Boss GS-10 User Manual

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Owner’s Manual

Thank you, and congratulations on your choice of the BOSS GS-10 Guitar Effects System with USB Audio Interface.

Before using this unit, carefully read the sections entitled:

• USING THE UNIT SAFELY (page 2–3)

• IMPORTANT NOTES (page 4–5)

These sections provide important information concerning the proper operation of the unit.

Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

■

Printing Conventions in This Manual

• Text or numerals enclosed in square brackets [ ] indicate buttons.

[WRITE]

[USB]

WRITE button

USB button

• Reference such as (p. **) indicate pages in this manual to which you can refer.

USING THE UNIT SAFELY

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

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

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

..........................................................................................................

002c

• Do not open (or modify in any way) the unit or its AC adaptor.

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003

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

..........................................................................................................

004

• Never use or store the unit in places that are:

• Subject to temperature extremes (e.g., direct

sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors);

or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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007

• Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.

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008c

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

..........................................................................................................

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

009

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

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010

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

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011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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012b

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

• The AC adaptor, the power-supply cord, or the

plug has been damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

..........................................................................................................

013

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

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014

• Protect the unit from strong impact.

(Do not drop it!)

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015

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

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016

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

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023

• DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

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101b

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

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102c

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

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103b

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

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104

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

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106

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

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107c

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

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108b

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

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet.

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110b

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

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IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:

Power Supply

301

• Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

302

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

307

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

351

• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

352a

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

352b

• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.

354a

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

355b

• When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

Maintenance

401a

• 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.

402

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Repairs and Data

452

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

Memory Backup

501b

• This unit contains a battery which powers the unit’s memory circuits while the main power is off. When this battery becomes weak, the message shown below will appear in the display. Once you see this message, have the battery replaced with a fresh one as soon as possible to avoid the loss of all data in memory. To have the battery replaced, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” sheet.

“Battery Low !! Please Change”

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer), or computer.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in another MIDI device (e.g., a sequencer), or computer once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

IMPORTANT NOTES

559a

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

561

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

Handling CD-ROMs

563

• Unauthorized duplication, reproduction, hiring, and lending prohibited.

564

• Before you open the included CD-ROM, you must read the “license agreement.” Opening the CD-ROM will be taken to mean your acceptance of the license agreement.

801

• Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.

962b

• In the interest of product improvement, the specifications and/or contents of this package are subject to change without prior notice.

851

• Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is held by a third party is prohibited by law.

852a

• When exchanging audio signals through a digital connection with an external instrument, this unit can perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own compositions) that do not infringe on the copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-protection feature.)

853

• Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

204

* Microsoft and Windows are registered trademarks of Microsoft Corporation.

206e

* Screen shots in this documents are reprinted with permission from Microsoft Corporation.

206j

* Windows® is known officially as: “Microsoft® Windows® operating system.”

207

* Apple and Macintosh are registered trademark of Apple Computer, Inc.

209

* MacOS is a trademark of Apple Computer, Inc.

220

* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

231

* OMS is a registered trademark of Opcode Systems, Inc.

232

* FreeMIDI is a trademark of Mark of the Unicorn, Inc.

Contents

USING THE UNIT SAFELY ...................2

IMPORTANT NOTES ..........................4

Main Features ..................................9

Panel Descriptions ..........................10

Front Panel.......................................................................10

Rear Panel........................................................................12

Signal Flow...................................................................... 13

Chapter 1

Playing Sounds ..............................14

Making the Connections...............................................14

Turning On the Power ..................................................15

Turning Off the Power..............................................15

Using the GS-10’s Speakers .........................................15

Adjusting the Output Level .........................................15

Setting Output Device (Amps)

(OUTPUT SELECT) .......................................................16

Connecting

Audio Devices to the AUX INPUT Jack.....................17

Using the Digital Output.............................................. 17

Chapter 2 Creating Your Own Favorite Tones

(Patches) ........................................18

What is a Patch?..............................................................18

How to Select Patches (Patch Change).......................18

About the Display Indication ..................................18

If the Patch Does Not Switch ...................................18

Selecting the Input (INPUT SELECT)........................19

Setting the Mic Input Level (MIC GAIN) ..............20

Adjusting the Tones with the Knobs .........................21

Turning the Effect On and Off....................................22

Setting the Effects Simply (QUICK FX) ....................22

Making More Precise Effect Settings.........................23

Naming Patches..............................................................24

Changing the Connection Order of Effects

(Effect Chain) ..................................................................24

Chapter 3

Saving the Tones You Have Created

Storing Patches (PATCH WRITE)...............................25

Copying Patches .............................................................25

Exchanging Patches........................................................26

Initializing Patches ........................................................26

Registering Your Favorite Patches

(DIRECT PATCH)..........................................................27

Copying the PREAMP/SPEAKER Settings

to Another Channel........................................................27

.....25

Chapter 4 Introduction to Effects and Parameters

PREAMP/SPEAKER

(Preamp/Speaker Simulator)........................................28

COMP (Compressor) .....................................................31

OD/DS (Overdrive/Distortion)....................................32

DELAY..............................................................................33

CHORUS..........................................................................34

REVERB ...........................................................................34

EQ (Equalizer).................................................................35

FX-1....................................................................................36

PW (Pedal Wah).........................................................36

AW (Auto Wah).........................................................36

TM (Tone Modify) .....................................................37

ACS (Advanced Compressor)..................................38

LM (Limiter) ...............................................................38

ENH (Enhancer).........................................................39

SG (Slow Gear)...........................................................39

TR (Tremolo) ..............................................................39

DF (Defretter) .............................................................40

RM (Ring Modulator)................................................40

FB (Feedbacker)..........................................................40

FX-2....................................................................................41

PH (Phaser).................................................................42

FL (Flanger) ................................................................42

HR (Harmonist) .........................................................43

PS (Pitch Shifter) ........................................................44

OC (Octave) ................................................................45

PB (Pedal Bend)..........................................................45

2CE (2x2 Chorus) .......................................................45

PAN .............................................................................46

....28

Contents

VB (Vibrato)................................................................46

UV (Uni-V) .................................................................47

RT (Rotary) .................................................................47

SDD (Short Delay) .....................................................48

HU (Humanizer)........................................................48

SL (Slicer) ....................................................................49

AR (Auto Riff)............................................................49

SYN (Guitar Synth) ...................................................50

BS (Bass Simulator) ...................................................52

SEQ (Stereo Equalizer)..............................................52

NAME/NS/MASTER .....................................................53

Name (Patch Name)..................................................53

Noise Suppressor.......................................................53

Master..........................................................................54

Foot Volume...............................................................54

Effect Chain ................................................................54

Chapter 5 Creating Original Effects Types (Customize)

Customizing the COSM Amps.................................... 55

Customizing the Speakers............................................56

Customizing Overdrive and Distortion.....................56

Customizing Pedal Wah ...............................................57

..55

Chapter 6

Setting the External Pedal Functions

Setting the External Expression Pedal Functions (Expression Pedal Function)

Setting the External Foot Switch Functions

(Control 1, 2 Function)................................................... 59

Setting the External Pedal Function

for Individual Patches (Assign)...................................60

Quick Settings ............................................................60

Manual Settings .........................................................61

..............................................58

.....58

Chapter 7 Convenient Functions and System Settings

Tuning the Guitar ..........................................................64

Turning the Tuner Function On ..............................64

About the Display During Tuning..........................64

How to Tune...............................................................64

Changing the Tuner Settings ...................................64

Adjusting the Display Contrast

(LCD Contrast)................................................................65

Limiting the Patches

That Can Be Switched (Patch Extent) .........................65

Keeping the Same Pedal Operations

When Switching Patches (Assign Hold)....................66

Setting the Knob Functions (Knob Mode) ................66

Checking the Effect Output Level

with the Level Meter......................................................67

...64

Chapter 8 Using the GS-10 with

External MIDI Devices Connected .... 68

Operations Using MIDI ................................................68

Operating From the GS-10........................................68

Remotely Controlling the GS-10

Using an External MIDI Device...............................68

Making the Settings for MIDI Functions..................69

Transmitting and Receiving Settings Data ...............71

Transmitting Data

to an External MIDI Device (Bulk Dump) .............71

Receiving Data

from an External MIDI Device (Bulk Load)...........72

Setting the Program Change Map...............................73

Enabling/Disabling the Program Change Map Settings (MIDI Map Select)

