Provides for fine adjustment at the amount of the pitch shif\. It allows you to make minute changes in the pitch - set in semitones lor "CHROMATIC". "+" "O" Provides shift to higher pitch. When at this setling, the amounl of pitch shilt is exactly thai sel for "CHROMATIC". Provides shiff to a lower pilch.
Sets the ralio of the volume of the direci sound WITh respect 10 Ihe ellecled sound. Given Ihat the volume for one is set to "100" the other is represented as a percentage ollha\. "E (effected sound)" Proportion of sound thai has changed as a result of the Pitch Shifter. Proportion of sound that has not been effected by the Pitch Shifter.

The Transmission/Recep1ion of MIDI data is involved in "5.

[Step 3-1]

f'i I [, I F: E eEl CH R r~ t~ E L =
VALUE: 1-16 [Step 4-1] Set the MIDI Receive channel uSing the I o.-Dial I

and "6. Bulk

LDad~.
II you perform "7. Escaping" ("",P.23), or turn power off before a Write has been performed. your settings will be lost. It you wish to save settings, always carry out the "Write procedure" and store them in the GP-16's memory.
To carry out the Write procedure. see"~ Storing System Set1lngs~ (IS' P.54). -
2. Setting the MIDI Transmit Channel
The tollowing allows you to set the MIDI Transmit channel. All MIDI data that the unit transmits will be transmitted on the channel you set for this parameter.
. When shipped the unit was set to channel "1"
Changes allectlngthe system are made usingthetollowing procedure: [Step 1] From the Play mode (state where patches can be selected), press :sYStEM'; to get the System mode [Step 2] For

[Step 3-2]

!FUNCTION:
following procedures, press untii you have called to the display the parameter you wish.
From the System mode, using iFiJNcTTt5N; call up the tollowing parameter (have il appear in the display), The currently set MIDI Transmit channel wi!! appear in the display.
Hyou perform "7. Escaping" (IR"P.23) while making changes in system settings. the changes will not lake effect. and you will be returned to the Play mode.
In the System mode, ~y~.~~~. cannot be used to make changes in values

VALUE: 1-16

< Although the parameters can be set in any
order you please, here they are explained in their logical order. >

[Step 4-2] Set

ti2.e~IDI
Transmit channel uSing the

3. OMNI On/Off Setting

The untt should be set to aMNIOn if you wish to receive MIDI data on all channels. OMNI On : Any connected MIDI device, regardless of the channel it is using lortransmlssion, can be used to control the GP-16. OMNI Off: Data arriving only on the channel that has been set tor the GP16 will be received. Even though set to aMNIOn, all MIDI data sent out from the GP16 will be transmitted on only the set Transmit Channel. When shipped, the unit was set to aMNIOn. [Step 33] Fromthe System mode, using! FUNCTION!, cali up the tollowing parameter (have it appear in the displayj. The current setting for OMNI will be displayed.

NUMBER: Transmits the data tor one Patch alone: as set using Group/Bank/Number BANK Transmits the data lor 8 Patches: as set using Group/Bank GROUP Transmits the data lor 64 Palches: as set using Group. Transmits the data lor all 128 Palches ALL TEMP Transmits the data lorthe currently selected Patch. When received, data IS handled as temporary data.
When you wish to transmit the currently selec1ed Number
(Bank, Group), this step IS not needed

"NUMBER"

':'r:.~t.,_. !.J i-' - P
r-{Ur'IE:EF' r- - 1 r'~ E: - 1
< Concerning Temporary data>
As shown in the illustration below, in addition to the region in memory where the data tor the 128 patches are stored, there is also a separate "Sound-use data region
(Example To transmit Group A, Bank: 1, Number 1)

"BANK"

When "NUMBER", "BANK" or "GROUP" has been selected in [Step 4-5]

Sc.LECT BHrH:::

i3F'-H E:k-l

r'~E-:+:

(Example: To transmrt Group A, Bank: 1 , Number: 1-B) (Example:TotransmltGroupA. Bank:1, Number: 1-B)

"GROUP"

I GP-A 8K-* N8-* !
(Example: To transmit Group A, Bank: 1-B, Number: 1-B)

i _. _1 ':;;::1

:=c""

r'p'nl jP.J ' __ '

When "ALL" has been selected in [Step 4-5]
For infonmation on how to select Groups (Banks, Numbers) see 'HJPatch Selection" IIG<' P,12), When all Banks (numbers) are included, a displayed at that position,
Once transmission of the data has completed. the follow, ing display will appear, and you return to the state before the bulk dump was executed (System mode).

