Boss GP-10 User Manual

Page 1

Owner’s Manual

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Turning the Power On/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Initial Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Specifying the Output System (Sys: Output) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Setting Up the GK Pickups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Basic Operation Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Modeling/Poly FX/Alternate Tuning Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Modeling Settings (Mdl: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Electric Guitar (EG: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Acoustic (AC: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Bass (EB: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Synthesizer (Synth: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Poly FX (PolyFx: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Alternate Tuning Settings (AltTune: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

12-String Guitar Settings (12Str: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

String Bend Function Settings (StrBend: ) . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Other Modeling Settings (Mdl: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Eects/Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Eects Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Preamp (Amp: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

FX (FX: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Wah (Wah: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Chorus (Chorus: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Delay (Delay: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Reverb (Reverb: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

EQ (EQ: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Noise Suppressor (NS: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Foot Volume (FV: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Settings for Normal Pickup (Nrml PU: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Volume Balance of the Modeling and the Normal Pickup (Mixer: ) . .11

FX Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Patch Settings (Patch: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Patch Volume (Patch: Level) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Patch Tempo Settings (Patch: Tempo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

GK Set Selection for the Patch (Patch: GK Set) . . . . . . . . . . . . . . . . . . . . .11

Pedal and Switch Settings for Each Patch (Ctl: ) . . . . . . . . . . . . . . . . . . . .11

Assign Settings (Asgn 1–8: ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Specifying the Output System (Sys: Output) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Settings of the GK Pickups (GK: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

System Settings for the Pedals and Switches (SysCtl: ) . . . . . . . . . . . . . . . . . . . .13

USB Audio Settings (USBAudio: ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Guitar Performance MIDI Output Settings (MIDI: ) . . . . . . . . . . . . . . . . . . . . . . . .13

Tuner Settings (Tuner: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Adjusting the Display’s Contrast (Sys: Contrast) . . . . . . . . . . . . . . . . . . . . . . . . . .14

Panel Lock Settings (Sys: Knob Lock) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Auto O Settings (Sys: Auto O) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Limiting the Patches Selectable in the Play Screen (Sys: Patch Extent) . . . . .14

Adjusting the Expression Pedal (Calibration) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Restoring the Factory Settings (Factory Reset) . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Patch Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Exchanging Patches (Exchange) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Inserting a Patch (Insert) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Initializing a Patch (Initialize) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

USING THE UNIT SAFELY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

IMPORTANT NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Error Message List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Main Specications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

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Cutting-edge modeling guitar powered by COSM

The GP-10 provides a wide range of modeling guitars powered by COSM technology, including Stratocaster, Telecaster, Les Paul, Jazz Guitar, Acoustic Guitar, and Sitar. In addition, it can also create new dimensions of sound that are unavailable from conventional electric guitars, such as a Wide Range model that gives you a fat sound while preserving the wide range of a single-coil pickup, and a Bright Humbucker model that keeps the rich mid- and low-range of a humbucker while oering a crisp high end.

A variety of alternate tunings

You can choose from alternate tunings such as Drop-D, Open-G, and D-MODAL. Without swapping guitars or changing the string tension, you can instantly switch between a wide variety of alternate tunings. There’s also a 12-string guitar mode. You can even use “USER” to specify your own tuning.

Powerful eects and amp modeling

High quality eects and amp modeling are built in. There is also a dedicated “Poly FX” specically for the GK pickup, which allows you to extract an independent string signal for each string. This lets you experience completely new sounds that were impossible for a guitar of the past, equipped with a conventional pickup.

Owner’s Manual (this document)

Read this rst. It explains the basic things you need to know in order to use the GP-10.

PDF Manual (download from the Web)

• Parameter Guide

This explains the parameters and audio signal ow of the GP-10.

• Sound List

This is a list of the sounds built into the GP-10.

• MIDI Implementation

This is detailed information about MIDI messages.

Before using this unit, carefully read the sections entitled “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (separate sheet “Read Me First” and Owner’s Manual p. 15). 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 of your new unit, read the Owner’s Manual in its entirety. This manual should be saved and kept on hand as a convenient reference.

To obtain the PDF manual

1. Enter the following URL in your computer. http: //www.roland.com/manuals/

2. Choose “GP-10” as the product name.

Page 2

Connections

* To prevent malfunction and equipment failure, always turn down the volume, and turn o all the units before making any connections.

GK IN connector

Connect a guitar equipped with a GK pickup (Roland GK-3/GK-2A) or a GKcompatible guitar such as the Roland V-Guitar GC-1 to this connector.

Connect the GK-compatible guitar only with dedicated GK cable (supplied with Roland GKcompatible devices and optional GK cables). Use of any other cable may result in damage or malfunction.

OUTPUT jacks

Connect these jacks to your guitar amp or to PA (LINE).

* I f your system is monaural,

use only the L/MONO jack.

PHONES jack

Connect a set of headphones (sold separately) here.

* When you connect a stereo-mini plug

to this jack, the internal guitar amp simulator will be automatically on so that you can also enjoy the powerful guitar sound with your headphones. In this case, the sound from OUTPUT jacks will have the same eect.

Security slot (N) http: //www.kensington.

com/

GUITAR IN jack

Use this control if you’re directly inputting a conventional guitar.

* I f you use a 1/4” phone plug to make connections, the modeling and alternate tuning functions will

not operate. Only the eect functions will operate.

GUITAR OUT jack

Normal pickup signals of the guitar are output.

USB ( ) port

Use a commercially available USB 2.0 cable to connect this port to your computer. It can be used to transfer USB MIDI and USB audio data. You must install the USB driver before connecting the GP-10 to your computer. Download the USB driver and the GP-10 special software from the Roland website. For details, refer to Readme.htm which is included in the download.

http: //www.roland.com/support/

AUX IN jack

Use a stereo mini-plug cable to connect your audio player here.

* To adjust the input level of the

AUX IN jack, adjust the volume of the connected device (audio player, etc.).

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 DC IN jack, anchor the power cord using the cord hook, as shown in the illustration.

DC IN jack

Connect the included AC adaptor here.

* Use only the included

AC adaptor. Using any other adaptor may cause overheating and malfunction.

Turning the Power On/O

This turns the power on/o.

* After you’ve made connections correctly, be sure to turn on

the power in the order of the GP-10 rst, and then the connected system. Powering-on in the incorrect order may

cause malfunctions or damage. When turning the power o, power-o the connected system rst, and then the GP-10.

* This unit is equipped with a protection circuit. A brief interval (a

few seconds) after turning the unit on is required before it will operate normally.

* Before turning the unit on/o, always be sure to turn the

volume down. Even with the volume turned down, you might hear some sound when switching the unit on/o. However, this is normal and does not indicate a malfunction.

Auto O function

If you do not want the power to be turned o automatically, disengage the Auto O function (p. 14).

* Any settings that you are in the process of editing will be lost

when the power is turned o. If you have any settings that you want to keep, you should save them beforehand.

* To restore power, turn the power on again.

EXP 2/CTL 3, 4 jack (Connecting to External Pedals)

If you connect an expression pedal (sold separately: Roland EV-5, FL-500H/L) or footswitch (sold separately: FS-5U, FS-6) to the EXP 2/CTL 3,4 jack, you can use a pedal to control the volume or to turn eects on/o.

For details on the settings, refer to “Pedal and Switch Settings for Each Patch (Ctl: )” (p. 11), “System Settings for the Pedals and Switches (SysCtl: )” (p. 13).

When Connecting an FS-5U When Connecting Two FS-5Us When Connecting an FS-6When connecting EV-5

* Use only the specied

expression pedal (Roland EV-5, FL-500H/L; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

Cable:

1/4” phone type 1/4” phone type

Cable:

Ctl 3 Ctl 4 Ctl 3 Ctl 4 Ctl 3Exp 2

POLARITY switch

Stereo 1/4” phone type

1/4” phone type x 2

Cable: Stereo 1/4” phone type

Stereo 1/4” phone type

MODE/POLARITY switch

Page 3

Initial Setup

Check the following points before using the GP-10

Is the GK-pickup correctly installed?

• After reading the instructions in the GK-pickup Owner’s Manual, check the installation once more.

• On the Roland website, the “How to install the GK pickup” page provides an explanation and photos on how to attach a GK pickup. Be sure to take a look!

http: //www.roland.com/GK/

Before using the GP-10 for the rst time, you’ll need to make the following initial settings.

Basic procedure for initial setup

1. Press the [SYSTEM] button.

2. Use the [K] [J] buttons to select the desired parameter. Then use the

[VALUE] knob to edit the value.

Select a parameter

Edit the value

GK1:Type GK-3

3. Press the [EXIT] button to return to the play screen.

MEMO

You can use the following button operations to jump to the +/, marks of this document (p. 13–).

Buttons Jump destination Buttons Jump destination [SYSTEM] [EXIT] + [SYSTEM]

* [J] + [K] mean that you should “hold down [J] and press [K].”

Specifying the Output System (Sys: Output)

Choose “Sys: Output,” and specify the device (amp) that’s connected to the OUTPUT jacks.

Sys:Output

* If headphones are connected, this will automatically be “LINE/PHONES” regardless

of the Output setting.

Value Explanation

LINE/PHONES

JC-120

SMALL AMP Choose this setting if the GP-10 is connected to a small guitar amp.

COMBO AMP

STACK AMP

JC-120 RETURN Choose this setting if the GP-10 is connected to the JC-120’s RETURN jack.

COMBO RETURN

STACK RETURN

Setting Up the GK Pickups

GK settings are extremely important in order to play the GP-10 with the best possible sound. You must be sure to make these settings correctly.

MEMO: GK settings

You can store three dierent sets of GK settings (GK Setting: 1–3). If you’re switching between three dierent guitars to use with the GP-10, you can make separate GK settings for each guitar. If you’re using only one guitar with the GP-10, choose “1” (the default setting).

Next + mark [J] + [K] Next , + mark Previous + mark [K] + [J] Previous , + mark

LINE/PHONES

This is the appropriate setting when using headphones, or for when the GP-10 is connected to a keyboard amp, mixer, or digital recorder. Choose this setting if the GP-10 is connected to the guitar input of a Roland JC-120 guitar amp.

Choose this setting if the GP-10 is connected to the guitar input of a combotype 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. Choose this setting if the GP-10 is connected to the guitar input of a stacktype guitar amp (i.e., an amp in which the amp and speaker are separate units).

Choose this setting if the GP-10 is connected to the RETURN jack of a combotype guitar amp. Choose this setting if the GP-10 is connected to the RETURN jack of a stacktype guitar amp. You should also choose the “STACK RETURN” setting when using the GP-10 with a guitar power amp and a speaker cabinet.

GK:Setting

You must set the GK pickup select switch to the “MIX” position!

If the switch is set to any position other than MIX, the unit won’t operate correctly (there will be no sound).

Roland GK-3 users Roland V-Guitar GC-1 users

You must set this to the center (MIX) position!

Specifying the pickup type

Choose “GK1: Type,” and specify the type of pickup that’s installed on your guitar.”

GK1:Type GK-3

Value Explanation Value Explanation GK-3 Roland GK-3 PIEZO F

GK-2A Roland GK-2A PIEZO G Graph Tech

GC-1 Roland V-Guitar GC-1 PIEZO L L.R. Baggs

PIEZO Piezo Pickup (at response) PIEZO R RMC

* 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.

* Choose “GK-2A” if you’re using a commercially available guitar that’s equipped with

GK pickup.

Specifying your guitar’s scale length

Choose “Scale,” and specify your guitar’s scale length (the distance between the bridge and nut).

Piezo Pickup

GK1:Scale ST

Choose “ST” for a standard Stratocaster type, or choose “LP” for a Les Paul type. Alternatively, choose the closest value in the range of 500–660 mm.

* This parameter is not shown if you select “GC-1” as the pickup type.

Specifying the distance from the bridge

Choose “Distance 1”–”Distance 6,” and specify the distance (mm) from the center of the pickup to the bridge saddle.

GK1:Distance 1

20.0mm

* If the pickup type is set to “GC-1” or one of the piezo-

type pickups, this setting is not necessary.

Adjusting the pickup sensitivity

What is Pickup Sensitivity?

If the distance between each string and the GK pickup is dierent, the volume will also be dierent. The pickup sensitivity adjustment allows you to compensate for this dierence

GK-pickup “

1. Choose “Sens,” and adjust the sensitivity for the 6th string.

in volume.