Changing Patch Numbers

on an External MIDI Device From the GS-10 ...........74

Controlling Recorders and Sequencers Remotely from the GS-10 (Remote Control)

Setting the Messages

Used for Controlling Devices...................................75

Controlling the Device Remotely ............................76

.....................................75

.......74

Contents

Chapter 9

Using the GS-10 Connected to a Computer Via USB

Before Connecting with USB.......................................78

Driver Mode ...............................................................78

Setting USB-Related Functions...................................78

Adjusting the Recording Level

(Output Level)............................................................78

Adjusting the Playback Volume Level

(Input Level)...............................................................78

Enabling and Disabling

the Direct Monitor Command .................................79

Switching the Output Signals

(Direct Monitor).........................................................79

Setting the Output Mode..........................................79

Switching the Driver Mode......................................80

Recording the GS-10’s Output

with a Computer............................................................. 81

Applying Effects with the GS-10

to a Computer’s Audio Playback.................................81

Running the GS-10 from a Computer ........................81

Using the GS-10 As a MIDI Interface ........................81

.......78

Installing &

Setup the USB Driver ......................91

Installing &

Setting Up the Driver (Windows) ...............................92

Installing &

Setting Up the Driver (Macintosh) ...........................112

Setting the Special Driver’s Functions.....................128

Troubleshooting ...........................130

Problems when using the GS-10 ...............................130

Problems with the sound........................................130

Other Problems ........................................................131

Problems related to the USB driver ..........................131

Problems when using the USB driver......................133

Deleting the special driver .........................................139

Index ........................................... 140

Appendices ....................................82

About MIDI.....................................................................82

How MIDI messages are transmitted

and received ...............................................................82

Main types of MIDI message

used by the GS-10 ......................................................82

About the MIDI implementation ............................83

About USB.......................................................................83

Error Messages................................................................83

Patch List.......................................................................... 84

Restoring the Factory Settings

(Factory Reset).................................................................86

Factory Settings..........................................................86

MIDI Implementation Chart .......................................87

Specifications..................................................................88

Main Features

COSM (Composite Object Sound Modeling)

Composite Object Sound Modeling (COSM) is Roland’s innovative and powerful sound modeling technology. COSM analyzes the many factors that make up the original sound, such as the electrical and physical characteristics of the original, and then produces a digital model that can reproduce the same sound.

True “Tabletop Guitar Effects System”

This is an all-new guitar effects system, which gives you not only the kind of professional-quality effects available only from BOSS, but features a USB interface and built-in monitor speakers as well.

Internal Effects Derived from the GT-6/GT-6B, Made More Powerful

All components of the GT-6 and GT-6B COSM amps and effects, famous for their sonic quality and ease of use, have been thoroughly improved in this system. With its new amp types and effects, the GS-10 takes you to a new dimension in sound creation.

The Functions You Want for Digital Recording

The GS-10 not only gives you the recording capabilities you would expect with its DIGITAL OUT (coaxial) connector, it also allows you to record simply and easily via USB. What’s more, you can also record the direct sound while listening to the performance as it sounds with the effects added, and add effects to sounds that have already been recorded.

Accepts Multiple Inputs

You can use the GS-10 not just with your guitar, but as an audio interface for input of sounds from bass guitars, mics, and external stereo equipment. The GS-10 also includes amp types and effects for basses, giving you total song-creation capabilities all in one single device.

Stereo Monitor Speakers Built-In

The GS-10 comes with its own monitor speakers, so you can enjoy creating and performing music all with one unit.

GS-10 Editor and GS-10 Librarian Included

In addition to intuitive knob controls, the GS-10 also includes the “Editor” software for use in creating sounds and “Librarian” software for managing the tones you have created. These softwares let you perform the procedures for creating sounds and changing effect connection sequences easily from your computer screen.

WDM/ASIO-Compatible USB Driver

The GS-10 comes with a GS-10-exclusive driver for stable, high-quality recording and playback. Now enjoy high-quality audio recordings with 24-bit and ASIO applications.

Panel Descriptions

Front Panel

fig.00-041

3 4 5 6 7

27 28

1. Display

A variety of information about the GS-10 appears here. Normally, patch names are displayed.

2. PREAMP/SPEAKER (p. 21, p. 28)

(Preamp/Speaker Simulator)

GAIN Knob

Adjusts the degree of preamp distortion.

BASS Knob

Adjusts the sound quality of the preamp’s lowfrequency range.

MIDDLE Knob

Adjusts the sound quality of the preamp’s midrange.

TREBLE Knob

Adjusts the sound quality of the preamp’s highfrequency range.

PRESENCE Knob

Adjusts the sound quality in the preamp’s ultra-highfrequency range.

LEVEL Knob

Adjusts the preamp volume level.

PREAMP/SPEAKER On/Off Button

Press to change the settings.

CHANNEL SELECT Button

Switches the preamp channel.

13 14

3. COMP (Compressor) (p. 21, p. 31)

SUSTAIN Knob

Adjusts the compressor’s sustain effect (an effect that keeps the sound playing).

COMP On/Off Button

Press to change the settings.

4. OD/DS (p. 21, p. 32) (Overdrive/Distortion)

DRIVE Knob

Adjusts the degree of overdrive or distortion.

LEVEL Knob

Adjusts the overdrive/distortion volume level.

OD/DS On/Off Button

Press to change the settings.

5. DELAY (p. 21, p. 33)

FEEDBACK Knob

Adjusts the number of times the delay is repeated.

LEVEL Knob

Adjusts the volume level of the delay sound.

DELAY On/Off Button

Press to change the settings.

Panel Descriptions

TAP Button

Use this when setting the delay time with the tap input. (p. 33)

6. CHORUS (p. 21, p. 34)

LEVEL Knob

Adjusts the volume level of the chorus sound.

CHORUS On/Off Button

Press to change the settings.

7. REVERB (p. 21, p. 34)

LEVEL Knob

Adjusts the volume level of the reverb sound.

REVERB On/Off Button

Press to change the settings.

8. FX-1 (p. 36)

FX-1 On/Off Button

Press to change the settings.

9. FX-2 (p. 41)

FX-2 On/Off Button

Press to change the settings.

10.

EQ (Equalizer) (p. 35)

EQ On/Off Button

Press when changing the settings.

11.

NAME/NS/MASTER Button (p. 24, p. 53)

Use for naming patches (NAME), setting the noise suppressor (NS), and making the master settings (MASTER).

12.

ASSIGN Button (p. 60)

Use this to make settings for the expression pedal and control pedal.

13.

INPUT SELECT Button

Selects the input signal to which the effect is applied.

17.

EXIT Button

Use this to undo operations.

18.

WRITE Button

Press to store settings.

19.

AUX INPUT LEVEL Knob

Adjusts the volume of the input from the AUX INPUT jack.

* Setting the input level too high may result in oscillation.

20.

OUTPUT LEVEL Knob

Adjusts the GS-10’s output level and the unit’s speaker volume.

21.

USB Button (p. 78)

Used when making USB-related settings. The indicator lights when the GS-10 is connected to your computer.

22.

SPEAKER ON/OFF Button (p. 15)

Switches the GS-10’s speakers on and off.

23.