''*'' will be

I ,-. n I ;:: 11_._11-'1r'""'. T,

I 5HI,.! I

C" ;-'r '-.
When "ALL" 'has been selected in [Step 4-5]

[Step 8-5]

The following will appear in the display. and the charac' ters on the lower line will be blinking,
IESCAPE I and return to the Play mode.
When the transfer has completed. press

"ALL"

----,--'~

'=',<,,.,

i~LL j'., __

I. '. IIPTTE

DUMP ","'~

_~--'I 1

6. Data Reception and Verification (Bulk load, Verify)
Through employing Roland Exclusive messages, you can receive (Bulk Load) the patch data tromanotherGP, 16 or a sequencer. In addition, the unit IS equipped with a Verify lunction so you can check if the data has been correctly transferred.
(When transmitling Ihe data tor all patches.)

LCD COIHF.:f:JST COljTF'f:JST=
10. :::. F'E[:q:!L I'i C! [.1 E =

t'iCiC'E

VALUE MUTE/BYPASS [Step 4-10J Set the mode using Ihe Cl-Dial. MUTE BYPASS Signals are not output from all oulpullacks The ongina! guitar sound Input to the GP16 IS outputlrom the specilled output jacks
[Step 4-12J Adjusl Ihe display's contrast so thai the displayed characters are easy to read, using the : a-Dial:.

Storing System Settings

Any changes made in the contents of System settings are only temporary; all settings will revert to those previously stored whenever power is turned off, or when you have pertormed '7. Escaping"1"""P.23). If you wish to save the settings you have made in memory, carry out the following procedure: [Step 1] Press IWRITE

[Step 2)

and the settings will be stored in cancel the Write procedure, press I andyou will be returnedtothe state you were in before settings were made.

1",1

S T E 1'1

D HT ~

I,IF:ITHiG.
After the message shown above has appeared in the display, you will be returned to the ordinary operating state (Play mode).
Once the new settings have been stored, all settings previously stored lor the System will automaiicaUy be erased.

Chapter Six Reference

dl---T-r-o-u-bl-e-sh-o-o-ti-n-g----,
The lollowing provides inlormalion on what to do, or where to reler to when the GP-16 does not operate as expected.
Sel it to the "RRC Foot Pedal Mode" after relerring to the FC-100MKII's Owner's ManuaL
Are you sure you are In the PLAY mode? - Periorm '7. Escaping" (""'P.23)to gel to the PLAY mode,

No sound produced

Are you sure none 01 your cables are damaged? Have you checked ali connections made with external devices?
The foot controller's "Control pedal" doesn't operate as expected.
Check that you have the Mode Selection switch on the loot controller set to "MODE I". "2, Settings related to the loot controller" (""P,15) Are the control pedals lunctions set properly? - "10, Setting the Function 01 the Control Pedal" (""'P,53)

4 CONTROL ASSIGN

PARAMETER CHANNEL CHANNEL OMNI NUMBER MODE MODE
Channel Channel OMNI Number Mode Mode

1 to 16

I ON/OFF

-,---_._-_._-------

5 BULK DUMP

6 DATA LOAD

TRANSMIT OFF, 031 or 6495 OFF, NUMBER, BANK GROUP, ALL or TEMP LOAD IVERIFY

7 MIDI -

PATCH SEL

8 PATCH - MIDI SEL

_."----_. ,--_.-----_. -_. ----- --_.