GK1:Sens 6 [■■■■■■■■] 50

Play the 6th string as strongly as you ever expect to play it in actual performance, and use the [VALUE] knob 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.

2. In the same way, adjust the sensitivity for the 5th through 1st strings as well.

3. 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.

This completes the initial setup. Now you’re ready to play the GP-10!

Fishman

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Page 4

Basic Operation Guide

Adjusting the Volume

This adjusts the volume.

Selecting a Patch

Guitar modeling, alternate tuning, and eect settings can be recalled as 99 dierent “patches” (sounds).

1. Use the [I] [H] pedals or [PATCH] knob to select a patch.

Dual Sync

Saving a Patch

If you select a dierent patch or turn o the power after editing the settings, edited settings will be lost. If you want to keep the data, you must save it.

1. Press the [WRITE] button.

Write to #01 Dual Sync

2. Use the [PATCH/VALUE] knob to select the save-destination.

If you decide to cancel, press the [EXIT] button.

Press the [WRITE] button.

4. Edit the name.

You can give names to patches using up to 12 characters.

Patch:Name Edit Dual Sync

Use the [K] [J] buttons to move the cursor to the character that you want to edit, and turn the [VALUE] knob to edit the character.

You can also use the following buttons.

Button Function INS (MODELING) Inserts a blank space at the cursor position.

DEL (EFFECTS)

CAPS (SYSTEM)

5. Press the [WRITE] button twice to save.

Deletes the character at the cursor position and shifts all characters after it to the left. Alternately switches the letter at the cursor position between uppercase and lowercase.

Tuning the Guitar (Tuner Mode)

Press the [I] [H] pedals simultaneously to enter Tuner mode.

* To achieve the alternate tunings as described on the tuning control, tune your

guitar to correct standard tuning (E A D G B E).

* I f you want to tune GUITAR IN (the normal guitar input), disconnect the GK IN

connection.

1. Press the [I] [H] pedals simultaneously.

* You can also enter Tuner mode by pressing the [J] button in the Play screen.

2. Play a single open note on the string to be tuned.

The name of the note closest to the pitch of the string played appears in the display.

. . . . . E

>>>>>>>>█<<<<<<<

3. Tune your instrument so that the center indicator of the display is lit.

Setting the standard pitch

In Tuner mode, you can press the [J] button to change the standard pitch of the tuner.

Pitch

435–445 Hz (default: 440 Hz)

Number

Save-Destination Patch

Patch name

Patch number

* 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.

Using the Pedals for Control ([CTL 1], [CTL 2] pedals)

By default, the [CTL 1] and [CTL 2] pedals control a function that’s assigned by each patch.

* You are free to assign the pedals to other functions if you like.

& “Pedal and Switch Settings for Each Patch (Ctl: )” (p. 11), “System Settings for the Pedals and Switches (SysCtl: )” (p. 13)

The controllers of the GK pickup

You can also use the [S1] (DOWN) /[S2] (UP) buttons and the volume knob of the GK pickup to control the parameters.

Controlling the Volume/Eect (Expression Pedal)

By strongly pressing the toe end of the pedal, you can turn the pedal eect on and o (PEDAL SW indicator will light/go out).

Pedal eect is o:

• The pedal controls volume (default).

Pedal eect is on:

• The pedal controls the eect (e. g. : wah) that you select with the [PEDAL FX] knob. * You are free to assign the pedals to other functions if you like.

& “Pedal and Switch Settings for Each Patch (Ctl: )” (p. 11), “System Settings for the Pedals and Switches (SysCtl: )” (p. 13)

* When you operate the expression pedal, please be careful not to get your ngers pinched between the

movable part and the panel. In places where small children are present, make sure that an adult provides supervision and guidance.

Switching the Display

You can use the [K] [J] buttons to switch the screens in the display.

Play (patch select) screen

Select a patch. & “Selecting a Patch” (p. 4)

Dual Sync

Standard pitch setting screen

Here you can change the standard pitch of the tuner.

Tuner:Pitch A=440Hz

Tuner mode screen

Tune your guitar. & “Tuning the Guitar (Tuner Mode)” (p. 4)

. . . . . E

>>>>>>>>█<<<<<<<

Patch level screen

Adjust the volume of the patch. & “Patch Volume (Patch: Level)” (p. 11)

Patch:Level 100

Page 5

Basic Operation Guide

Basic Procedure for Editing the Settings

Editing the GP-10’s settings is a simple and consistent procedure. Before you continue, please take a moment to learn the basic editing procedures.

1. Press the button for the type of item you want to edit.

Modeling/Poly FX/Alternate Tuning Settings&p. 6

Eects/Patch Settings&p. 9

System Settings (Settings for the Entire GP-10) &p. 13

Selecting a Modeling Guitar

Press the [MODELING/ALT TUNE] button and edit the parameters.

& “Modeling Settings (Mdl: )” (p. 6)

Selecting an electric guitar

Parameter Value Mdl: On/O ON

Mdl: Type E. GTR (electric guitar)

EG: Type

EG: PU Select Selects the pickup position.

& Refer to “Electric Guitar (EG: )” (p. 6)

Selecting an acoustic

Parameter Value Mdl: On/O ON

Mdl: Type ACOUSTIC (acoustic)

AC: Type

& Refer to “Acoustic (AC: )” (p. 6)

Selecting a bass

Parameter Value Mdl: On/O ON

Mdl: Type E. BASS (bass)

EB: Type

Selecting a guitar synthesizer

Parameter Value Mdl: On/O ON

Mdl: Type SYNTH (guitar synthesizer)

Synth: Type

2. Use the [K] [J] buttons to select the desired parameter. Then use the [VALUE]

knob to edit the value.

Select a parameter

GK1:Type GK-3

You can use the following button operations to jump to the +/, marks of this document (p. 6–).

Buttons Jump destination Buttons Jump destination [MODELING/ALT TUNE], [EFFECTS],or [SYSTEM] [EXIT] + buttons above

* [J] + [K] mean that you should “hold down [J] and press [K].”

3. Press the [EXIT] button to return to the play screen.

& Refer to “Bass (EB: )” (p. 6)

& Refer to “Synthesizer (Synth: )” (p. 7)

Edit the value

Next + mark [J] + [K] Next , + mark

Previous + mark [K] + [J] Previous , + mark

Selecting a Poly FX

The Poly FX are eects specically designed for the GK pickup, which individually extracts the signal of each string.

Parameter Value Mdl: On/O ON Mdl: Type POLY FX PolyFx: Type

& Refer to “Poly FX (PolyFx: )” (p. 8)

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Selecting an Alternate Tuning

Press the [MODELING/ALT TUNE] button and edit the parameters.

& “Alternate Tuning Settings (AltTune: )” (p. 8)

* I f the Modeling Type is “SYNTH” or “POLY FX,” the Alternate Tuning or12-String Guitar function

cannot be used.

Selecting an alternate tuning

Parameter Explanation AltTune: On/O Turns the Alternate Tuning function on/o.

AltTune: Type

OPEN D, E, G, A

DROP D–A

D-MODAL

NASHVL

-12–+12 STEP USER User tuning in which each string can be specied individually.

Tuning that produces a major chord when you play the open strings.

DROP-D is a tuning in which only the 6th string is dropped to D. The other tunings are the variations that are transposed downward parallel to Drop D. Tuning that drops the 6th, 2nd, and 1st string by a whole step to create an ethnic feel. Tuning that raises the 6th, 5th, 4th, and 3rd strings by one octave; like a 12-string guitar’s supplementary strings by themselves.

Raises/lowers the tuning of all strings in semitone steps.

Applying Eects

Press the [EFFECTS] button and edit the parameters.

& “Eects Settings” (p. 9)

Amp

Parameter Explanation Amp: On/O Turns the Amp on/o Amp: Type Type of Amp

FX (Overdrive etc.)

Parameter Explanation FX: On/O Turns the FX on/o FX: Type Type of FX

Wah

Parameter Explanation Wah: On/O Turns the Wah on/o Wah: Type Type of Wah

Chorus

Parameter Explanation Chorus: On/O Turns the Chorus on/o Chorus: Mode Type of Chorus

Delay

Parameter Explanation Delay: On/O Turns the Delay on/o Delay: Type Type of Delay

Selecting a 12-string guitar

Parameter Explanation

12Str: On/O

Example: Applying an open-G tuning to a Telecaster (rear pickup)

Parameter Value Mdl: On/O ON

Mdl: Type E. GTR

EG: Type TE

EG: PU Select REAR

AltTune: On/O ON

AltTune: Type OPEN G

Turn this on if you want the sound of a 12-string guitar. It transforms the sound of a 6-string guitar into the sound of a 12-string guitar equipped with an additional course of strings.

Reverb

Parameter Explanation Reverb: On/O Turns the Reverb on/o Reverb: Type Type of Reverb

Equalizer

Parameter Explanation EQ: On/O Turns the Equalizer on/o

Noise suppressor

Parameter Explanation NS: On/O Turns the noise suppressor on/o

Example: Transforming an acoustic guitar into a 12-string guitar

Parameter Value Mdl: On/O ON

Mdl: Type ACOUSTIC

AC: Type MA28

AltTune: On/O OFF

12Str: On/O ON

Page 6

Modeling/Poly FX/Alternate Tuning Settings

Modeling Settings (Mdl: )

Press the [MODELING/ALT TUNE] button to edit.

* The parameters shown depend on the modeling type you’ve selected.

MEMO

For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).

Parameter Explanation On/O Turns the Modeling on/o (mute).

Type

Type of Modeling

E. GTR Electric guitar ACOUSTIC Acoustic E. BASS Bass SYNTH Guitar synthesizer POLY FX Poly FX

Electric Guitar (EG: )

Parameter Explanation

Type

PU Select *1

Tone Type *2 Selects the fretless tone type. Sens *2 This controls the input sensitivity of the FRETLESS. Depth *2 This controls the rate of the harmonics. Attack *2 Adjusts the attack of the picking sound. Resonance *2 Adds a characteristically resonant quality to the sound. Direct Level *2 Adjusts the volume of the direct sound. Volume Sets the volume. With a setting of 0, there will be no sound.

Tone

*1 Other than FRETLESS *2 FRETLESS only

Type of Electric Guitar

CLA ST

MOD ST

P90

335

RICK

LIPS

WIDE RANGE

BRIGHT HUM

FRETLESS This models a fretless guitar.

Selects the pickup position.

REAR Rear pickup R+C *1 Rear and center pickups CENTER *1 Center pickup C+F *1 Center and front pickups FRONT Front pickup R+F *2 Rear and front pickups ALL *3 All pickups

*1 CLA-ST, MOD-ST, LIPS only *2 TE, LP, P-90, RICK, 335, L4, BRIGHT HUM, WIDE RANGE only *3 LIPS only

Adjusts the tone. The standard value is 100; lowering the value creates a softer tone.

This models a Fender Stratocaster, a guitar with three traditional single-coil pickups. This models a guitar with three EMG active single-coil pickups. This models a Fender Telecaster, a guitar with two single-coil pickups often used in blues and country music. This models a Gibson Les Paul Standard, a guitar with two humbucking pickups often used in rock. This models a Gibson Les Paul Junior, a guitar with two single-coil pickups aectionately referred to as “dog ear” or “soap bar” pickups. This models a Gibson ES-335 Dot, a well-known semi-hollow body guitar with two humbucking pickups. This models a Gibson L-4 CES, a hollow body guitar suitable for jazz, equipped with two humbucking pickups and strung with at-wound strings. This models a Rickenbacker 360, a semi-hollow body guitar with two unique single-coil pickups. This models a Danelectro 56-U3, a guitar with three pickups with a distinctive silver “lipstick-style” appearance. This produces the fat sound typical of a larger number of coil windings than on a conventional single-coil pickup. A conventional humbucking pickup places two coils side by side, causing the high frequencies to be cancelled; however, this model produces a tone that preserves these high frequencies while retaining the characteristics of a humbucking pickup.

Acoustic (AC: )

Parameter Explanation

Type

Body *1

Attack *2

PU Select *3

Sens *3 Adjusts the input sensitivity. Color *3 Adjusts the overall tone quality of the sitar. Decay *3 Adjusts the time it takes following the attack for the tone to change.