METER Button (p. 67)

Press to use the meter function.

24.

SYSTEM Button

Use for making settings for the GS-10’s overall operating environment.

25.

TUNER Button (p. 64)

Press to use the tuner function.

26.

DIRECT PATCH Button (p. 18)

Allows you to directly call up your favorite patches registered in the GS-10.

27.

PHONES Jack

Connect the stereo headphones here.

28.

GUITAR/BASS Jack

The guitar or bass is connected here.

14.

QUICK FX Button (p. 22)

Using the Quick Settings lets you complete the settings procedure quickly and easily.

15.

PATCH/VALUE Dial

Use this when switching patches and changing the values of settings.

16.

PARAMETER Buttons

Press to select parameters.

* To jump to the main parameters, hold down one of these

buttons while you press the other. With items for which there aren’t that many parameters, the GS-10 jumps to the last (or initial) parameter.

Panel Descriptions

Rear Panel

fig.00-042

2 4 6

1. MIC INPUT Jack/Connector

Input jack/connector for use with mics. Both standard TRS type and XLR type are provided.

* Use only one of these jacks at a time.

* Not compatible with phantom power.

2. AUX INPUT Jacks L/R

Used for connecting a CD player or similar audio device, rhythm machine, sound module, or similar devices.

3. OUTPUT Jacks L/R

Used for connecting to an audio set, recorder, mixer, or similar equipment.

31 5 7

12.

Security Slot ( )

http://www.kensington.com/

1112

4. GUITAR AMP OUT Jack

Connect your guitar amp here.

5. EXP PEDAL/CTL 1,2

(Expression Pedal/Control Pedal 1,2) Jack

Connect an optional expression pedal (such as the EV-

5) or foot switch (such as the FS-5U) here.

6. DIGITAL OUT Connector

Outputs digital audio signals.

7. USB Connector

Use a USB cable to connect this connector to your computer to exchange data between the GS-10 and the computer.

8. MIDI IN/OUT Connector

Connect an external MIDI device to these connectors to transmit and receive MIDI messages

9. POWER switch

Turns the power on and off.

10.

AC Adaptor Jack

Connect the included AC adaptor (BRC series) here.

11.

Cord Hook

Hook the AC adaptor cord here to prevent the adaptor plug from being disconnected.

Signal Flow

fig.00-043

Panel Descriptions

Computer

Expression Pedal

Foot Switch

Guitar/Bass

Mic

CD/MD

EXP/CTL 1, 2

GUITAR/

BASS

MIC

INPUT

AUX

INPUT

SELECT

Recorder

etc.

DIGITAL

GS-10 IN

OUT

CONTROL IN

GS-10 OUT

MIDI

SELECT

CONTROL

A/D D/A

MULTI EFFECTS

CONTROL OUT

MIDI IN

MIDI OUT

USB

MIDI OUT

MIDI IN

PHONES

AMP OUT

OUTPUT

GUITAR

Speaker

Sound

Module

Sequencer

Headphones

Guitar Amp

Mixer etc.

Audio signal

Control or MIDI signal

Chapter 1 Playing Sounds

Making the Connections

fig.01-010

Mic

Computer

AC Adaptor

(BRC series)

Guitar Amp

Stereo Headphones

Mixer

* To prevent malfunction and/or damage to speakers or other

devices, always turn down the volume, and turn off the power on all devices before making any connections.

* Turn up guitar amp and audio amp volume levels and the GS-

10’s OUTPUT LEVEL only after turning on the power to all connected devices.

● To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

fig.01-020

Guitar

Bass

Foot Switch (FS-5U, etc.)

Expression Pedal

(Roland EV-5, etc.)

● This instrument is equipped with balanced (XLR/TRS) type MIC INPUT jacks. Wiring diagrams for these jacks are shown below. Make connections after first checking the wiring diagrams of other mic you intend to connect.

fig.01-021

* Not compatible with phantom power.

● Howling could be produced depending on the location of mics relative to speakers. This can be remedied by:

1. Changing the orientation of the mic(s).

2. Relocating mic(s) at a greater distance from

speakers.

3. Lowering volume levels.

Chapter 1 Playing Sounds

● When using the unit with an expression pedal connected to the EXP PEDAL/CTL 1,2 jack, set Minimum Volume to the “MIN” position.

● Use only the specified expression pedal (Roland EV-5; optional). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

● When using the unit with a foot switch (FS-5U; optional) connected to the EXP PEDAL/CTL 1,2 jack, set the polarity switch as shown below.

fig.01-030

Polarity

Switch

* You can use the special (optional Roland) PCS-31 connector

cord to connect two foot switches.

fig.01-040

PCS-31

White Red

* Upon power-up, the patch most recently selected when the

power was last turned off is selected.

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

(a few seconds) after power up is required before the unit will operate normally.

3. Next, turn on the power to guitar amp and audio

devices.

Turning Off the Power

1. Before turning off the power, confirm the following.

• Is the volume on the GS-10, your amp, and all other

connected devices turned down to the minimum level?

2. Turn off the power to guitar amp and audio devices.

3. Turn the GS-10’s power off.

Using the GS-10’s Speakers

Press [SPEAKER ON/OFF], causing the indicator to light.

fig.01-050

Section 1

When using the unit with a foot switch (the optional FS5U) connected to the EXP PEDAL/CTL 1,2 jack, make the settings given on p. 59.

Turning On the Power

Once the connections have been completed, turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

1. Before turning on the power, confirm the following.

• Are all external devices properly connected?

• Is the volume on the GS-10, your amp, and all other

connected devices turned down to the minimum level?

2. Switch ON the POWER switch on the GS-10’s rear panel.

A few seconds later, the unit enters the ordinary

performance mode. The screen that appears at this point

is called the “Play screen.”

fig.01-050d

* When not using the GS-10’s speakers, press [SPEAKER ON/

OFF], so the indicator is off.

Adjusting the Output Level

Adjust the GS-10’s output level and speaker volume with the OUTPUT LEVEL knob.

fig.01-060

Chapter 1 Playing Sounds

Setting Output Device (Amps) (OUTPUT SELECT)

Select the type of output device connected to the OUTPUT jack or GUITAR AMP OUT jack.

To derive the maximum performance from the GS-10, be sure to make the correct setting for OUTPUT SELECT, the one that’s most suitable for your setup.

fig.01-061

1. Press [SYSTEM], causing the indicator to light.

The Output Select settings screen appears.

fig.01-070d

Combo Return

Use this setting when connecting to RETURN with a

combo amp.

Stack Return

Use this setting when connecting to RETURN of a stack

amp or rack mounted power amp.

3. Press [EXIT] to return to the Play screen.

* Set OUTPUT SELECT as shown below, when the PREAMP/

SPEAKER type (p. 29) is set to CONCERT 810, SESSION, BASS 360, T.E., B-MAN, FLIP TOP, Bass Clean, Bass Crunch, Bass HiGain, or Mic Preamp.

When connecting to an audio amp or similar equipment:

Line/Phones

When connecting to a guitar amp:

Combo Amp or Combo Return

When connecting to a bass amp:

Stack Amp or Stack Return

Guitar Tuning

You can use the GS-10’s built-in “tuner function” to tune your guitar.

For instructions on using this function, refer to “Tuning the Guitar” (p. 64).

2. Turn the PATCH/VALUE dial to select the type of device connected to the OUTPUT jack or GUITAR AMP OUT jack.

Line/Phones

Set this when connecting the OUTPUT jack to an audio

set or when connecting a recorder for recording.

Use this setting also when using the GS-10’s speakers or

headphones.

Combo AMP

Use this setting when connecting to the guitar input of a

combo amp (where the amp and speaker or speakers are

combined in a single unit).

Stack AMP

Use this setting when connecting to the guitar input of a

stack-type guitar amp (where the amp and speaker or

speakers are separated).