------.--,-

MIDI FILTER

Control Change #7 MOde

RECEIVE IIGNORE MUTE /BYPASS

--------

- - - - -._--
-'--=~----~1.:1.:0:.U:.T.:.::C.:.0:.N.:.T:.R.:0:.L=---._._O_U_T~~,. _ _ _ _Ou tpul Channe I !: NABL E ID I SABLE 12 LCD CONTRAST CONTRAST Contrast 0 to 100

10 C. PEDAL MODE

'lI -'
~" i~~~ I""l

'" :::.,'

""

," F= ~ jjl

,(, ur~~. IfL :~&

~"" 1:

J "'''''
lOiIO! ~_ -o-p~" ;5! ~, 5"

;::>1

-01'> o~ 0 j! ,=. =0' l ' ! J w. ~ q

"-~

==;>

",.-,

."" I
Roland Exclusive Messages
mData Forma! for Exclusive Messages

f'lIli1mf~

!I'\C'
=- One way transfer procedure

hlilOWln1( oalil format

(See Section 3 for details.)
)"llDl ,moiCffl!'nla!1nn usc,
lor ~Il I'H'lu~'\'I' m~;.).ajlC~

ilrDl:' 1\')'

"This proc.roure i! suued lor Ihe minster of a Sm;lJi ~mnum nf Wlla. H sendS OUI an exclUSive message cnmP!Clt'ly mCl.'OOnOCnl ul a l'fCt'iI'mg deVICe 51a1U5.
we~C"OIl('lrE~Ch. ~,,,e
Con"",,iotl [M.gnH'l\ Dav;ee fA) Dev,ee (8)

.0'"

D~"/

51&1. 5

tJ". ulaclurE' !~> (Rota"c)

uevlce

MO<:lEi

",

raO[1Y)
'D Co""me.,d 'D

Connection

Procedu~.

.. ee,a

(~Sec:lion

2 is essential 3.l

f~t'Quesl

e~cju~II'~

= Handshake nansfer procedure (See Section 4 lor details.!

"Thi.

P~t'OUI"!"i initiates i! Predell.'nnmcd tnmsfcr S('Qucnce {nalldsnakmg) aCTOS5 the inl~rjac(' \lctort' Claus transjer ta~es PlaCE. Haru1sl1akmg ensures HUll reliabilil)' line lr.an~lcr SIX't.'d are high eoougn to handle a Largt' amounl 01 Oatll.

::: MIDI status

FOH. F7H

cDd~s.

lu'l t'xclusi,'c mr.'s.5aIW muSI Dc na.nkCCl b\' a pair of slaws stanml1 \\'111'1 Manufacturer tD Immel'llawl) aher FO!!

(,\!m] \'!'r~lIm!.O).

::: Manufacturer 10; 41 H
Thr \lanuforwrt'T!D iOl'nlific1 Iht' rnanUfIlClI.lf'(>T of ~ MIDI mSlrumt'nl thaI IngRN's ~n ('xcluswe mes.sag~. Valu!' 4111 rt.'IITL'S.COl; I<ulalld'~.\lanulllClurer ll).

Devtce (B)

:: Device ID: DEY
Tl'lt' 1.k.\l~C 1lJ cnnUIli'l.S a uniQut' vaJu(' thai IIjl;'-nlijlcs the mnl",dual nl'~'I[I' In Ihc muldpl~ lmplemenilluon of ~lDf lIutf1,Jmrnt. It I; usually SCI \~ OFH. II valu~ smaller b)' rnw lllan lnal of a basl~ channel. btll ~a!",1.' 0011 11"1; mar til:' u~ for a oevicr with multiple bilsi~ cnannel.

ConnectIon al poinl.5

and.2 is csscnlllll.
Notes on thE above two procedures
"'"There are scparate Cnmmano!Ds

hlr oi(feft'nt

lransfer

= ModellD

Tnt \IOOl'llll CllIllilfflS a valu~ Ihal unlQul'ly l!lenti!!!.', 0111' mudd frum anuther, Oifferent IT\IJCIel~, nuweV!.'f. may ~hll.!'l.' an ioenl!cal ),\ooell!l If Ih~'Y handle ~Imilar data Thl' ),Iooeltn fnrmal rna)' contain OO!I m on~ or mort:' place; \1\ pmvio(' an exu.'nlle<l cala Field. "Til!:' follOWing arc examples III "lIhr1 ~\I~lL'1 Hj~. ruth I1!Prcscnllng a umllUl' model: UIJI 0211
"' DeVIceS A ann B cannol CXCl'lilrll<e- oal.il unles. thC)' use the same transjer procedure, shall' idenlical Dc\'IC~!D lind ~joocl 10. and are read)" JOt communll:allon.
EIOneway Transfer Procedure

UfJlj. UIl!