BUZZ *3

Attack Level *3 Adjusts the volume level of the attack

Resonance *4

Sustain *5

Tone

Volume Sets the volume. With a setting of 0, there will be no sound.

*1 Other than RESO and BANJO *2 NYLON and BANJO only *3 SITAR only *4 RESO and BANJO only *5 RESO only

Type of Acoustic

MA28

TRP-0

GB45

GB SML

GLD40

NYLON This models a nylon-string guitar. RESO This models a Dobro-type resonator guitar. BANJO This models a conventional ve-string banjo.

SITAR

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. Species 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. Selects the pickup position.

FRONT Front pickup R+F Rear and front pickups REAR Rear pickup PIEZO Piezo pickup

Adjusts the amount of characteristic buzz produced by the buzz bridge when the strings make contact with it.

Adjusts the body resonation. The resonation increases as the value is raised. You can specify how the resulting volume will be aected 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. Adjusts the tone of the body. The standard value is 0; raising the value boosts the high range.

The sound of a Martin D-28. Older model known for its exquisitely balanced sound. The sound of a Martin 000-28. This model features a full lowend resonance and crisp, distinct contour. The sound of a Gibson J-45. This vintage model features a unique, seasoned tone with good response. The sound of a Gibson B-25. Featuring a compact body, this vintage model is often used in blues. The sound of a Guild D-40. This model features warm resonance from the body along with a delicate string resonance.

This models a Coral electric sitar. The sitar’s distinctive buzz and tonal change are modeled.

Bass (EB: )

Parameter Explanation

Type

Rear Volume *1 Volume of the rear pickup Front Volume *1 Volume of the front pickup Tone Type *2 Selects the fretless tone type. Sens *2 This controls the input sensitivity of the FRETLESS. Depth *2 This controls the rate of the harmonics. Attack *2 Adjusts the attack of the picking sound. Resonance *2 Adds a characteristically resonant quality to the sound. Direct Level *2 Adjusts the volume of the direct sound. Volume Sets the volume. With a setting of 0, there will be no sound. Tone Adjusts the tone.

*1 JB only *2 FRETLESS only

Type of Bass

JB This models a Fender Jazz Bass. PB This models a Fender Precision Bass. FRETLESS This models a fretless bass.

Page 7

Modeling/Poly FX/Alternate Tuning Settings

Synthesizer (Synth: )

Parameter Explanation

Type

GR-300 (GR300: )

Parameter Explanation

Mode

Volume Sets the volume. With a setting of 0, there will be no sound. Comp Sw When this is set to ON, the HEXA-VCO’s decay time is extended.

Cuto

Resonance Adjusts the resonance (distinctiveness of the sound).

EnvModSw

EnvModSens

EnvModAtck

Pitch Sw

P. Shift A P. Shift B P. Fine A P. Fine B

P. Duet

Sweep Sw

Sweep Rise

Sweep Fall

Vibrato Sw You can apply an electronic vibrato eect to the HEXA-VCO. Vib Rate Adjusts the rate of the vibrato. Vib Depth Adjusts the depth of the vibrato.

OSC synth (OSC: )

Parameter Explanation

Mode

Volume Sets the volume. With a setting of 0, there will be no sound.

Type of Synthesizer

GR-300

OSC SYNTH

WAVE SYNTH

This setting determines whether the HEXA-VCO (sawtooth wave) or the HEXA-DISTORTION (rectangular wave) is played, or if both are played.

VCO The HEXA-VCO sound is played.

V+D

DIST The HEXA-DISTORTION sound is played.

Adjusts the cuto frequency, setting the brightness (hardness) of the sound.

This automatically changes the VCF cuto frequency according to the amplitude of the string vibration. This allows you to change the tone with a wah-like eect each time you pick a string.

INV

Adjusts the input sensitivity for the envelope modulation function. As the value is raised, the change from the envelope modulation broadens with even weaker picking. Adjusts the attack time for the change in the envelope modulation produced by picking. Raising the value slows the attack for this change. This setting allows you to switch A, B and OFF the pitch shift, which enables the pitch of the HEXA-VCO sound to shift in response

* PITCH SHIFT is applied only to the HEXA-VCO, not the

This sets the amount of shift in pitch from the original sound in semitone increments.

This nely adjusts the pitch. A setting of -50 lowers the pitch one semitone; +50 raises the pitch by one semitone.

When DUET is set to ON, then in addition to the HEXA-VCO, a sawtooth wave is played at the same pitches as the source sound, adding greater breadth to the sound.

This models the Roland GR-300, the famed analog polyphonic guitar synthesizer of yesteryear. This is an analog synth modeling sound generated by a DSP oscillator. This algorithm creates synth sounds by directly processing the string signal from the Divided pickup. It allows a natural feeling of playability.

The HEXA-VCO and HEXA-DISTORTION sounds are played simultaneously.

This causes the VCF cuto frequency to change from a high to low frequency each time the string is picked. This produces a wah-like eect, with the sound going from high frequencies to low. As opposed to the ON setting, this allows you to have the VCF cuto frequency change from a low to high frequency each time the string is picked. This produces a reverse wah-like eect, with the sound going from high frequencies to low.

HEXADISTORTION. Set MODE to VCO or V+D when using the pitch shift function.

MEMO

Setting HEXA-VCO pitch shifts to values such as PITCH+/-12 (up or down an octave), +/-7 (perfect fth), or +/-5 (perfect fourth) produces a thicker sound like that from a synthesizer.

You can add further depth to the sound by setting PITCH FINE to +/-5, thus slightly shifting the pitch of the HEXA-VCO. This SWEEP function smoothly changes the amount of pitch shift when the amount of pitch shift is changed with “Pitch Sw.” Adjusts the amount of time for the pitch to shift when the “Pitch Sw” parameter is switched and the sound changes to a higher pitch. When set to zero, the pitch changes instantly; at higher values, the pitch rises more slowly. Adjusts the amount of time for the pitch to shift when the “Pitch Sw” parameter is switched and the sound changes to a lower pitch. When set to zero, the pitch changes instantly; at higher values, the pitch falls more slowly.

This creates the waveform that determines the character of the sound, and also species the pitch. The GP-10 has two oscillators: OSC 1 and OSC 2.

SINGLE Only OSC 1 is used. DUAL OSC 1 and OSC 2 are used.

SYNC

RING

This is oscillator sync. It generates a complex waveform by forcibly resetting OSC 2 to the beginning of its cycle in synchronization with the OSC 1 frequency. This is a ring modulator. It generates a complex waveform by multiplying OSC 1 and OSC 2.

OSC 2

OSC 1

OSC 2

Parameter Explanation

Waveform 1/2

Pitch 1/2

Pitch Fine 1/2 Adjusts the pitch more nely than the Pitch parameter. PW Width 1/2 Species the pulse width. PW Mod Rate 1/2 Species the amount (depth) of LFO applied to Pulse Width.

P. Env Attck 1/2 P. Env Decay 1/2

P. Env Depth 1/2 Species the depth to which the envelope will modulate the pitch.

Level 1/2 Adjusts the volume of the OSC.

Filter Type

Filter Slope

Filter Cuto Species the cuto frequency. FltrCtOFlw Species how the cuto frequency will be aected by the note position.

Fltr Reso

FltrVeloSens

FltrEnvAttck FltrEnvDecay FltrEnvSustn FltrEnvRels

FltrEnvDepth

AmpVeloSens Species how the volume is aected by your picking dynamics.

AmpEnvAttck AmpEnvDecay AmpEnvSustn AmpEnvRels

LFO 1/2 Shape

LFO1/2 RATE Determines the speed of the LFO. LFO1/2 PtchDpt1/2 Allows the LFO to modulate the pitch, producing a vibrato eect. LFO1/2 FltDepth Allows the LFO to modulate the FILTER CUTOFF (cuto frequency),

LFO1/2 AmpDepth

LFO1/2 Dly Time Species the time from when a note is played until the LFO begins to apply.

LFO1/2 Fade Time

Poly/Mono If this is set to MONO, only a single note will sound even if you play a chord.

Chromatic

Portamento Allows you to create a smooth change in pitch from one note to the next. Porta Rate Adjusts the speed at which the pitch changes.

Porta Mode

Selects the waveform that is the basis of the sound.

SIN SAW TRI SQR PW NOISE Noise

R Sine wave T Sawtooth wave S Triangle wave U Square wave V Pulse width

Adjusts the pitch.

Species the attack/decay time of the pitch envelope.

Type of lter

BYPASS The lter is not used.

LPF

HPF

BPF

PKG

-12 dB

-24 dB

Resonance emphasizes the sound in the region of the lter cuto frequency.

Increasing the resonance setting will increase this emphasis, producing a distinctive sound that is characteristic of synthesizers. Species how the lter envelope depth is aected by your picking dynamics.

Species the attack/decay/sustain level/ release time of the lter envelope.

Species the depth and direction of the cuto frequency change. Higher values make the cuto frequency move upward. Lower values make the cuto frequency move downward.

Species the attack/decay/sustain level/ release time of the amp envelope.

Selects the LFO waveform.

SIN SAW UP

SAW DOWN

TRI SQR RANDOM Random wave S&H

Allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

Species the time until the LFO reaches its maximum amplitude.

Turn this “ON” if you want to play tones in semitone increments. If this is “ON,” the pitch will change in semitone steps even when you bend

notes.

Selects how portamento is applied.

* This is valid only in POLY mode.

MODE 1

MODE 2

This type of lter cuts the frequency range that is above the cuto frequency, making the sound more mellow. This type of lter cuts the frequency range that is below the cuto frequency, emphasizing the high-frequency range. This type of lter passes only the range of frequencies in the region of the cuto frequency, cutting the other frequencies. This type of lter boosts the range of frequencies in the region of the cuto frequency.

Selects the slope (steepness) of the low-pass lter.

R Sine wave T Sawtooth wave

Sawtooth wave (negative polarity)

S Triangle wave U Square wave

W Sample and Hold

For each string, portamento starts from the pitch of the last note played on that string Portamento starts from the pitch of the last note played on any string

ex. LPF

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Page 8

Modeling/Poly FX/Alternate Tuning Settings

Parameter Explanation

Hold Mode

LowVeloCut

Species the Hold eect controlled by the [CTL 1] [CTL 2] pedals.

* I n order to use the Hold eect, make settings for “Patch: CTL” (p. 11) or

“Sys: CTL” (p. 13).

MODE 1

MODE 2 Newly played notes are not accepted while Hold is on.

MODE 3

Adjust this if simply touching a string causes a note to be unintentionally triggered. Raising this value will make it more dicult to trigger notes.

Notes that are newly played while Hold is on will also be held.

While Hold is on, notes newly played on a string that’s being held are accepted.

Wave synth (WAVE: )

Parameter Explanation

Type

Volume Sets the volume. With a setting of 0, there will be no sound.

Cuto

Resonance Adjusts the resonance (distinctiveness of the sound). Octave If this is on, the pitch is one octave lower.

Selects the wave type on which the synth sound is based.

SAW Creates a synth sound with a sawtooth waveform. SQUARE Creates a synth sound with a square waveform.

Adjusts the cuto frequency at which the lter cuts o the sound’s harmonic components

Poly FX (PolyFx: )

Parameter Explanation

DISTORTION

Type

CRYSTAL

RICH MODULATION Rich and spacious modulation sound SLOW PAD Deep, fantasy-like pad-type sound

TOUCH WAH

DISTORTION/CRYSTAL/RICH MODULATION/SLOW PAD (PFxDist: /PFxCrystal: /PFxRichMod: /PFxSlowPad: )

Parameter Explanation GtrVol Adjusts the volume of the guitar input.

Gain *1 Adjusts the amount of distortion.

GainBal *1

DISTORTION

CRYSTAL

Color

RICH MODULATION

SLOW PAD Adjusts the strength of the attack. Higher settings strengthen the attack. Tone Adjusts the brightness of the sound. Higher settings brighten the sound. Level Volume

Adjusts the distortion balance between the low and high strings. Higher settings make the lower strings distort more. Lower settings make the higher strings distort more. Adjusts the amount of separation for chords. Higher settings produce

chords less muddy. Adjusts the tonal character of the high-frequency range. Higher settings make the tonal character more metallic. Adjusts the depth of the eect. Higher settings make the modulation eect stronger.