Chapter 1 Playing Sounds

Connecting Audio Devices to the AUX INPUT Jack

When using a CD or MD player, rhythm machine, or similar device for practice, connect these device to the AUX INPUT jack on the rear panel.

fig.01-080

CD/MD Player

Rhythm Machine

Use the AUX INPUT knob on the front panel to adjust the input volume level for AUX INPUT.

* Setting the input level too high may result in oscillation.

fig.01-090

Using the Digital Output

Digital signals are output from the DIGITAL OUT connector on the rear panel. You can connect this directly to the digital in connector of a digital recorder or other device and record with no degradation in sound quality.

fig.01-100

DIGITAL IN

Digital Recorder

Section 1

The input sounds from the AUX INPUT jack are mixed with the guitar sounds within the GS-10, making this a convenient feature when using the GS-10’s speakers or headphones.

* The mixed sound is not output from DIGITAL OUT.

AUX INPUT

You can set INPUT SELECT and use USB to record the input sounds from the AUX INPUT jack to your computer, and record to a recorder using DIGITAL OUT.

You can also add effects to the sounds input from the AUX INPUT jack.

For instructions on setting INPUT SELECT, refer to “Selecting the Input (INPUT SELECT)” (p. 19).

Chapter 2 Creating Your Own Favorite Tones (Patches)

What is a Patch?

The GS-10 can store 200 combinations (or “sets”) of effects and parameter settings. Each of these sets is called a “patch.”

Patches include both User patches and Preset patches.

fig.02-010

U100

● Patch Name

● Input Select

U003

● Effects

U002

● Assign 1–8

● Master

U001

● Noise Suppressor

● Patch Name

● Effect Chain

● Input Select

● Effects

● Assign 1–8

● Master

● Noise Suppressor

● Effect Chain

User Patches

User Patches (U001–U100)

Newly created effects settings are saved in the User patches.

*A “U” appears in the display when a User patch is being used.

fig.02-020d

P200

● Patch Name

● Input Select

P103

● Effects

P102

● Assign 1–8

● Master

P101

● Noise Suppressor

● Patch Name

● Effect Chain

● Input Select

● Effects

● Assign 1–8

● Master

● Noise Suppressor

● Effect Chain

Preset Patches

How to Select Patches (Patch Change)

When the Play screen is showing in the display, you can switch patches using the PATCH/VALUE dial or DIRECT PATCH [1]–[4] (p. 27).

fig.02-040

* If you want to set a limit to the number of patches that can be

selected with the PATCH/VALUE dial, change the system function settings (p. 65).

* Settings currently being edited are cleared when you switch

patches. If you want to save the setting changes you’ve made, use the Write procedure (p. 25).

About the Display Indication

Preset Patches (P101–P200)

The Preset patches contain effect settings that really help bring out the special characteristics of the GS-10.

Although you cannot overwrite the Preset patches with your own settings, you can change (edit) a Preset patch’s settings, then save the result as a User patch. (p. 25)

*A “p” appears in the display when a Preset patch is being

used.

fig.02-030d

The following information appears in the Play screen.

fig.02-050d

Patch Name

User/Preset Number

If the Patch Does Not Switch

On the GS-10, you cannot switch patches in any screen other than the Play screen. Press [EXIT] to return to the Play screen (p. 15).

Chapter 2 Creating Your Own Favorite Tones (Patches)

Selecting the Input (INPUT SELECT)

This selects the input signal to which the effects are added. This is also used for setting the type of device connected to the input connector.

To derive the maximum performance from the GS-10, be sure to make the correct setting for INPUT SELECT, the one that’s most suitable for your setup.

You may not be able to achieve the expected effect if this is not set correctly.

fig.02-051

1. Press [INPUT SELECT].

The Input Select settings screen appears.

fig.02-060d

2. Turn the PATCH/VALUE dial to change the settings.

Guitar:

You can add effects to the signals input from the

GUITAR/BASS INPUT connector (when a guitar is

connected). Signals from MIC INPUT are disregarded,

and the signals input to the GS-10 from the USB or AUX

INPUT connectors are mixed with the effect output.

fig.02-070

DIGITAL

USB

OUT

D/A

OUTPUT

GUITAR AMP OUT

PHONES

GUITAR/

BASS

MIC

INPUT

AUX

INPUT

A/D

MULTI

EFFECTS

Bass:

You can add effects to the signals input from the GUITAR/BASS jack (when a bass is connected). Signals from MIC INPUT are disregarded, and the signals input to the GS-10 from the USB or AUX INPUT connectors are mixed with the effect output.

fig.02-080

DIGITAL

USB

OUT

D/A

OUTPUT

GUITAR AMP OUT

PHONES

GUITAR/

BASS

MIC

INPUT

AUX

INPUT

A/D

MULTI

EFFECTS

* Depending on the type of bass guitar you are using, you may

not be able to achieve the intended effect if the input level to the GS-10 is excessively high. In such cases, lower the volume or tone of your bass guitar.

Microphone:

You can add effects to the signals input from the MIC INPUT connector. Signals from GUITAR/BASS jack are disregarded, and the signals input to the GS-10 from the USB or AUX INPUT connectors are mixed with the effect output.

fig.02-090

DIGITAL

USB

OUT

D/A

OUTPUT

GUITAR AMP OUT

PHONES

GUITAR/

BASS

MIC

INPUT

AUX

INPUT

A/D

MULTI

EFFECTS

* After setting INPUT SELECT to Microphone, you can press

PARAMETER [ ] to set the mic gain (p. 20).

USB (Gtr/Mic):

You can add effects to the signals input from the USB connector (for sounds in the guitar and vocal registers). Signals from GUITAR/BASS and MIC INPUT are disregarded, and the signals input to the GS-10 from the AUX INPUT connector are mixed with the effect output.

fig.02-100

DIGITAL

USB

OUT

OUTPUT

MULTI

EFFECTS

AUX

INPUT

* After setting INPUT SELECT to USB (Gtr/Mic), you can

press PARAMETER [ ] to set the USB input level (p. 78).

D/A

GUITAR AMP OUT

PHONES

Section 2

Chapter 2 Creating Your Own Favorite Tones (Patches)

USB (Bass):

You can add effects to the signals input from the USB

connector (for sounds in the bass and similar registers).

Signals from GUITAR/BASS INPUT and MIC INPUT

are disregarded, and the signals input to the GS-10 from

the AUX INPUT connector are mixed with the effect

output.

fig.02-110

DIGITAL

USB

OUT

OUTPUT

GUITAR AMP OUT

PHONES

AUX

INPUT

MULTI

EFFECTS

D/A

* After setting INPUT SELECT to USB (Bass), you can press

PARAMETER [ ] to set the USB input level (p. 78).

AUX:

This setting is used when selecting the input signal from

the AUX INPUT connector. Signals input from the

GUITAR/BASS INPUT and MIC INPUT are

disregarded, and the signals input to the GS-10 via USB

are mixed with the effect output.

fig.02-120

DIGITAL

USB

OUT

D/A

OUTPUT

GUITAR AMP OUT

PHONES

GUITAR/

BASS

MIC

INPUT

AUX

INPUT

A/D

MULTI

EFFECTS

Setting the Mic Input Level (MIC GAIN)

This sets the mic input level when INPUT SELECT is set to Microphone.

* The mic gain setting is a global setting used by all patches.

1. Press PARAMETER [ ].

The MIC GAIN settings screen appears in the display.

fig.02-130d

2. Adjust the gain by turning the PATCH/VALUE dial

while picking up sounds with the mic.

Adjust the level so that the level meter does not fluctuate

beyond the maximum allowable level.

fig.02-140d

* Set the volume for the sound being miked (acoustic guitar,

vocals, etc.) to the level to be used in performance.