ThIS Pl""OCCIlure send~ au! datE all tnc way until il SIDn. and is used when the messa/tl.'s are ~ snon thai answerbaCk, nee!! nOI be checked. For long rnCS5aRel. however. the receIVmg d('\'tcr mll.!:1 aCQUire each message in urnI' with the transter seQucnce. wh;ch inscru mterva!s of at leasl 2D milhaecondi in be!ll'een.
OOlJ, u2!1 nOlI. ()(ll!. 0111

Types ol Messages

Comm"ntJ lD Reoues1 011.ROl (lIH)

OTl C1;?H)

;;: CommandlD
TnL' [ummand l1J InOtCiltl'S lhe Junellon of an e~c!u;!\T mL'~gc, 1ht' L:nmmandlD fOmlal may contam DOl! In on~ nr mnfl' !llare" Hl pronoe an eXlt'nll!.'d dal~ flela. "Th~ Inltuwm".Jr(' t"l(aml'lr~ nl.'alln Command JI). eaCh rep!"Cscmmg a unioue lunCHnn.

01 II 0211

=- Request data;;: 1

DHa sel I

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PROG ROCK SPECIAL COVER STORY

Marillion

Guitarist Steve Rothery reflects on 25 years of soaring tone and elusive fame.

By Michael Mueller

arillion is the greatest band youve never heard of. It seems to be a common sentiment among the bands faithful following. Even the people here in the U.S. who have heard of Marillion only remember the band as Genesisinfluenced prog-rockers from the early 80s, with a flamboyant, face-painted frontman named Fish. Time for a little refresher course. After Fish and Marillion went their separate ways in 1988, the band recruited singer Steve Hogarth. Since H joined the band, they have released ten studio albums, which in turn reflect the bands constant evolution, from the mellow prog-rock of 1989s Seasons End to the more experimental prog-pop sounds ( la Radiohead) of their latest release, Somewhere Else (Townsend). And all along the way, Marillions intensely loyal fans have grown ever more fervent. So, if you are already a fierce Marillion devotee, Somewhere Else should serve to intensify that special relationship. If you still think of jesters tears and sugar mice when you hear the name Marillion, the record will serve as a long overdue reintroduction to the band. And if youve never heard of Marillion, well, then, as the band says at their Web site, www.marillion.com, its a love affair waiting to happen. Tell us about the new record. This was the first album produced by Mike Hunter. In the past we worked with Dave Megan, who was trained by Trevor Horn, so hes very much of the layering up school. Sometimes that can sound great, but I prefer a more natural feel; a lot of the guitars from the original guide tracks made it. For the title track, Somewhere Else, I literally came in and did one take of the guitar that runs all the way through the song, so its totally improvised. The album has a big sound. Its big but in a slightly different kind of way. There arent very many overdubs on it. We recorded four, five, or six takes of each song, and
58 GUITAR ONE guitaronemag.com June 2007
on each one I tried a slightly different approach. It drove Mike a little crazy, because I dont actually like knowing what the chords are. If Im trying to find a melody or a part, Id prefer to use my ears, because theres more chance of getting something interesting and different that way. For years youve used a Squier Strat with the EMG pickups and Kahler tremolo. Why Squier instead of Fender?
with an active circuit to switch in, so youve got one position is a mid-boost, the other is a treble and bass boost, and the center position is off. And then youve got the trim pots in the back that determine the amount of gain you want to give the boost. So you can kick in the mid-boost to thicken the sound just enough to give it another character, so its extremely flexible. Ive got two Strats and one Telecaster, all loaded with the Lindy Fralin pickups.
My whole thing about Squiers as opposed to Fenders is that at the end of the day, a guitar is a piece of wood, and you either have good wood or bad wood. Quite often you change your pickups and electronics anyway, so really, having that little transfer on the headstock makes zero difference. And now youre using Levinson Blade guitars. Yes, they were handpicked because they just did it for me. They have a passive system
Are you still using the Roland JC-120? Yes, for the older songs, but for the last three albums Ive been using the Groove Tubes Trio preamp and Groove Tubes power amp, through a Marshall 412 loaded with Celestion Vintage 30s. The Trio is so versatile; the three channels fall just where youd want them to be. The tone controls dont do that much alone, but they interact with each other, and the frequencies theyve chosen are all based around old vintage Marshalls and Fenders.