*1 DISTORTION only

TOUCH WAH (PFxTWah: )

Parameter Explanation

Mode

Polar

Sens

Freq Adjusts the center frequency of the Wah eect. Decay This sets the time needed for the lter to nish its sweep.

Peak

ToneType S elects the tone type. Comp Sw Turns the compressor on/o. Comp Sus Larger values will result in longer sustain. Comp Atk Adjusts the strength of the picking attack when the strings are played. Volume Volume

Selects the wah mode.

LPF

BPF

Selects the direction in which the lter will change in response to the input.

DOWN The frequency of the lter will fall. UP The frequency of the lter will rise.

Adjusts the sensitivity at which the lter will change in the direction determined by the polarity setting. Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no eect.

Adjusts the way in which the wah eect applies to the area around the center frequency.

Higher values will produce a stronger tone which emphasizes the wah eect more. With a value of 50 a standard wah sound will be produced.

Distortion that allows chords to resonate clearly and beautifully A sound with a metallic resonance and a transparent character

You can produce a wah eect with the lter changing in response to the guitar level.

Low pass lter. This creates a wah eect over a wide frequency range. Band pass lter. This creates a wah eect in a narrow frequency range.

Alternate Tuning Settings (AltTune: )

Press the [MODELING/ALT TUNE] button to edit.

* If the Modeling Type is “SYNTH” or “POLY FX,” the Alternate Tuning/12-String

Guitar/String Bend function cannot be used.

Parameter Explanation On/O Turns the Alternate Tuning function on/o.

Type

Shift 1–6 *1 Species the amount of shift in semitones for each string.

Fine 1–6 *1

*1 USER only

OPEN D, E, G, A

DROP D–A

D-MODAL

NASHVL

-12–+12 STEP USER User tuning in which each string can be specied individually.

Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is half a semitone up.

Tuning that produces a major chord when you play the open strings. DROP-D is a tuning in which only the 6th string is dropped to D. The other tunings are the variations that are transposed downward parallel to Drop D. Tuning that drops the 6th, 2nd, and 1st string by a whole step to create an ethnic feel. Tuning that raises the 6th, 5th, 4th, and 3rd strings by one octave; like a 12-string guitar’s supplementary strings by themselves.

Raises/lowers the tuning of all strings in semitone steps.

12-String Guitar Settings (12Str: )

Press the [MODELING/ALT TUNE] button to edit.

Parameter Explanation

On/O

Type

PitchShft 1–6 *1 Species the amount of shift in semitones for each string.

PitchFine 1–6 *1

Level 1–6 *1 Adjusts the volume level for each secondary string.

Delay 1–6 *1

*1 USER only

Turn this on if you want the sound of a 12-string guitar. It transforms the sound of a 6-string guitar into the sound of a 12-string guitar equipped with an additional course of strings.

NORMAL The conventional tuning of a 12-string guitar.

USER

Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is half a semitone up.

Adjusts the time the sound of each secondary string is delayed relative to the respective main string.

A user tuning that species the pitch of each supplementary string.

String Bend Function Settings (StrBend: )

Press the [MODELING/ALT TUNE] button to edit.

Parameter Explanation On/O Turns the String Bend function on/o.

Depth 1–6

Control

This sets the amount of pitch shift in each string when the bend is set to

100. The amount of shift from the current pitch is set in semitone increments. When set to 0, bending causes no shift in the pitch; when set to 100, the

strings’ pitches are shifted by the amount set in Depth 1–6. Normally, this pitch bend is set to 0, and the setting 0–100 assigned with Control Assign is used.

* This setting cannot be saved to patches. This is reset to 0 when patches

are switched.

Other Modeling Settings (Mdl: )

Parameter Explanation

NS On/O *1

NS Threshold *1

NS Release *1

String Lv 1–6 Species the output level of each string. String Pan 1–6 Species the left/right pan of each string.

*1 For some modeling types, the noise suppressor parameters are not shown.

Turns the noise suppressor on/o. This eect suppresses noise or hum that is picked up by the guitar’s pickup. 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.

* S etting this higher than necessary may cause no sound to be produced

when the guitar is played at low volume. Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”

Page 9

Eects/Patch Settings

Eects Settings

Press the [EFFECTS] button to edit.

* The parameters shown depend on the type of eect that you select.

MEMO

For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).

Preamp (Amp: )

COSM technology is used to simulate the response of the preamp, the size of the speakers, and the type of cabinet.

Parameter Explanation On/O Turns this eect on/o.

Type

Gain Adjusts the distortion of the amp.

Level

Bass Adjusts the tone for the low frequency range. Middle Adjusts the tone for the middle frequency range. Treble Adjusts the tone for the high frequency range.

Presence

Bright

Gain Sw

Solo Sw Switches the tone to one suitable for solos. Solo Level Adjusts the volume level when the Solo Sw is ON. T-Comp Adjusts the sense of compression of the amp. Speaker Type *1

Type of Amp

NATURL CLEAN

FULL RANGE

COMBO CRUNCH

STACK CRUNCH

HiGAIN STACK

POWER DRIVE

EXTREME LEAD

CORE METAL

JC-120 This models the sound of the Roland JC-120. CLEAN TWIN This models a Fender Twin Reverb. PRO CRUNCH TWEED This models a Fender Bassman 4 x 10” Combo. DELUXE CRUNCH

VO DRIVE

VO LEAD This models the lead sound of the VOX AC-30TB.

MATCH DRIVE

BG LEAD

BG DRIVE This models a MESA/Boogie with TREBLE SHIFT SW on.

MS1959 I

MS1959 I+II

R-FIER VINTAGE R-FIER MODERN T-AMP LEAD This models a Hughes & Kettner Triamp AMP3. SLDN This models a Soldano SLO-100. This is the typical sound of the ‘80s. 5150 DRIVE This models the lead channel of a Peavey EVH 5150. BGNR UB METAL ORNG ROCK REVERB BASS CLEAN Clean sound suitable for bass. BASS CRUNCH BASS HiGAIN

Adjusts the volume of the entire preamp.

* Be careful not to raise the Level setting too high.

Adjusts the tone for the ultra high frequency range.

* The Presence parameter functions as a high-cut lter with some Amp Types.

Turns the bright setting on/o.

* The Bright parameter setting is available only with certain Amp Types. Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH. Distortion will successively increase for settings of LOW, MIDDLE and HIGH.

* The sound of each Type is created on the basis that the Gain Sw is set to

Selects the speaker type. “ORIGIN” is the built-in speaker of the amp you selected with Amp: Type.

An unembellished, clean sound that minimizes the amp’s idiosyncrasies, such as its trebly character and boomy low end. An amp with a broad frequency range and an extremely at response.

Good for acoustic guitar. Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps. Great-feeling crunch sound that responds well to picking dynamics while retaining all the dening characteristics of a 4 x 12” speaker cabinet. High-gain sound of a vintage Marshall specially revamped in a way that is possible only with COSM modeling technology. A straight drive sound that works well in a broad range of situations, from backing to lead. A sound like this cannot be obtained from any existing combo amp or stack amp. A new type of sound that smoothes out the uneven frequency response that is typical of existing large stack amps. A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.

This models a Fender Pro Reverb.

This models a Fender Deluxe Reverb.

This models the drive sound of a VOX AC-30TB. This is a sound that it suited to sixties-style British rock.

This models the sound input to left input on a Matchless D/C-30. A simulation of the modern tube amp widely used in styles from

blues and rock. This models the lead sound of the MESA/ Boogie combo amp. The sound of a tube amp typical of the late ‘70s to ‘80s.

This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. The sound of connecting inputs I and II of the guitar amp in parallel,

creating a sound with a stronger low end than I. This models the sound of the Channel 2 VINTAGE Mode on the Mesa/Boogie DUAL Rectier. This models the sound of the Channel 2 MODERN Mode on the Mesa/Boogie DUAL Rectier.

This models the heavily distorted sound of a Bogner Uberschall.

This models an Orange Rockerverb.

Crunch sound with a natural distortion, suitable for bass.

High-gain sound suitable for bass.

MIDDLE.

Parameter Explanation

Mic Type *1

Mic Distance *1

Mic Position *1

Mic Level *1 Adjusts the volume of the mic. Direct Level *1 Adjusts the volume of the direct sound.

*1 This is enabled when the Sys: Output parameter is set to LINE/PHONE.

Selects the simulated mic type.

DYN57

DYN421

CND451

CND87

FLAT

Simulates the distance between the mic and speaker. OFF MIC Microphone is placed at a distance from the speaker. ON MIC Microphone is placed so it’s near the speaker. This simulates the mic position.

CENTER

1–10 cm

This is the sound of the Shure SM-57. General dynamic mic used for instruments and vocals. Optimal for use in miking guitar amps. This is the sound of the Sennheiser MD-421. Dynamic mic with extended low end. This is the sound of the AKG C451B. Small condenser mic for use with instruments. This is the sound of the Neumann U87. Condenser mic with at response. Simulates a mic with perfectly at response. Produces a sonic image close to that of listening to the sound directly from the speakers (on site).

Simulates the condition that the mic is set in the middle of the speaker cone. Simulates the condition that the mic is moved away from the center of the speaker cone.

FX (FX: )

You can select the eect to be used from the following.

Parameter Explanation On/O Turns this eect on/o.

Type

OD/DS (FxODDS: )

Parameter Explanation

Type

Type of FX

OD/DS This eect distorts the sound to create long sustain.

COMPRESSOR

LIMITER The limiter attenuates loud input levels to prevent distortion. EQ This adjusts the tone as a equalizer. T. WAH A wah eect is produced according to your picking dynamics.

PITCH SHIFTER

HARMONIST

PEDAL BEND This lets you use the pedal to get a pitch bend eect.

PHASER

FLANGER

TREMOLO Tremolo is an eect that creates a cyclic change in volume.

PAN

ROTARY This produces an eect like the sound of a rotary speaker.

UNI-V

CHORUS

DELAY

Type of OD/DS

MID BOOST

CLEAN BOOST

TREBLE BOOST This is a booster that has bright characteristics.

CRUNCH

NATURAL OD

WARM OD This is a warm overdrive. FAT DS A distortion sound with thick distortion.

LEAD DS

METAL DS A distortion sound that is ideal for performances of heavy ris. OCT FUZZ A fuzz sound with rich harmonic content.

BLUES OD

OD-1

T-SCREAM This models an Ibanez TS-808.

TURBO OD This is the high-gain overdrive sound of the BOSS OD-2.

DISTORTION This gives a basic, traditional distortion sound.

RAT This models a Proco RAT.

GUV DS This models a Marshall GUV’ NOR.

DST+ This models a MXR DISTORTION+.

This is an eect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.

This eect changes the pitch of the original sound (up or down) within a range of two octaves. Harmonist is an eect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales.

By adding varied-phase portions to the direct sound, the phaser eect gives a whooshing, swirling character to the sound. The anging eect gives a twisting, jet-airplane-like character to the sound.

With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an eect that makes the guitar sound appear to y back and forth between the speakers.

This models a Uni-Vibe. Although this resembles a phaser eect, it also provides a unique

undulation that you can’t get with a regular phaser. In this eect, a slightly detuned sound is added to the original sound to add depth and breadth. This eect adds delayed sound to the direct sound, giving more body to the sound or creating special eects.

This is a booster with unique characteristics in the midrange. Making the connection before the amp produces sound suitable

for solos. This not only functions as a booster, but also produces a clean tone that has punch even when used alone.

A lustrous crunch sound with an added element of amp distortion. This is an overdrive sound that provides distortion with a natural feeling.

Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.

This is a crunch sound of the BOSS BD-2. This produces distortion that faithfully reproduces the nuances

of picking. This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

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Page 10

Eects/Patch Settings

Parameter Explanation

METAL ZONE

Type

Drive Adjusts the depth of distortion.

Tone Adjusts the tone.

Level Adjusts the volume of the eect sound.

Bottom Adjusts the tone for the low frequency range.

D. Level Adjusts the volume of the direct sound.

Solo Sw Switches the tone to one suitable for solos.

Solo Lv Adjusts the volume level when the Solo Sw is ON.

‘60S FUZZ

MUFF FUZZ This models an Electro-Harmonix Big Mu π.

This models the sound of the BOSS MT-2. It produces a wide range of metal sounds, from old style to

slash metal. This models a Fuzz Face. It produces a fat fuzz sound.

About the Other FX Parameters

Ref.