* Setting the mic gain too high may result in oscillation.

3. Press [EXIT] to return to the Play screen.

Chapter 2 Creating Your Own Favorite Tones (Patches)

Adjusting the Tones with the Knobs

The GS-10 panel features 13 knobs for adjusting effect tones. You can use these knobs to make slight adjustments to tones in the selected patch quickly and easily.

fig.02-150

PREAMP GAIN:

Adjusts the degree of preamp distortion. The distortion gets stronger as the knob is turned to the right.

OD/DS (Overdrive/Distortion) DRIVE

Adjusts the degree of overdrive or distortion. The distortion appears stronger as the knob is turned to the right.

OD/DS (Overdrive/Distortion) LEVEL:

Adjusts the overdrive/distortion volume level. The volume increases as the knob is turned to the right.

DELAY FEEDBACK:

Adjusts the number of times the delay is repeated. The number of repeats increases as the knob is turned to the right.

DELAY LEVEL:

Adjusts the volume level of the delay sound. The delay sound increases as the knob is turned to the right.

CHORUS LEVEL:

Adjusts the volume level of the chorus sound. The chorus sound increases as the knob is turned to the right.

REVERB LEVEL:

Adjusts the volume level of the reverb sound. The reverb sound increases as the knob is turned to the right.

Section 2

PREAMP BASS:

Adjusts the sound quality of the preamp’s low-frequency range. The low frequencies are boosted as the knob is turned to the right.

PREAMP MIDDLE:

Adjusts the sound quality of the preamp’s midrange. The midrange frequencies are boosted as the knob is turned to the right.

PREAMP TREBLE:

Adjusts the sound quality of the preamp’s high-frequency range. The high frequencies are boosted as the knob is turned to the right.

PREAMP PRESENCE:

Adjusts the sound quality in the preamp’s ultra-highfrequency range. The ultra-high frequencies are boosted as the knob is turned to the right.

PREAMP LEVEL:

Adjusts the preamp volume level. The volume increases as the knob is turned to the right.

COMP (Compressor) SUSTAIN:

Adjusts the compressor’s sustain effect (an effect that keeps the sound playing). The effect is strengthened as the knob is turned to the right.

Chapter 2 Creating Your Own Favorite Tones (Patches)

2 51

Turning the Effect On and Off

The GS-10’s internal effects are switched on and off with button controls. The indicator for an effect’s ON/OFF button lights up when the effect is enabled.

fig.02-160

1,2,3 4

1. Press the ON/OFF button for the effect you want to be able to switch on and off.

The settings for the selected effect appear in the display.

* With FX-1 and FX-2, the settings for the currently selected

effect are shown.

fig.02-170d

Setting the Effects Simply (QUICK FX)

Each effect includes prepared sample settings called “Quick Settings.” You can easily create new effect sounds just by selecting and combining these Quick Settings.

fig.02-171

1. Press [QUICK FX].

The effects selection screen appears in the display.

fig.02-180d

2. Press the ON/OFF button again to switch the effect on or off.

* The effect name flashes in the display when that effect is

disabled.

3. To select another effect to be switched on and off, repeat Steps 1 and 2.

4. Press [EXIT] to return to the Play screen.

* If you want to save a tone with the settings you’ve made, use

the Write procedure (p. 25) to save the tone to a User patch.

* Performing Step 1 while editing an effect takes you to the

status following Step 2.

2. Press the ON/OFF button for the effect you want to

select for Quick Settings.

The name of the effect being set with Quick Settings

appears in the upper row of the display, and the “Quick

Settings Name” currently selected for that effect appears

in the lower row of the display.

fig.02-190d

* The following appears in the display immediately after patches

are changed or when the settings in Quick settings are changed by editing the parameters.

fig.02-200d

* The upper row of the display flashes when the selected effect is

switched off. Even when using the Quick Settings, you can switch effects on and off with the effect ON/OFF buttons.

Chapter 2 Creating Your Own Favorite Tones (Patches)

1 61

3. Rotate the VALUE dial to select the Quick Setting you want.

The tone switches to that of the selected sample settings.

* You can select “—: User Setting” to return the settings to

their condition prior to selecting the Quick Settings.

4. To select Quick Settings for another effect, repeat Steps 2 and 3.

* Even after performing this procedure, the settings selected in

Step 3 are maintained as is and carried over to the Quick Settings for the next effect.

5. Press [EXIT] to return to the Play screen.

* If you want to save a tone with the settings you’ve made, use

the Write procedure (p. 25) to save the tone to a User patch.

Making More Precise Effect Settings

Each effect comprises several different kinds of parameters. You can more precisely create the sounds you want by editing each of these parameters individually.

fig.02-210

1. Press the on/off button for the effect with the settings

you want to change.

The parameters for the selected effect appear in the

display.

Section 2

2. Press PARAMETER [ ] [ ] to select the

parameter whose settings are to be changed.

When more than one parameter is shown in the display,

press PARAMETER [ ] [ ] to move the cursor to

the parameter to be set.

You can jump to the core parameters by pressing

PARAMETER [ ] (or [ ]) while holding down

PARAMETER [ ] (or [ ]). With items for which

there aren’t that many parameters, the GS-10 jumps to

the last (or first) parameter.

3. Rotate the VALUE dial to change the value of a setting.

4. Repeat Steps 2 and 3 for any other parameter settings

you want to change.

5. If you further want to change parameter settings in any

other effects, repeat Steps 1 through 4.

6. Press [EXIT] to return to the Play screen.

* If you want to save a tone with the settings you’ve made, use

the Write procedure (p. 25) to save the tone to a User patch.

Chapter 2 Creating Your Own Favorite Tones (Patches)

3 1

Naming Patches

Each patch can be given a name (Patch Name) consisting of up to sixteen characters. You’ll probably want to take advantage of this feature by assigning names that suggest the sound you’ll obtain, or the song in which it’ll be used.

fig.02-220

1. Press [NAME/NS/MASTER] so that the Name edit screen appears in the display.

* With each press of [NAME/NS/MASTER], you move to the

next item that can be set, in this order: Name → Noise Suppressor → Master → Foot Volume → Effect Chain.

fig.02-230d

Changing the Connection Order of Effects (Effect Chain)

Here’s how you can change the order in which the effects are connected.

fig.02-240

1. Press [NAME/NS/MASTER] until “Effect Chain”

appears in the display.

* With each press of [NAME/NS/MASTER], you move to the

next item that can be set, in this order: Name → Noise Suppressor → Master → Foot Volume → Effect Chain.

fig.02-250d

2. Press PARAMETER [ ] [ ] to move the cursor to the text area you want to edit.

3. Rotate the PATCH/VALUE dial to change the characters.

* You can use the following functions when changing text

characters.

CAPS: Switches the character at the cursor position

between upper and lower case.

INS: Inserts a blank space at the cursor position.

DEL: Deletes the character at the cursor position and

shifts the characters following it to the left.

4. If you want to edit names further, repeat Steps 2 and 3.

5. If you want to save the sequence you’ve set up, use the

Write procedure (p. 25) to save it to a User patch.

Press [EXIT] to return to the Play screen.

* Effects are shown in lowercase letters when turned off.

2. Use the PATCH/VALUE dial or PARAMETER [ ]

[] to move the cursor to the point where you want to have an effect inserted.

3. Press the On/Off button for the effect you want to

insert.

The selected effect is inserted at the cursor position.

* Use [ASSIGN] to assign Foot Volume.

4. If you want to change the sequence further, repeat

Steps 2 and 3.

5. If you want to save the sequence you’ve set up, use the

Write procedure (p. 25) to save it to a User patch.

Press [EXIT] to return to the Play screen.

Effects can be switched on and off even while making

the settings for the connection order (excluding FV, NS,

and USB).