60 GUITAR ONE guitaronemag.com june 2007

michiel koolen

PROG ROCK SPECIAL
Is that what you used on Somewhere Else? Yes. Its all Groove Tubes. Most of the new album was done with my Blade Tele. Its got more natural twang and sustain than the Strats. Some of the solo sounds are not quite as overdriven as in the past, because you dont need to do that with a Tele, due to its sustain. Even with the various amps youve used, your lead guitar tone has been fairly consistent across the Marillion catalog. I think from Fugazi (1984) onward, Id found my sound. The solo sound that Ive used really since then, with variations on things like Easter [Seasons End], Afraid of Sunlight [Afraid of Sunlight], and The Great Escape [Brave] is my Squier Strat into a Boss DS-1 distortion into a Boss digital delay into a Roland JC-120. But sounds always been very important to me, and when youre writing, you write differently depending on what sounds youre using. And you feel more inspired if you have something that gives you this fantastic wash of sound. A lot of players dont concentrate enough on getting not only a great sound but also a choice of great sounds to go between for different parts of a song. Tell us about the delays and chorusing you used to create the textures on Somewhere Else. I used various different pedals and rack effects for this record. One was Roger Linns Adrenalinn pedal, which has modulation and pulsing kinds of effects, primarily. But what I really like about it is that it syncs to MIDI clock, so when you record backing tracks and everything goes to a tempo map, they send me a clock that corresponds directly to the tempo at which were recording. What all that means is that the effect pulses and waves in time with the track and creates an amazing groove. A pedal I used for the first time on this album was the ElectroHarmonix POG. Thats an interesting sound; not something youd use that much but its quite unique for textures. I like to blend just a touch of that sound with our normal, kind of quite clean and slightly delayed sound, for additional thickness. Another sound I use quite a lot is a set of Rockman modules patched into an old Alesis Quadraverb, which gives a very unique, clean, bright, heavily compressed sound. Then theres my Lexicon MPX G2, which is a greatsounding unit by not very well thought-out; it has 300 presets but only 50 user presetsgreat idea, guys. I still have my Roland GP-16s, and I also used the Hughes & Kettner Rotosphere quite a lot, as well as the TC Electronic 2290,
which Id used from Seasons End through to about Radiation or Marillion.com. Did you use the 2290 for delay or chorus or both? Primarily delay, but also because its got five sends and returns, so its great for routing effects and also the output gain can be set. Im actually looking forward to trying out the TC Electronic G-System. I might replace some of my rack with one of those for the next tour. Im getting one in the studio next week to try it out. I tried it when it first came out in L.A., and I wasnt impressed. But that was in a very busy music store going through a not very good amplifier with a not very good guitar, which cant really teach you much about anything, other than not to go to music stores. Are you using any stompboxes? Ive got a setup in my home studio, which is sort of a selection of the best custom-switched stompboxes, like Analogmans modified Boss pedals and Keeleys tremolo pedal, which I love. There are various, unusual distortion boxes, and Ive got a Boss Digital Dimension C pedal off of eBay, which is quite expensive, but its got quite an unusual sound. For the previous two records, the band asked fans to preorder the albums to raise the money needed to make the record. Did you do the same thing with Somewhere Else? No, we decided not to do it. There were various debates, and we seemed to come to the decision that we shouldnt do the preorder. But we just recently had a fanclub convention, which we do every couple of years. This year, 3,000 people flew in to the Netherlands for a three-day event, and that raised us quite a lot of money, which will help with the running of the band. Did the whole preorder concept come out of the 1997 This Strange Engine tour, which was funded in part by your fans? Yes. That showed us the power of the Internet, and the devotion of our fans. Without that event happening, we wouldnt be having this conversation right now. It forced us to very carefully consider how we could best gain our own independence. Somewhere Else is your 14th album, in a career now spanning 25 years. Is it frustrating that people in the U.S. still dont know and understand Marillion? We just dont fit in here, really. We never have. Kayleigh was a hit single [in 1985], and therefore the album, Misplaced Childhood, did well. But quite often success is driven by being fashionable, and weve never been fashionable. Were not the elder statesmen like the Rolling Stones or Pink Floyd, but we are a band thats been making records for 25 years, and weve become kind of an institution. And thats a good thing, because weve still got 100,000 people around the world who believe very passionately in what we do, and new people are discovering us all the time. Were like the band that wont go away!