For details on all FX (eects) parameters, refer to the “Parameter Guide” (PDF le) which you can download from the Roland website (http: //www.roland. com/manuals/).”

Wah (Wah: )

You can control the wah eect in real time by adjusting the expression pedal.

* Assign a controller to the expression pedal. Set the Patch: Controller setting EXPPDL ON Func (p. 11)

to “WAH.” If you operate the expression pedal when it’s on, it functions as a wah.

Parameter Explanation On/O Turns this eect on/o.

Type

Pedal Position Adjusts the position of the wah pedal. Pedal Min S elects the tone produced when the heel of the expression Pedal is depressed.

Pedal Max Selects the tone produced when the toe of the expression Pedal is depressed.

E. Level Adjusts the volume of the eect sound.

D. Level Adjusts the volume of the direct sound.

Type of wah

CRY WAH

VO WAH This models the sound of the VOX V846. FAT WAH This is a wah sound featuring a bold tone. LIGHT WAH This wah has a rened sound with no unusual characteristics.

7-STRING WAH

RESO WAH

This models the sound of the Cry Baby wah pedal popular in the ‘70s.

This expanded wah features a variable range compatible with seven-string and baritone guitars. This completely original eect oers enhancements on the characteristic resonances produced by analog synth lters.

Chorus (Chorus: )

In this eect, a slightly detuned sound is added to the original sound to add depth and breadth.

Parameter Explanation On/O Turns this eect on/o.

Mode

Rate

Depth Adjusts the depth of the chorus eect.

Pre Delay

Low Cut

Hi Cut

E. Level Adjusts the volume of the eect sound. D. Level Adjusts the volume of the direct sound.

Type of Chorus

MONO

STEREO1

STEREO2

Adjusts the rate of the chorus eect.

* When set to BPM, the value of each parameter will be set according to the

value of the “Patch: Tempo” specied for each patch. This makes it easier to

achieve eect sound settings that match the tempo of the song.

Adjusts the time needed for the eect sound to be output after the direct sound has been output. By setting a longer pre delay time, you can obtain an eect that sounds like more than one sound is being played at the same time (doubling eect). This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect. This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

This chorus eect outputs the same sound from both L channel and R channel. This is a stereo chorus eect that adds dierent chorus sounds to L channel and R channel. This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the eect sound output in the R channel.

Delay (Delay: )

This eect adds delayed sound to the direct sound, giving more body to the sound or creating special eects.

Parameter Explanation On/O Turns this eect on/o.

Parameter Explanation

Type of Delay

SINGLE This is a simple monaural delay.

PAN

STEREO

DUAL-S

This delay is specically for stereo output. This allows you to obtain the tap delay eect that divides the delay time, then deliver them to L and R channels. The direct sound is output from the left channel, and the eect sound is output from the right channel. This is a delay comprising two dierent delays connected in series. Each delay time can be set in a range from 1 to 1000 ms.

D1 D2

This is a delay comprising two delays connected in parallel. Each delay time can be set in a range from 1 to 1000 ms.

Type

DUAL-P

DUAL-L/R

This is a delay with individual settings available for the left and right channels. Delay 1 goes to the left channel, Delay 2 to the right.

REVERSE

ANALOG

TAPE

MODULATE This delay adds a pleasant wavering eect to the sound.

Determines the delay time.

Time

Feedback

High Cut

E. Level Adjusts the volume of the eect sound. D. Level Adjusts the volume of the direct sound.

Pan Tap Time *1

D1/2 Time *2 Determines the delay time.

D1/2 F. Back *2

D1/2 HiCut *2

D1/2 E. Level *2 Adjusts the volume of the DELAY 1 (or DELAY 2). Mod Rate *3 Adjusts the modulation rate of the delay sound. Mod Depth *3 Adjusts the modulation depth of the delay sound.

*1 PAN only *2 DUAL-S, DUAL-P, DUAL-L/R only *3 MOD only

* When set to BPM, the value of each parameter will be set according to the

value of the “Patch: Tempo” specied for each patch. This makes it easier to

achieve eect sound settings that match the tempo of the song. Sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats. Sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the delay time of the left channel delay. This setting adjusts the L channel delay time relative to the R channel delay time (considered as 100%).

Adjusts the amount of feedback of the DELAY 1 (or DELAY 2). A higher value will increase the number of the delay repeats. This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

This produces an eect where the sound is played back in reverse. This gives a mild analog delay sound. The delay time can be set within the range of 1 to 2000 ms. This setting provides the characteristic wavering sound of the tape echo. The delay time can be set within the range of 1 to 3400 ms.

Reverb (Reverb: )

This eect adds reverberation to the sound.

Parameter Explanation On/O Turns this eect on/o.

Type

Time Adjusts the length (time) of reverberation.

Pre Delay Adjusts the time until the reverb sound appears. Low Cut High Cut Density Adjusts the density of the reverb sound.

Spring Sns *1

E. Level Adjusts the volume of the eect sound. D. Level Adjusts the volume of the direct sound.

*1 Type = SPRING only

Type of Reverb

AMBIENCE

ROOM

HALL1

HALL2

PLATE

SPRING This simulates the sound of a guitar amp’s built-in spring reverb.

MODULATE

This sets the frequency at which the low/high cut lter begins to take eect. When FLAT is selected, the low/high cut lter will have no eect.

Adjusts the sensitivity of the spring eect. When the value is set higher, the eect is obtained even with a weak picking.

Simulates an ambience mic (o-mic, 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. Simulates the reverberation in a small room. Provides warm reverberations. Simulates the reverberation in a concert hall. Provides clear and spacious reverberations. Simulates the reverberation in a concert hall. Provides mild reverberations. Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.

D1: DELAY 1 D2: DELAY 2

Page 11

Eects/Patch Settings

EQ (EQ: )

This adjusts the tone as a equalizer.

Parameter Explanation On/O Turns this eect on/o. Low Gain Adjusts the low frequency range tone. Hi Gain Adjusts the high frequency range tone.

Low Mid Freq

Low Mid Q

Low Mid Gain Adjusts the low-middle frequency range tone.

Hi Mid Freq

Hi Mid Q

Hi Mid Gain Adjusts the high-middle frequency range tone.

Low Cut

Hi Cut

Level Adjusts the overall volume level of the equalizer.

Species the center of the frequency range that will be adjusted by the Low-Mid Gain. Adjusts the width of the area aected by the EQ centered at the Low-Mid Frequency. Higher values will narrow the area.

Species the center of the frequency range that will be adjusted by the High-Mid Gain. Adjusts the width of the area aected by the EQ centered at the High-Mid Frequency. Higher values will narrow the area.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect. This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Noise Suppressor (NS: )

This eect reduces the noise and hum picked up by guitar pickups.

Parameter Explanation On/O Turns this eect on/o.

Threshold

Release

Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate. Adjust this value until the decay of the guitar sound is as natural as possible.

* H igh settings for the threshold parameter may result in there being no sound

when you play with your guitar volume turned down. Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”

Foot Volume (FV: )

This is a volume control eect. Normally, this is controlled with the Expression Pedal.

Parameter Explanation

Min

Max

Curve

Level Adjusts the volume.

Sets the volume when the heel of the EXP Pedal is depressed. Sets the volume when the toe of the EXP Pedal is depressed. You can select how the actual volume changes relative to the amount the pedal is pressed.

Settings for Normal Pickup (Nrml PU: )

Parameter Explanation On/O Normal pickup on/o (mute) Volume Adjusts the volume of the normal pickup.

Cable Sim

Compensates the sound of the normal pickups when a GK guitar is connected. With a GK pickup, the signal of the normal pickup is connected via a cable of approximately 20 cm, so there will be more high frequencies than a conventional guitar cable. By setting this parameter appropriately for the length of guitar cable you normally use, you can get closer to a natural guitar sound. If you connect your guitar to the GUITAR IN jack (normal guitar input), set this to “OFF.”

Volume Balance of the Modeling and the Normal Pickup (Mixer: )

Parameter Explanation Mdl In Lv Adjusts the Mixer input level of the Modeling. N. PU In Lv Adjusts the Mixer input level of the normal pickup. Balance Adjusts the volume balance of the Modeling and the normal pickup.

FX Chain

You can change the order in which the eects are connected.

1. Press the [EFFECTS] button several times to access the “FX Chain” screen.

2. Use the [K] [J] buttons to select an eect (underline), and use the [VALUE] knob

to move the selected eect left or right.

Select an eect (underline)

Move the selected eect left or right

Patch Settings (Patch: )

Press the [EFFECTS] button to edit.

MEMO

For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).

Patch Volume (Patch: Level)

Parameter Explanation Level Species the volume of the patch.

Patch Tempo Settings (Patch: Tempo)

Parameter Explanation

Tempo Species the tempo for tempo-synchronized eects.

GK Set Selection for the Patch (Patch: GK Set)

Parameter Explanation

GK Set

If you swap guitars depending on the patch, set “SYSTEM – GK: Setting” to “Patch Setting,” and select the GK Set (1–3) you specied for the guitar that you use.

Pedal and Switch Settings for Each Patch (Ctl: )

For each patch, you can individually specify the functions that are assigned to the [CTL 1], [CTL 2] pedals and the expression pedals. If you want these pedals to always have the same function regardless of the patch, you can specify this using the system setting “Sys: Controller” (p. 13).

* This is available if the Sys: Controller (p. 13) is set to “PATCH SETTING.”

Parameter Explanation

CTL 1–4 Func GKSW 1–2 Func EXPSW Func

Mode

EXP 1 o Func EXP 1 on Func EXP 2 Func GKVOL Func

*1 Other than EXPSW Func *2 Other than GKSW 1, 2 Func, CTL 3, 4 *2 Other than SysCtl

Settings for the GP-10’s [CTL 1], [CTL 2] pedals, external footswitches (CTL 3, CTL 4), the GK pickup’s [S1], [S2] buttons, and the expression pedal switch.

OFF O PU SEL UP *1 PU SEL DOWN *1 12-STRING ON/OFF Switches the 12-string guitar function on/o.

ALT TUNE ON/OFF Switches the alternate tuning function on/o.

MODELING ON/OFF Switches the modeling function on/o.

NORMAL PU ON/OFF Switches the normal pickup input on/o. AMP SOLO SW

FX ON/OFF EQ ON/OFF WAH ON/OFF, CHORUS ON/OFF DELAY ON/OFF REVERB ON/OFF HOLD “HOLD” for the OSC synth

TAP TEMPO *1

LED ON/OFF *2 LED on/o

This sets the behavior of the value each time the switch is operated.

MOMENTARY

TOGGLE

Settings for the GK pickup’s GK volume, the GP-10’s expression pedal (when the pedal switch is OFF and when it is ON), and the external expression pedal.

OFF O FOOT VOL Foot volume (volume pedal) PATCH LEVEL Adjusts the volume of the patch.

MODELING VOL Adjusts the volume of the modeling.

NORMAL PU VOL Adjusts the volume of the normal pickup.

MIXER

STRING BEND *3 Adjusts the pitch of the modeling.

MODELING

FX AMP WAH CHORUS DELAY REVERB EQ

Switches the pickup of the modeling guitar.

Switches AMP or each eect on/o.

Sets the tempo to the timing at which you press the pedal.

The normal state is O (minimum value), with the switch On (maximum value) only while the footswitch is depressed. The setting is toggled On (maximum value) or O (minimum value) with each press of the footswitch.

Adjusts the volume balance of the Modeling and the normal pickup.

Controls the principal parameter for each modeling.

* For details on the parameter, refer to the “Parameter

Guide” (PDF).

Controls the principal parameter for each eect.

* For details on the parameter, refer to the “Parameter

Guide” (PDF).

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* M: M odeling, N: Normal pickup * Uppercase means that the eect is on; lowercase means that the eect is o. You can hold down

the [EFFECTS] button to switch an eect on/o.

* FV cannot be turned o.

Page 12

Eects/Patch Settings

Example setting

When a specic patch is selected, use the expression pedal to control the volume of the modeling

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

Button Parameter Value [SYSTEM] SysCtl: EXP1on Fnc PATCH SETTING [EFFECTS] Ctl: EXP1on Func MODELING VOL

Assign Settings (Asgn 1–8: )

For each parameter, you can specify, in detail, which controller will control which parameter. You can use Assign 1–8 to make eight dierent sets of settings.