With effects appearing to the left and right of the cursor,

the ON/OFF button corresponding to the effect can be

pressed to turn them on/off.

Chapter 3 Saving the Tones You Have Created

2,4

Storing Patches (PATCH WRITE)

When you want to keep a tone created with the Quick Settings or a tone with altered parameter values, use the “Write procedure” to save it to a User patch.

* If the power is turned off, or if the tone is switched (Patch

Change; p. 18) before you’ve carried out the Write procedure, the newly created tone will be discarded.

fig.03-010

1,3

1. Press [WRITE].

The screen for specifying the save-destination User patch

appears in the display.

fig.03-020d

Save-destination patch

Copying Patches

You can copy a Preset or User patch to another User patch.

fig.03-030

Section 3

1. Select the copy-source patch (refer to “How to Switch

Patches”; p. 18).

2. Press [WRITE].

The screen for specifying the copy-destination patch

number appears in the display.

fig.03-040d

Copy-destination patch

2. Rotate the VALUE dial to select the save-destination User patch.

* This step is unnecessary if the current User patch is

acceptable.

* To cancel the Write procedure, press [EXIT]. The Play screen

returns to the display.

3. Press [WRITE].

The GS-10 switches to the write-destination patch, and

you’re returned to the Play screen.

* The sound of the patch previously stored at the write

destination will be lost once the write is executed.

3. Rotate the PATCH/VALUE dial to select the copy-

destination User patch.

* To cancel the copy, press [EXIT]. The Play screen returns to

the display.

4. Press [WRITE].

The GS-10 switches to the copy-destination patch, and

you’re returned to the Play screen.

* The sound of the patch previously stored at the copy

destination will be lost once the copy is executed.

Chapter 3 Saving the Tones You Have Created

2,4

Exchanging Patches

On the GS-10, you can “swap” or exchange the positions of two User patches. The following explains how this is done.

fig.03-050

4 3

2,5

1. Select the exchange source patch.

* Refer to “Patch Change” (p. 18).

2. Press [WRITE].

3. Press PARAMETER [ ].

The screen for specifying the exchange-destination patch

number appears in the display.

fig.03-060d

Exchange-destination patch

Initializing Patches

You can return (initialize) the User patches to their original standard settings.

fig.03-061

1. Select the User patch you want to initialize.

* Refer to “Patch Change” (p. 18).

2. Press [WRITE].

3. Press PARAMETER [ ] twice.

The screen for specifying the initialize-destination patch

number appears in the display.

fig.03-062d

User patch to be initialized

4. Rotate the PATCH/VALUE dial to select the exchange destination User patch.

* To cancel the exchange, press [EXIT]. The Play screen returns

to the display.

5. Press [WRITE].

The patch stored in the exchange source memory

location and the patch stored in the exchange destination

memory location are exchanged, and you’re returned to

the Play screen.

* You can use the PATCH/VALUE dial to change the selection

of the User patch to be initialized.

* To cancel the initialization, press [EXIT]. The Play screen

returns to the display.

4. Press [WRITE].

The GS-10 switches to the initialized patch, and the Play

screen returns to the display.

* The tones stored in patches are lost once the initialization is

executed.

Chapter 3 Saving the Tones You Have Created

2,4

1,3

Copy-destination channel

Copy-source channel

Registering Your Favorite Patches (DIRECT PATCH)

You can register preferred patches to DIRECT PATCH [1]–[4] and then press these buttons to call up the corresponding patches directly.

fig.03-070

4 1

1. Press [SYSTEM] a number of times until “DIRECT PATCH” is displayed.

fig.03-080d

Copying the PREAMP/SPEAKER Settings to Another Channel

You can take the PREAMP/SPEAKER settings for one channel and copy them to another channel.

fig.03-090

Section 3

1. Select the copy-source channel.

2. Press [WRITE].

3. Press CHANNEL SELECT [A]–[C] to select the copy-

destination channel.

The channel copy screen appears in the display.

2. Press PARAMETER [ ] [ ] to select the number of the DIRECT PATCH button to which you want to register the patch.

3. Use the PATCH/VALUE dial to select the patch you want to register.

4. Press [EXIT] to return to the Play screen.

You can also register patches by selecting the patch in the Play screen, then pressing one of the [1]–[4] buttons after pressing the [WRITE] button. In this case, the patch appearing in the display is registered.

* When a patch is registered using this method, the current

settings are also saved along with the patch when it’s registered. If you want to register only the patch, use the regular registration method.

DIRECT PATCH

* If you press the button for the same channel as the copy source,

a channel other than the copy-source channel is selected for the copy destination.

fig.03-100d

* To change the copy-source or copy-destination channel, press

PARAMETER [ ] [ ] to move the cursor to the copysource or copy-destination channel, then press CHANNEL SELECT [A]–[C]. You can alternatively rotate the PATCH/VALUE dial to change the channel at the cursor position.

* When the copy-source channel is changed, the tone is changed

as well.

* To cancel the copy, press [EXIT]. The Play screen returns to

the display.

4. Press [WRITE].

The settings are copied.

* If you want to keep a tone for which you have made settings,

use the “Write procedure” (p. 25) to save it to a User patch.

Chapter 4 Introduction to Effects and Parameters

In this chapter you will find detailed descriptions for each of the GS-10’s onboard effects, and the parameters used to control them.

The sound being input to each effect is called the “direct

sound,” and the sound modified by the effect is called the

“effect sound.”

* Setting values for gain– and volume–related parameters in the

effects too high may result in oscillation.

To derive the maximum performance from the GS-10, be sure to make the correct setting for INPUT SELECT (p. 19), the one that’s most suitable for your setup.

You may not be able to achieve the expected effect if this is not set correctly.

* Depending on the type of bass guitar you are using, you

may not be able to achieve the intended effect if the input level to the GS-10 is excessively high. In such cases, lower the volume or tone of your bass guitar.

The trademarks listed in this document are trademarks of their respective owners, which are separate companies from BOSS. Those companies are not affiliated with BOSS and have not licensed or authorized BOSS’s GS-10. Their marks are used solely to identify the equipment whose sound is simulated by BOSS’s GS-10.

PREAMP/SPEAKER (Preamp/ Speaker Simulator)

COSM technology plays an indispensable role in simulating the distinguishing characteristics of various guitar amps in the “Preamp” section, and is also used to simulate various speaker sizes and cabinet constructions in the “Speaker Simulator.”

Parameter Value

On/Off Off, On CH Select A, B, C Type refer to p. 29 Gain 0–120 Bass 0–100 Middle 0–100 Treble 0–100 Presence 0–100 Level 0–100 Bright Off, On Gain SW Low, Middle, High SP Type (*) Off, Original, 1x8”, 1x10”, 1X12”,

1X15”, 1X18”, 2X12”, 2X15”, 4X10”, 4X12”, 8X10”, 8X12”, Custom 1, Custom 2

Mic Type (*) DYN57, DYN421, CND451,

CND87, FLAT Mic Dis. (*) Off Mic, On Mic Mic Pos. (*) Center, 1–10 Mic Level (*) 0–100 Direct Level (*) 0–100

(*) No effect when OUTPUT Select is set to “Line/Phones.”

On/Off (Effect On/Off)

Turns the PREAMP/SPEAKER effect on/off.

CH Select (Channel Select)

Selects the preamp channel whose settings are to be changed.

Chapter 4 Introduction to Effects and Parameters

Type

This sets the type of the guitar preamp.

JC-120 This is the sound of the Roland JC-120. Jazz Combo This is a sound suited to jazz.

Full Range

Warm Clean This gives a mellow, clean sound. Clean TWIN This models a Fender Twin Reverb. Pro Crunch This models a Fender Pro Reverb.

Tweed

Crunch

Blues This is a sound suited to blues.