* This is available if the Sys: Controller (p. 13) is set to “PATCH SETTING.”

Parameter Explanation On/O Turns Assign 1–8 on/o.

Target

Target Min Target Max

Source

Src Mode

S. Range Min S. Range Max

Int Pdl Trig *1

Int Pdl Time *1

Int Pdl Curve *1

Selects the parameter that will be controlled. For details on the parameters, refer to the explanations of each parameter in this manual.

Species the range of change for the parameter. The values will depend on the parameter that’s assigned by Target.

Selects the controller to which the function will be assigned.

CTL 1–CTL 4

GK S1, GK S2

GK VOL Volume knob of the GK pickup

EXP1 SW Expression pedal switch

EXP1 ON Expression pedal when the expression pedal switch is on

EXP1 OFF Expression pedal when the expression pedal switch is o

EXP2 External expression pedal

INT PDL

WAVE PDL

CC#1–31, CC#64–95

MOMENTARY

TOGGLE

Within the operating range of the source, this species the range that will control the target parameter.

The target parameter will be controlled within the range specied. Normally, you should leave Range Min at “0” and Range M ax at “127.”

Species how the motion of the internal pedal will be triggered.

PATCH CHANGE

CTL 1–4 Triggered when you operate the [CTL] pedal.

EXP1 SW Triggered when you operate the expression pedal switch.

EXP1 OFF LOW

EXP1 OFF MID

EXP1 OFF HI

EXP1 ON LOW

EXP1 ON MID

EXP1 ON HI

EXP2 Triggered when you move the external expression pedal. GK S1 GK S2

Species the time over which the internal pedal will move from the released (heel) position to the depressed (toe) position.

LINEAR, SLOW RISE, FAST RISE

[CTL 1] [CTL 2] pedals of this unit and external footswitch (CTL 3, CTL 4)

[S1] [S2] buttons of the GK pickup

Internal pedal

The virtual expression pedal will begin operating when started by the specied trigger (Int Pedal Trig), modifying the parameter specied by “Target.”

For details on the parameters that can be assigned to the internal pedal, refer to “Int Pedal Time” and “Int Pedal Curve.”

Wave pedal

The virtual expression pedal will cyclically modify the parameter specied by “Target” in a xed wave form.

Control change number from an external MIDI device

The value will normally be o (minimum value), and will be on (maximum value) only while the control is being operated.

* I f you want to use the internal pedal or wave pedal, set

to “MOMENTARY.” The value will toggle between o (minimum) and on (maximum) each time the control is operated.

Triggered when you switch patches.

Triggered when you move the expression pedal to minimum. Triggered when you depress the expression pedal through the center value. Triggered when you move the expression pedal to maximum. Triggered when you move the expression pedal to minimum while the expression pedal switch is on. Triggered when you depress the expression pedal through the center value while the expression pedal switch is on. Triggered when you move the expression pedal to maximum while the expression pedal switch is on.

Triggered when you operate the [S1]/[S2] button of the GK pickup.

Select one of the following curves to specify the change produced by the internal pedal.

LINEAR SLOW RISE FAST RISE

Parameter Explanation

WPdWavFrm *2 SAW, TRI, SIN

*1 Source=INT PDL only *2 Source=WAVE PDL only

Select one of the following to specify the change produced by the wave pedal.

SAW

TRIANGLE

SINE

Example setting

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

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

Button Parameter Value [SYSTEM] SysCtl: CTL1 Func PATCH SETTING

[EFFECTS]

Fx: Type PEDAL BEND Asgn1: On/O ON Asgn1: Target FXP.BND: POSITION Asgn1: Target Min 0 Asgn1: Target Max 100 Asgn1: Source INT PDL Asgn1: Src Mode MOMENTARY Asgn1: S. Range Min 0 Asgn1: S. Range Max 127 Asgn1: Int Pdl Trig C TL 1

Asgn1: Int Pdl Time

Asgn1: Int Pdl Curve

20 (Adjust the time over which the pitch rises an octave.) LINEAR (You can select a dierent curve to modify the way in which the change occurs.)

For guitar solos, you want to be able to step on the [CTL 1] pedal to switch AMP to solo mode

Button Parameter Value [SYSTEM] Sys: CTL 1 Func PATCH SETTING

[EFFECTS]

Asgn1: On/O ON Asgn1: Target AMP: SOLO SW Asgn1: Target Min OFF Asgn1: Target Max ON Asgn1: Source C TL 1 Asgn1: Src Mode TOGGLE Asgn1: S. Range Min 0 Asgn1: S. Range Max 127 Asgn2: On/O ON Asgn2: Target AMP: GAIN SW Asgn2: Target Min LOW Asgn2: Target Max MID Asgn2: Source C TL 1 Asgn2: Src Mode TOGGLE Asgn2: S. Range Min 0 Asgn2: S. Range Max 127

Wav Pdl Rate *2 Species the time for one cycle of the wave pedal.

Page 13

System Settings

Press the [SYSTEM] button to edit.

MEMO

For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).

Specifying the Output System (Sys: Output)

Parameter Explanation Output Refer to “Specifying the Output System (Sys: Output)” (p. 3).

Settings of the GK Pickups (GK: )

Parameter Explanation

Connect

Setting

Settings of the GK set 1–3 (GK 1–3: )

Parameter Explanation Type Refer to “Setting Up the GK Pickups” (p. 3). Scale *1 Refer to “Specifying your guitar’s scale length” (p. 3). Distance 1–6 *3 Refer to “Specifying the distance from the bridge” (p. 3). Sens 1–6 Refer to “Adjusting the pickup sensitivity” (p. 3).

PU Phase *1

PU Direction *1

Piezo Tone L *2 Adjusts the low-frequency range.

Piezo Tone H *2 Adjusts the high-frequency range.

Sw Position *1

Dwn Tune Shift

Nrml PU Gain Adjusts the input level of the normal pickup.

*1 This is not shown if “GC-1” is selected as the pickup type. *2 This setting applies if the PU TYPE is set to “PIEZO–.” *3 This parameter is not shown if you select “GC-1” or one of the piezo-type pickups as the pickup

type.

The GP-10 comes equipped with a function that automatically determines whether or not a GK connection exists and switches the internal settings accordingly. This makes it possible for you to all functions other than a Modeling/Alternate Tuning (eects, tuner, etc.) when you’ve connected only to the GUITAR INPUT. You should ordinarily use AUTO (default). In cases where the auto-detect function does not operate correctly, (for example, when you are using a Divided pickup other than the GK-3), change the setting.

The presence of a GK connection is detected automatically and the

AUTO

internal settings are switched accordingly.

OFF Settings appropriate for a GUITAR INPUT connection are always used. ON Settings appropriate for a GK connection are always used.

Refer to “MEMO: GK settings” (p. 3) and “GK Set Selection for the Patch (Patch: GK Set)” (p. 11).

This sets the phase for the divided pickup and normal pickup. Set this to “NORMAL,” and if the low-frequency range is cut, set this to “INVERSE.”

This sets the direction for the divided pickup’s installation.

NORMAL Positioned such that the cable exits near the 6th string.

REVERSE Positioned such that the cable exits near the 1st string.

This exchanges the function for the GK-3’s, GK-2A’s or GC-1’s [S1], [S2] buttons (REVERSE). If the guitar you’re using has been tuned down, specify the number of chromatic steps by which it has been down-tuned.

System Settings for the Pedals and Switches (SysCtl: )

Species the functions that are assigned to the [CTL 1], [CTL 2] pedals and the expression pedal. With the factory settings, “PATCH SETTING” is selected; each pedal is assigned the most suitable function for that patch. If you want the pedals to operate in the same way regardless of which patch is selected, choose something other than “PATCH SETTING.”

Parameter Explanation

CTL 1–4 Func GKSW 1–2 Func EXPSW Func

Mode

C1–4 Pat. Up C1–4 Pat. Dwn GKSW1–2PUp GKSW1–2PDwn

C1–4 Pat. Sel

EXP 1 o Fn EXP 1 on Fnc EXP 2 Func GKVOL Func

Asgn Hld Sw

Settings for the GP-10’s [CTL 1], [CTL 2] pedals, external footswitches (CTL 3, CTL

4), the GK pickup’s [S1], [S2] buttons, and the expression pedal switch.

PATCH SETTING

PATCH UP

PATCH DOWN

PATCH SEL

TUNER ON/ OFF

This sets the behavior of the value each time the switch is operated.

MOMENTARY

TOGGLE

Species the distance of the increment/decrement from the current patch number when PATCH UP/DOWN is selected and you press the pedal or switch.

Species the patch number to which you will move directly when PATCH SEL is selected and you press the pedal or switch. Settings for the GK pickup’s GK volume, the GP-10’s expression pedal (when the pedal switch is OFF and when it is ON), and external expression pedals.

PATCH SETTING

Species whether the state of the expression pedal and GK volume will be (ON) or will not be (OFF) reected by the next patch when you switch patches.

Choose this if you want the function of the pedals and switches to change for each patch. Moves from the current patch number to a number that is larger by the value of the Patch Up setting. Moves from the current patch number to a number that is smaller by the value of the Patch Down setting. Moves to the patch that is specied by the Patch Select.

* For details on other values, refer to “Pedal and Switch Settings

for Each Patch (Ctl: )” (p. 11).

Turn the tuner on/o.

Choose this if you want the function of the pedals to change for each patch.

* For details on other values, refer to “Pedal and Switch Settings

for Each Patch (Ctl: )” (p. 11).

Example setting

In all patches, switch delay on/o by pressing the [CTL] pedal

Make the following parameter settings.

Buttons Parameter Value [SYSTEM] SysCtl: CTL 1 Func DELAY ON/OFF

In all patches, use the [CTL 1], [CTL 2] pedals to increase/decrease the patch number by ten

Buttons Parameter Value

[SYSTEM]

SysCtl: CTL 1 Func PATCH DOWN

SysCtl: CTL 2 Func PATCH UP

SysCtl: C1 Pat. Down 10

SysCtl: C2 Pat. Up 10

USB Audio Settings (USBAudio: )

Parameter Explanation In Lv Adjusts the volume of the digital audio signal from USB (computer).

Out Lv Adjusts the volume of the digital audio signal output to USB (computer).

Routing

Species the routing for USB audio. You can record the sound of the GP-10 into your DAW, play back the recorded sound from your DAW and monitor it on the GP-10, or re-guitar/re-amp your recording. For details, refer to the “Parameter Guide” (PDF).

What does it mean to Re-Guitar/Re-Amp?

This is the technique in which an original signal unprocessed by modeling or eects is recorded on the DAW, allowing you to modify the modeling sound or amp sound later to create the nal result. This gives you the freedom to change the sound after you’ve nished recording.

Guitar Performance MIDI Output Settings (MIDI: )

Parameter Explanation On/O If this is “OFF,” guitar performance data will not be transmitted from MIDI OUT.

Mode

Chromatic

Hold Pedal

Pedal Bend

Bend Range Species the maximum range of change for pitch bend messages.

Data Thin If this is “ON,” pitch bend data will be thinned-out to reduce the volume of MIDI data.

String Ch

Dynamics

Play Feel

Low Velo Cut

MONO

POLY

When using string bending or other such techniques to gradually change the pitch with the guitar or bass, you can set the GP-10 so that the pitch of the MIDI messages being output changes in semitone increments.

Species the pedal to which the Hold function is assigned.

OFF The Hold pedal is not assigned.

CTL 1 The [CTL 1] pedal is the Hold pedal.

CTL 2 The [CTL 2] pedal is the Hold pedal.

Species whether expression pedal operations transmit pitch bend messages.

OFF Pitch bend is not transmitted.

DOWN B end-down data is transmitted.

UP B end-up data is transmitted.

Species 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. Adjusts the sensitivity of the tone’s volume (velocity) change.

The further you raise this setting, the more easy it becomes to produce higher values for velocity.

Adjusts the velocity change curve of the tone.

FEEL1–4

NO DYNA

Adjust this if simply touching a string causes a note to be unintentionally triggered. Raising this value will make it more dicult to trigger notes.

In this mode, one channel per string is used, thus using a total of six channels. In this mode, the messages for all six strings are transmitted over a single channel.

FEEL1 is the mode that gives sounds the broadest variation in volume based on the picking dynamics. As the setting number is increased, it becomes easier to produce high volume sounds even with weaker picking. This allows you to play with consistent volume, whether you tap the strings or use rough picking. In this mode, sounds are played at a xed volume regardless of the picking strength.