Wild Crunch

VO Drive

VO Lead

MATCH Drive

Fat MATCH

BG Lead

BG Drive

BG Rhythm

Smooth Drive This is a smooth drive sound.

MS1959 (I)

MS1959 (II)

MS1959 (I+II)

MS HiGain

Power Stack

R-FIER Red

R-FIER Orng

R-FIER Vint

T-AMP Clean

T-AMP Crunch

T-AMP Lead

SLDN This models a Soldano SLO-100. Drive Stack This is a drive sound with high gain.

This is a sound with flat response. Good for acoustic guitar

This models a Fender Bassman 4 x 10” Combo.

This is a crunch sound that can produce natural distortion.

This is a crunch sound with wild distortion.

This models the drive sound of a VOX AC30TB.

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

This models the sound input to left input on a Matchless D/C-30.

This models the sound of a MATCHLESS with a modified high gain.

This models the lead sound of the MESA/ Boogie combo amp.

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

This models the rhythm channel of a MESA/Boogie.

This models the sound input to Input I on a Marshall 1959.

This models the sound input to Input II on a Marshall 1959.

This models the sound of a Marshall 1959 with Inputs I and II connected in parallel.

This models the sound of a Marshall with a modified midrange boost.

This provides the sound of a stack amp with active type tone circuitry.

This models the lead channel of a MESA/ Boogie Dual Rectifier.

This models the rhythm channel of a MESA/Boogie Dual Rectifier.

This models a MESA/Boogie Rectifier with VINTAGE SW on.

This models a Hughes & Kettner Triamp AMP1.

This models a Hughes & Kettner Triamp AMP2.

This models a Hughes & Kettner Triamp AMP3.

Lead Stack This is a lead sound with high gain.

5150 Drive

Metal Stack This is a drive sound suited to metal. Metal Lead This is a lead sound suited to metal. CONCERT 810 This models a Ampeg SVT. SESSION This models a SWR SM-400. BASS 360 This models a acoustic 360. T.E. This models a Trace Elliot AH600SMX. B-MAN This models a Fender Bassman100. FLIP TOP This models a Ampeg B-15.

Bass Clean

Bass Crunch

Bass HiGain

Mic Preamp Preamp suitable for vocals. Custom 1 Custom amp 1 Custom 2 Custom amp 2 Custom 3 Custom amp 3

* When the type is set to CONCERT 810, SESSION, BASS

360, T.E., B-MAN, FLIP TOP, Bass Clean, Bass Crunch, Bass HiGain, or Mic Preamp set OUTPUT SELECT (p. 16) as shown below to match the GS-10 to the type of amp to be connected.

When connecting to an audio amp or similar equipment:

Line/Phones

When connecting to a guitar amp:

Combo Amp or Combo Return

When connecting to a bass amp:

Stack Amp or Stack Return

This models the lead channel of a Peavey EVH 5150.

This clean sound is great for use with bass guitars.

This is a crunch sound with natural distortion that sounds great with bass guitars.

This is a high-gain sound suitable for use with bass guitars.

Section 4

Chapter 4 Introduction to Effects and Parameters

When CUSTOM 1–3 is selected for Type

You can set the following parameters when Type is set to CUSTOM.

“Customizing the COSM Amps” (p. 55)

EDIT CUSTOM PRE 1–3

Parameter Value

Type JC Clean, TW Clean, Crunch,

VO Lead, BG Lead,

MS1959 Stk, Modern Stk Bottom -50–+50 Edge -50–+50 Bass Freq -50–+50 Treble Freq -50–+50 Preamp Low -50–+50 Preamp High -50–+50

Gain

Adjusts the distortion of the amp.

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

Adjusts the tone for the ultra high frequency range.

Level

Adjusts the volume of the entire preamp.

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

Bright

Turns the bright setting on/off.

Off:

Bright is not used.

On:

Bright is switched on to create a lighter and crisper tone.

Gain SW

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 is

set to “Middle.” So, normally set it to “Middle.”

SP Type (Speaker Type)

Off This turns off the speaker simulation.

Original

1x8”

1x10”

1x12”

1x15”

1x18”

2x12”

2x15”

4x10”

4x12”

8x10”

8x12”

Custom 1 Custom speaker 1 Custom 2 Custom speaker 2

This is the built-in speaker of the amp you selected with “Type.”

This is a compact open-back speaker cabinet with one 8-inch speaker.

This is a compact open-back speaker cabinet with one 10-inch speaker.

This is a compact open-back speaker cabinet with one 12-inch speaker.

This is a compact open-back speaker cabinet with one 15-inch speaker.

This is a compact open-back speaker cabinet with one 18-inch speaker.

This is a general open-back speaker cabinet with two 12-inch speakers.

This is a general open-back speaker cabinet with two 15-inch speakers.

This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.

This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.

This is a double stack of two cabinets, each with four 10-inch speakers.

This is a double stack of two cabinets, each with four 12-inch speakers.

When Custom 1–2 is selected for SP Type

You can set the following parameters when SP Type is set to Custom 1–2.

“Customizing the Speakers” (p. 56)

* Depending on the “Type” setting, this may not be displayed.

Chapter 4 Introduction to Effects and Parameters

EDIT CUSTOM SP 1 –2

Parameter Value

Speaker Size 5”–15” Color Low -10–+10 Color High -10–+10 Speaker Num x1, x2, x4, x8 Cabinet Open, Close

Mic Type

This setting selects the simulated mic type.

General dynamic mic used for instruments

DYN57

DYN421 Dynamic mic with extended low end.

CND451

CND87 Condenser mic with flat response.

FLAT

and vocals. Optimal for use in miking guitar amps.

Small condenser mic for use with instruments.

Simulates a mic with perfectly flat response. Produces a sonic image close to that of listening to the sound directly from the speakers (on site).

COMP (Compressor)

This is an effect 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.

Parameter Value

On/Off Off, On Sustain 0–100 Level 0–100

On/Off (Effect On/Off)

Turns the COMP effect on/off.

Sustain

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

Level

Adjusts the volume.

Section 4

Mic Dis. (Mic Distance)

Simulates the distance between the mic and speaker.

Off Mic:

This setting points the mic away from the speaker.

On Mic:

Provides conditions whereby the mic is directed more towards the speaker.

Mic Pos. (Mic Position)

This simulates the microphone position. “Center” simulates the condition that the microphone is set in the middle of the speaker cone. “1-10” means that the microphone is moved away from the center of the speaker cone.

Mic Level

Adjusts the volume of the microphone.

Direct Level

Adjusts the volume of the direct sound.

Chapter 4 Introduction to Effects and Parameters

OD/DS

This effect distorts the sound to create long sustain. It provides 22 types of distortion and three different custom settings.

Parameter Value

On/Off Off, On Type refer to below Drive 0–100 Bass -50–+50 Treble -50–+50 Effect Level 0–100 Direct Level 0–100

(Overdrive/Distortion)

On/Off (Effect On/Off)

Turns the OD/DS effect on/off.

Type

Selects the type of distortion.

Blues OD This is a crunch sound of the BOSS BD-2.

Turbo OD

Booster

OD-1 This is the sound of the BOSS OD-1. T-Scream This models an Ibanez TS-808.

Natural OD

Bass OD

Distortion

RAT This models a Proco RAT. GUV DS This models an Marshall GUV’ NOR.

Mild DS

Solid DS

DST+ This models an MXR DISTORTION+. Metal Zone This is the sound of the BOSS MT-2. R-MAN This models a ROCKMAN. Heavy Metal This creates a heavier distortion sound.

Loud

Sharp

Mechanical

‘60s FUZZ This models a FUZZFACE. Oct FUZZ This models an ACETONE FUZZ.

MUFF FUZZ

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

This is a booster that works very well with COSM amps.

This is an overdrive sound that provides a natural-sounding distortion.

This is an overdrive sound that works well with bass guitars.