Tuner Settings (Tuner: )

Parameter Explanation Pitch Species the reference pitch.

Sound

Function

MUTE Sound will not be output while tuning.

BYPASS

EFFECT

ENABLE

DISABLE

While tuning, the sound from the GK IN connector/GUITAR IN jack will be output without change.

All modelings and eects will be o. Allows you to tune while hearing the current eect/modeling sound. From the Play screen, pressing the [I] and [H] pedals simultaneously will enter Tuner mode. From the Play screen, pressing the [I] and [H] pedals simultaneously will not enter Tuner mode.

* From the Play screen, pressing the [J] button will enter Tuner

mode.

DeutschEnglish Français Italiano Español Português Nederlands

Page 14

Patch Operations

Adjusting the Display’s Contrast (Sys: Contrast)

Parameter Explanation Contrast Adjusts the contrast of the display.

Panel Lock Settings (Sys: Knob Lock)

Parameter Explanation

Knob Lock

If this is ON, patch selection using the [PATCH/VALUE] knob is disabled. This prevents the patch number from being changed if your toe contacts the [PATCH/VALUE] knob when you operate the pedal.

Auto O Settings (Sys: Auto O)

Parameter Explanation

Auto O

The GP-10 can turn o its power automatically. The power will turn o automatically when 10 hours have passed since you last played or operated the unit.

With the factory settings, this function is turned “ON” (power-o in 10 hours). If you want to have the power remain on all the time, turn it “OFF.”

Limiting the Patches Selectable in the Play Screen (Sys: Patch Extent)

Parameter Explanation

Patch Extent

Min

Max

If this is “ON,” the patches that can be selected in the Play screen are limited to the range you specify. You can use this to prevent unwanted patches from being selected during a live performance.

Example: If you want to select only patch numbers 20–35, specify as follows.

• Patch Extent: ON

• Min: 20

• Max: 35

Adjusting the Expression Pedal (Calibration)

The GP-10’s expression pedal has been set for optimal operation at the factory. However, extended use and certain operating environments can result in the pedal going out of adjustment.

If you encounter problems such as the expression pedal’s ON/OFF switch not functioning or the volume pedal not fully cutting o the sound, you can use the following procedure to readjust the pedal.

1. Press the [SYSTEM] button several times to select the “Calibration.”

The display shows “Set EXP1 to MIN.”

2. Move the heel of the expression pedal all the way down, then release the pedal and press the [WRITE] button.

The display shows “Set EXP1 to MAX.”

3. Move the toe of the expression pedal all the way down, then release the pedal and press the [WRITE] button.

A value indicating the current stiness (EXP1Sw: Threshold) of the expression pedal switch appears in the display.

Value: 1–16 (default: 8)

4. Use the [VALUE] knob to adjust the stiness (THRESHOLD) of the expression pedal switch.

The lower the value, the more easily the switch will respond, even when pressed lightly.

* These values are not initialized when you execute Factory Reset.

Restoring the Factory Settings (Factory Reset)

Restoring the GP-10’s system settings (System parameters) to their original factory default settings is referred to as “Factory Reset.”

1. Press the [SYSTEM] button several times until the “Factory Reset” appears.

2. Use the [VALUE] knob to specify the areas that will be returned to their factory-

set state.

Value Explanation SYSTEM + PATCH System parameter settings + User patch settings PATCH User patch settings

3. Press the [WRITE] button.

Conrmation screen appears. If you decide to cancel, press the [EXIT] button.

4. If you want to proceed with the factory reset, press the [WRITE] button.

Patch Operations

& For details on saving a patch (Write), refer to “Saving a Patch” (p. 4).

Exchanging Patches (Exchange)

You can exchange patches with one another, rearranging the patches.

1. Select an exchange-source patch.

2. Press the [WRITE] button.

3. Use the [K] [J] buttons until “Exchange” appears in the display.

Exchange with#90 Init Patch

4. Turn the [VALUE] knob to select the exchange-destination patch.

5. Press the [WRITE] button; the patches will be exchanged.

Inserting a Patch (Insert)

To insert a patch, choose “Insert” in step 3 of the Exchange procedure. Example: If you insert patch 1 at patch 30, patch 30 and subsequent patches shift

upward by one patch (patch 30 becomes patch 31).

* When you execute Insert, the last patch (patch 99) is deleted.

Insert to #90 Init Patch

Number

Exchange-destination patch

Number

Insert-destination patch

Initializing a Patch (Initialize)

This operation initializes a patch.

1. Select the patch that you want to initialize.

2. Press the [WRITE] button.

3. Use the [K] [J] buttons until “Initialize” appears in the display.

Initialize #01 Dual Sync

4. Press the [WRITE] button; the patch will be initialized.

Number

Patch to be initialized

Page 15

USING THE UNIT SAFELY

WARNING

To completely turn o power to the unit, pull out the plug from the outlet

Even with the power switch turned o, this unit is not completely separated from its main source of power. When the power needs to be completely turned o, turn o the power switch on the unit, then pull out the plug from the outlet. For this reason, the outlet into which you choose to connect the power cord’s plug should be one that is within easy reach and readily accessible.

Concerning the Auto O function

The power to this unit will be turned o automatically after a predetermined amount of time has passed since it was last used for playing music, or its buttons or controls were operated (Auto O function). If you do not want the power to be turned o automatically, disengage the Auto O function (p. 14).

WARNING

Use only the supplied AC adaptor and the correct voltage

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 specied on the AC adaptor’s body. Other AC adaptors may use a dierent polarity, or be designed for a dierent voltage, so their use could result in damage, malfunction, or electric shock.

CAUTION

Take care so as not to get ngers pinched

When handling the following moving parts, take care so as not to get ngers, etc., pinched. An adult should always be in charge of handling these items.

• Expression pedal (p. 4)

DeutschEnglish Français Italiano Español Português Nederlands

IMPORTANT NOTES

Placement

• 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.

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.

Repairs and Data

• Before sending the unit away for repairs, be sure to make a backup of the data stored within it; or you may prefer to write down the needed information. Although we will do our utmost to preserve the data stored in your unit when we carry out repairs, in some cases, such as when the memory section is physically damaged, restoration of the stored content may be impossible. Roland assumes no liability concerning the restoration of any stored content that has been lost.

Additional Precautions

• Any data stored within the unit can be lost as the result of equipment failure, incorrect operation, etc. To protect yourself against the irretrievable loss of data, try to make a habit of creating regular backups of the data you’ve stored in the unit.

• Roland assumes no liability concerning the restoration of any stored content that has been lost.

• Use only the specied expression pedal (Roland EV-5, FV-500H/L; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

• When you operate the expression pedal, please be careful not to get your ngers pinched between the movable part and the panel. In places where small children are present, make sure that an adult provides supervision and guidance.

• ASIO is a trademark and software of Steinberg Media Technologies GmbH.

• This product contains eCROS integrated software platform of eSOL Co.,Ltd. eCROS is a trademark of eSOL Co., Ltd. in Japan.

• Roland, BOSS, COSM, V-Guitar, and METAL ZONE are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries.

• The product names mentioned in this document are registered trademarks or trademarks of their respective owners. In this manual, these names are used because it is the most practical way of describing the sounds that are simulated using COSM technology.

• Never strike or apply strong pressure to the display.

Page 16

Troubleshooting

Problem Items to check Action Page

No sound/Low volume

The volume level of the instrument connected to AUX IN jack is too low

Volume is uneven among the strings

When using the GP-10’s pedal eects or expression pedal, the result is dierent for each patch

Oscillation occurs

Patches not switching

[PATCH/VALUE] knob does not work

Can’t enter Tuner mode

Can’t use a controller (pedal or button) to vary a parameter

Is the [OUTPUT LEVEL] knob turned down completely? Adjust the knob to an appropriate setting. — Could the volume of the GK pickup be turned down? Raise the volume of the GK pickup to an appropriate level. — Could the select switch of the GK pickup be set to “GUITAR”? Could the expression pedal be released? Depress the expression pedal. — Could the Patch: Level be turned down? Try raising the Patch: Level. p. 4, p. 11 Are the GP-10 and other devices connected properly? Check the connections with the other devices. p. 2 If there are no sounds through USB, are the USBAudio: settings correct? Could you be using a connection cable that contains a resistor? Was the GK pickup sensitivity setting adjusted correctly for each string?

Is the GK pickup attached correctly?

The eect produced using the expression pedal is dierent for each sound (patch).

In the eect settings, could a gain value or volumerelated parameter be set too high? Is some screen other than the Play screen shown in the display? Could Sys: Knob Lock be “ON”? If it is ON, patch selection using the [PATCH/VALUE] knob is disabled. Could Tuner: Function be set to “Disable”? If it is set to Disable, pressing the [I] and [H] pedals simultaneously does not enter Tuner mode.

Could you be using the internal pedal as the assignment’s Source parameter?

Set the switch of the GK pickup to “MIX.” —

Adjust the settings to the appropriate values. p. 13

Use a connection cable that does not contain a resistor. —

Perform the adjustment. p. 3

Refer to the manual of your GK pickup, and attach the GK pickup correctly. On the Roland website, the “GK-3 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/

Check the eect of each patch beforehand. —

Decrease the value. p. 9

With the GP-10, 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.

Turn Sys: Knob Lock “OFF.” p. 14

Set Tuner: Tuner Function to “Enable.” p. 14

If you specify “INT PDL” or “WAVE PDL” as the Source parameter of the assignment, the Target eect parameter you’ve assigned will vary automatically. If you want to use a controller to vary a parameter, temporarily turn the Switch parameter “OFF” for that assignment to stop the internal pedal.

p. 12

—

Error Message List

Message Meaning Action

MEMORY DAMAGED! It is possible that the contents of memory have been damaged.

MIDI Buer Full!

System Error! A problem has occurred in the system. Contact your dealer or a nearby Roland service center.

An unusually large amount of MIDI data was received, and could not be processed.

Please execute a Factory Reset. If this does not resolve the problem, contact your dealer or a nearby Roland service center.

Reduce the amount of MIDI messages that are being transmitted.

Main Specications

BOSS GP-10: Guitar Processor

Power Supply AC adaptor Current Draw 350 mA

Dimensions

Weight

Accessories

Options (sold separately)

* I n the interest of product improvement, the specications and/or appearance of this unit are subject to change without prior notice.

251 (W) x 207 (D) x 71 (H) mm 9-15/16 (W) x 8-3/16 (D) x 2-13/16 (H) inches

1.9 kg (excluding AC adaptor) 4 lbs 4 oz

Model with included GK pickup Model for separately sold GK pickup

AC adaptor Owner’s Manual Leaet “USING THE UNIT SAFELY” Divided pickup (Roland GK-3) GK cable (3 m, 10 feet) Divided pickup: Roland GK-3 GK cable: Roland GKC-5 (5 m), GKC-10 (10 m) GK parallel cable (GK pickup #" GK connector x 2): Roland GKP-2 Unit selector: Roland US-20 Footswitch: FS-5U Dual footswitch: FS-6 Expression pedal: Roland EV-5, FV-500L/500H

Maximum height: 251 (W) x 207 (D) x 93 (H) mm 9-15/16 (W) x 8-3/16 (D) x 3-11/16 (H) inches

AC adaptor Owner’s Manual Leaet “USING THE UNIT SAFELY”

Page 17

Page 18

For the USA

DECLARATION OF CONFORMITY

Compliance Information Statement

Model Name :

Type of Equipment :

Responsible Party :

Address :

Telephone :

GP-10 Guitar Synthesizer Roland Corporation U.S. 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700

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 off 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 different 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.

This equipment requires shielded interface cables in order to meet FCC class B limit.

Any unauthorized changes or modifications not expressly approved by the party responsible for compliance could void the user’s

authority to operate the equipment.

For Canada

CAN ICES-3 (B)/NMB-3 (B)

For Korea

For C.A. US (Proposition 65

WARNING

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

)

Page 19

For EU Countries

For China

Page 20

Information

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

AFRICA

REUNION

MARCEL FO-YAM Sarl

25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429

SOUTH AFRICA

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24 Londonderry Road, Ottery 7800 Cape Town, SOUTH AFRICA TEL: (021) 799 4900

ASIA

CHINA

Roland Shanghai Electronics Co.,Ltd.

5F. No.1500 Pingliang Road, Yangpu Shanghai 200090, CHINA TEL: (021) 5580-0800 Toll Free: 4007-888-010

Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE)

3F, Soluxe Fortune Building 63 West Dawang Road, Chaoyang Beijing, CHINA TEL: (010) 5960-2565/0777 Toll Free: 4007-888-010

HONG KONG

Tom Lee Music

11/F Silvercord Tower 1 30 Canton Rd Tsimshatsui, Kowloon, HONG KONG TEL: 852-2737-7688

Parsons Music Ltd.

8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 852-2333-1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra Mahalaxmi Flats Compound O. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051

INDONESIA

PT. Citra Intirama

Ruko Garden Shopping Arcade Unit 8 CR, Podomoro City Jl.Letjend. S.Parman Kav.28 Jakarta Barat 11470, INDONESIA TEL: (021) 5698-5519/5520

KAZAKHSTAN

Alatau Dybystary

141 Abylai-Khan ave, 1st oor, 050000 Almaty, KAZAKHSTAN TEL: (727) 2725477 FAX: (727) 2720730

KOREA

Cosmos Corporation

27, Banpo-daero, Seocho-gu, Seoul, KOREA TEL: (02) 3486-8855

MALAYSIA/SINGAPORE

Roland Asia Pacic Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

TAIWAN

ROLAND TAIWAN ENTERPRISE CO., LTD.

9F-5, No. 112 Chung Shan North Road Sec. 2 Taipei 104, TAIWAN R.O.C. TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

100-108 Soi Verng Nakornkasem, New Road, Sumpantawong, Bangkok 10100, THAILAND TEL: (02) 224-8821

VIET NAM

VIET THUONG CORPORATION

386 CACH MANG THANG TAM ST. DIST.3, HO CHI MINH CITY, VIET NAM TEL: (08) 9316540

OCEANIA

AUSTRALIA/ NEW ZEALAND

Roland Corporation Australia Pty.,Ltd.

38 Campbell Avenue, Dee Why West. NSW 2099, AUSTRALIA

For Australia TEL: (02) 9982 8266

For New Zealand TEL: (09) 3098 715

CENTRAL/LATIN

AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055 (1123) Buenos Aires, ARGENTINA TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park Wildey, St.Michael, BARBADOS TEL: (246) 430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 211 Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 384-2180

COLOMBIA

CENTRO MUSICAL S.A.S.

Parque Industrial del Norte Bodega 130 GIRARDOTA - ANTIOQUIA, COLOMBIA TEL: (454) 57 77 EXT 115

COSTA RICA

JUAN Bansbach Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211

CURACAO

Zeelandia Music Center Inc.

Orionweg 30 Curacao, Netherland Antilles TEL: (305) 5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Roberto Pastoriza #325 Sanchez Naco Santo Domingo, DOMINICAN REPUBLIC TEL: (809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma Guayaquil - ECUADOR TEL: (593-4) 2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final Alameda Juan Pablo II, Edicio No.4010 San Salvador, EL SALVADOR TEL: 262-0788

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala, GUATEMALA TEL: (502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, HONDURAS TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle 97232 Le Lamentin, MARTINIQUE F.W.I. TEL: 596 596 426860

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F., MEXICO TEL: (55) 5668-6699

Faly Music

Sucursal Capu Blvd. Norte N.3213 Col. Nueva Aurora Cp.72070 Puebla, Puebla, MEXICO TEL: 01 (222) 2315567 o 97 FAX: 01 (222) 2266241

Gama Music S.A. de C.V.

Madero Pte. 810 Colonia Centro C.P. 64000 Monterrey, Nuevo León, MEXICO TEL: 01 (81) 8374-1640 o 8372-4097 www.gamamusic.com

Proscenia

Morelos No. 2273 Col. Arcos Sur C.P. 44120 Guadalajara, Jalisco, MEXICO TEL: 01(33) 3630-0015

NICARAGUA

Bansbach Instrumentos Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, NICARAGUA TEL: (505) 277-2557

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101

PARAGUAY

WORLD MUSIC

Jebai Center 2018, Centro CIUDAD DE ESTE, PARAGUAY TEL: (595) 615 059

PERU

AUDIONET DISTRIBUCIONES MUSICALES SAC

Jr. Ramon Dagnino N°201- Jesús María DISTRITO DE JESUS MARIA LIMA, PERU TEL: 9 983 47 301 - 51 433 80 83

TRINIDAD

AMR Ltd

Ground Floor Maritime Plaza Barataria TRINIDAD W.I. TEL: (868) 638 6385

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335

VENEZUELA

Instrumentos Musicales Allegro,C.A.

Av.las industrias edf.Guitar

#7 zona Industrial de

import Turumo Caracas, VENEZUELA TEL: (212) 244-1122

EUROPE

BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811

BOSNIA AND HERZEGOVINA

Mix-AP Music

78000 Banja Luka, Veselina Maslese 3, BOSNIA AND HERZEGOVINA TEL: 65 403 168

CROATIA

ART-CENTAR

Degenova 3. HR - 10000 Zagreb, CROATIA TEL: (1) 466 8493

EUROMUSIC AGENCY

K. Racina 1/15 HR - 40000 CAKOVEC, CROATIA Tel: 40-370-841

CZECH REPUBLIC

CZECH REPUBLIC DISTRIBUTOR s.r.o

Pod Bání 8 180 00 Praha 8, CZECH REP. TEL: 266 312 557

DENMARK/ESTONIA/ LATVIA/LITHUANIA

Roland Scandinavia A/S

Skagerrakvej 7, DK-2150 Nordhavn, DENMARK TEL: 39166200

FINLAND

Roland Scandinavia As, Filial Finland

Vanha Nurmijarventie 62 01670 Vantaa, FINLAND TEL: (0) 9 68 24 020

GERMANY/AUSTRIA

ROLAND Germany GmbH.

Adam-Opel-Strasse 4, 64569 Nauheim, GERMANY TEL: 6152 95546-00

GREECE/CYPRUS

STOLLAS S.A. Music Sound Light

155, New National Road Patras 26442, GREECE TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

2045. Törökbálint, FSD Park 3. ép., HUNGARY TEL: (23) 511 011

IRELAND

Roland Ireland

E2 Calmount Park, Calmount Avenue, Dublin 12, Republic of IRELAND TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937781

MACEDONIA

MK MJUZIK

Bratstvo Edinstvo 9 2208 Lozovo, MACEDONIA TEL: 70 264 458

MONTENEGRO

MAX-AP

P. Fah 92 Przno, Kamenovo bb 86000 Budva, MONTENEGRO TEL: 33 452-820

NORWAY

Roland Scandinavia Avd. Kontor Norge

Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo, NORWAY TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

ul. Katy Grodziskie 16B 03-289 Warszawa, POLAND TEL: (022) 678 9512

PORTUGAL

Roland Iberia SL. Branch Oce Porto

Edifício Tower Plaza Rotunda Eng. Edgar Cardoso 23, 4-B 4400-676 Vila Nova de Gaia, PORTUGAL TEL: (+351) 22 608 00 60

ROMANIA

Pro Music Concept SRL

440221 Satu Mare B-dul Independentei nr. 14/a., ROMANIA TEL: (0361) 807-333

RUSSIA

Roland Music LLC

Dorozhnaya ul.3,korp.6 117 545 Moscow, RUSSIA TEL: (495) 981-4967

SERBIA

Music AP

Sutjeska br. 5 XS - 24413 PALIC, SERBIA TEL: (0) 24 539 395

SLOVAKIA

DAN Distribution, s.r.o.

Povazská 18. SK - 940 01 Nové Zámky, SLOVAKIA TEL: (035) 6424 330

SPAIN

Roland Systems Group EMEA, S.L.

Paseo García Faria, 33-35 08005 Barcelona, SPAIN TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE

Mårbackagatan 31, 4 tr. SE-123 43 Farsta, SWEDEN TEL: (0) 8 683 04 30

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 975-9987

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.33 Beyoglu, Istanbul, TURKEY TEL: (0212) 249 85 10

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a. Nedecey Str. 30 UA - 89600 Mukachevo, UKRAINE TEL: (03131) 314-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha Building Road 3931, Manama 339, BAHRAIN TEL: 17 813 942

EGYPT

Al Fanny Trading Oce

9, EBN Hagar Al Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: (022)-417-1828

IRAN

MOCO INC.

Jadeh Makhsous Karaj (K-9), Nakhe Zarin Ave. Jalal Street, Reza Alley No.4 Tehran 1389716791, IRAN TEL: (021)-44545370-5

ISRAEL

Halilit P. Greenspoon & Sons Ltd.

8 Retzif Ha'alia Hashnia St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666

JORDAN

MUSIC HOUSE CO. LTD. FREDDY FOR MUSIC

P. O. Box 922846 Amman 11192, JORDAN TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI & SONS CO.

Al-Yousi Service Center P.O.Box 126 (Safat) 13002, KUWAIT TEL: 00 965 802929

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine Bldg., Achraeh, P.O.Box: 16-5857 Beirut, LEBANON TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1 Al Noor Street, Ruwi SULTANATE OF OMAN TEL: 2478 3443

QATAR

AL-EMADI TRADING & CONTRACTING CO.

P.O. Box 62, Doha, QATAR TEL: 4423-554

SAUDI ARABIA

Adawliah Universal Electronics APL

Behind Pizza Inn Prince Turkey Street Adawliah Building, PO BOX 2154, Al Khobar 31952, SAUDI ARABIA TEL: (03) 8643601

SYRIA

Technical Light & Sound Center

PO Box 13520 Bldg No.49 Khaled Abn Alwalid St. Damascus, SYRIA TEL: (011) 223-5384

U.A.E.

Adawliah Universal Electronics APL

Omar bin alkhattab street, sh round about, nayef area, deira, Dubai, U.A.E. TEL: (04) 2340442

NORTH AMERICA

CANADA

Roland Canada Ltd. (Head Oce)

5480 Parkwood Way Richmond B. C., V6V 2M4, CANADA TEL: (604) 270 6626

Roland Canada Ltd. (Toronto Oce)

170 Admiral Boulevard Mississauga On L5T 2N6, CANADA TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

As of Nov. 1, 2013 (ROLAND)

* 5 1 0 0 0 3 9 0 4 0 - 0 2 *

Boss GP-10 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Connections

Initial Setup

Specifying the Output System (Sys: Output)

Setting Up the GK Pickups

Basic Operation Guide

Modeling/Poly FX/Alternate Tuning Settings

Modeling Settings (Mdl: )

Electric Guitar (EG: )

Acoustic (AC: )

Bass (EB: )

Synthesizer (Synth: )

Poly FX (PolyFx: )

Alternate Tuning Settings (AltTune: )

12-String Guitar Settings (12Str: )

String Bend Function Settings (StrBend: )

Other Modeling Settings (Mdl: )

Preamp (Amp: )

FX (FX: )

Wah (Wah: )

Chorus (Chorus: )

Delay (Delay: )

Reverb (Reverb: )

EQ (EQ: )

Noise Suppressor (NS: )

Foot Volume (FV: )

Settings for Normal Pickup (Nrml PU: )

Volume Balance of the Modeling and the Normal Pickup (Mixer: )

FX Chain

Patch Settings (Patch: )

Patch Volume (Patch: Level)

Patch Tempo Settings (Patch: Tempo)

GK Set Selection for the Patch (Patch: GK Set)

Pedal and Switch Settings for Each Patch (Ctl: )

Assign Settings (Asgn 1–8: )

System Settings

Specifying the Output System (Sys: Output)

Settings of the GK Pickups (GK: )

System Settings for the Pedals and Switches (SysCtl: )

USB Audio Settings (USBAudio: )

Guitar Performance MIDI Output Settings (MIDI: )

Tuner Settings (Tuner: )

Patch Operations

Adjusting the Display’s Contrast (Sys: Contrast)

Panel Lock Settings (Sys: Knob Lock)

Limiting the Patches Selectable in the Play Screen (Sys: Patch Extent)

Adjusting the Expression Pedal (Calibration)

Restoring the Factory Settings (Factory Reset)

Exchanging Patches (Exchange)

Inserting a Patch (Insert)

Initializing a Patch (Initialize)

USING THE UNIT SAFELY

IMPORTANT NOTES

Troubleshooting

Error Message List