This gives a basic, traditional distortion sound.

This is a distortion sound that provides a mild distortion.

This is a distortion sound featuring an edge effect.

This is a distortion sound with a boosted low end.

This is a distortion sound with a boosted high end.

This distortion sound boosts the low and high ends, yielding a mechanical-sounding distortion.

This models an Electro-Harmonix Big Muff π.

Custom 1 Custom OD/DS 1 Custom 2 Custom OD/DS 2 Custom 3 Custom OD/DS 3

When CUSTOM 1–3 is selected for Type

You can set the following parameters when TYPE is set to Custom 1–3.

“Customizing Overdrive and Distortion” (p. 56)

EDIT CUSTOM DS 1–3

Parameter Value

Type OD-1, OD-2, CRUNCH, DS-1,

DS-2, METAL-1, METAL-2,

FUZZ Bottom -50–+50 Top -50–+50 Low -50–+50 High -50–+50

Drive

Adjusts the depth of distortion.

Bass

Adjusts the tone for the low frequency range.

Treble

Adjusts the tone for the high frequency range.

Effect Level

Adjusts the volume of the overdrive/distortion sound.

Direct Level

Adjusts the volume of the direct sound.

Chapter 4 Introduction to Effects and Parameters

DELAY

This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

Parameter Value

On/Off Off, On Type Single, Pan, Stereo DlyTime 0 ms–1800 ms,

BPM –BPM Delay Time.F 0 msec–20 msec Tap Time 0%–100% (Type = Pan) Feedback 0–100 High Cut 700 Hz–11.0 kHz, Flat Effect Level 0–120

On/Off (Effect On/Off)

Turns the DELAY Effect on/off.

Type

This selects which type of delay.

Single:

By adjusting the delay time and feedback, you can obtain a normal delay effect.

Tap Time

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

Feedback

“Feedback” is returning a delay signal to the input. This parameter determines the amount of feedback. A higher value will increase the number of the delay repeats.

High Cut (High Cut Filter)

This sets the frequency at which the high cut filter begins to take effect. This allows you to get a mild effect sound by cutting the high-end component above the set frequency.

When it is set to “Flat,” the high cut filter is off or has no effect.

Section 4

Effect Level

This adjusts the volume of the delay sound.

After [TAP] is pressed several times, the interval between

presses of the button is then used as the delay time setting.

You can change the Master BPM by setting the delay time to the BPM and pressing [TAP] several times.

Pan:

This delay is specifically for stereo output. This allows you to obtain the tap delay effect that divides the delay time, then deliver them to L and R channels.

fig.04-010

INPUT OUTPUT L

DELAY

Tap Time

Feedback

Delay Time

Effect Level

OUTPUT R

Stereo:

The direct sound is output from the left channel, and the effect sound is output from the right channel.

DlyTime (Delay Time)

This determines the delay time.

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

according to the value of the Master BPM (p. 54) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased). When setting to BPM, press PARAMETER [ ] to display the Master BPM settings screen.

DlyTime.F (Delay Time Fine)

Make fine adjustments to the delay time.

Chapter 4 Introduction to Effects and Parameters

CHORUS

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

Parameter Value

On/Off Off, On Mode Mono, Stereo1, Stereo2

Rate 0–100, BPM –BPM Depth 0–100 Pre Delay 0.0 msec–40.0 msec Low Cut Flat, 55 Hz –800 Hz High Cut 700 Hz –11.0 kHz, Flat Effect Level 0–100

On/Off (Effect On/Off)

Turns the CHORUS effect on/off.

Mode

Selection for the chorus mode.

Mono:

This chorus effect outputs the same sound from both L and R.

Stereo1:

This is a stereo chorus effect that adds different chorus sounds to L and R.

Stereo2:

This is a stereo chorus effect produced by synthesizing the spatial characteristics of the direct sound and the effect sound.

Low Cut (Low Cut Filter)

This sets the frequency at which the low cut filter begins to take effect. This lets you cut the low-end component below the set frequency to create a clear, distinct low end, thereby bringing out the high end of the effect.

When “Flat” is selected, the low cut filter will have no effect.

High Cut (High Cut Filter)

This sets the frequency at which the high cut filter begins to take effect. This allows you to get a mild effect sound by cutting the high-end component above the set frequency.

When “Flat” is selected, the high cut filter will have no effect.

Effect Level

Adjusts the volume of the effect sound.

REVERB

This effect adds reverberation to the sound.

Parameter Value

On/Off Off, On Type Ambience, Room, Hall 1, Hall 2,

Plate Rev Time 0.1 sec–10.0 sec Pre Delay 0 msec–100 msec Low Cut Flat, 55.0 Hz–800 Hz High Cut 700 Hz–11.0 kHz, Flat Density 0–10 Effect Level 0–100

Rate

Adjusts the rate of the chorus effect.

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

according to the value of the Master BPM (p. 54) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased). When setting to BPM, press PARAMETER [ ] to display the Master BPM settings screen.

Depth

Adjusts the depth of the chorus effect. To use it for doubling effect, set the value to “0.”

Pre Delay

Adjusts the time needed for the effect sound to be output after the direct sound has been output. By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is being played at the same time (doubling effect).

On/Off (Effect On/Off)

Turns the REVERB effect on/off.

Type

This selects the reverb type. Various different simulations of space are offered.

Simulates an ambience mic (off-mic, placed at a distance from the sound source) used

Ambience

Room

Hall 1

Hall 2

Plate

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 warm reverberations.

Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

Chapter 4 Introduction to Effects and Parameters

Rev Time (Reverb Time)

Adjusts the length (time) of reverberation.

Pre Delay

Adjusts the time until the reverb sound appears.

Low Cut (Low Cut Filter)

When “Flat” is selected, the low cut filter will have no effect.

High Cut (High Cut Filter)

This sets the frequency at which the high cut filter begins to take effect. This allows you to get a mild effect sound by cutting the high-end component above the set frequency.

When “Flat” is selected, the high cut filter will have no effect.

Density

This adjusts the density of the reverb sound.

Effect Level

Adjusts the volume of the reverb sound.

EQ (Equalizer)

Adjusts the tone. Parametric control is provided for the highmid range and low-mid range.

Parameter Value

On/Off Off, On Low EQ -20 dB–+20 dB Lo-Mid f 20.0 Hz–10.0 kHz Lo-Mid Q 0.5–16 Lo-Mid EQ -20 dB–+20 dB Hi-Mid f 20.0 Hz–10.0 kHz Hi-Mid Q 0.5–16 Hi-Mid EQ -20 dB–+20 dB High EQ -20 dB–+20 dB Level -20 dB–+20 dB

Section 4

On/Off (Effect On/Off)

Switches the EQ effect on/off.

Low EQ (Low Equalizer)

Adjusts the low frequency range tone.

Lo-Mid f (Low-Middle Frequency)

Specify the center of the frequency range that will be adjusted by the “Lo-Mid EQ.”

Lo-Mid Q (Low-Middle Q)

Adjusts the width of the area affected by the EQ centered at the “Lo-Mid f.” Higher values will narrow the area.

Lo-Mid EQ (Low-Middle Equalizer)

Adjusts the low-middle frequency range tone.

Hi-Mid f (High-Middle Frequency)

Specify the center of the frequency range that will be adjusted by the “Hi-Mid EQ.”

Hi-Mid Q (High-Middle Q)

Adjusts the width of the area affected by the EQ centered at the “Hi-Mid f.” Higher values will narrow the area.

Hi-Mid EQ (High-Middle Equalizer)

Adjusts the high-middle frequency range tone.

High EQ (High Equalizer)

Adjusts the high frequency range tone.

Level

Adjusts the volume after the equalizer.

Chapter 4 Introduction to Effects and Parameters

FX-1

With FX-1, you can select the effect to be used from the following.

• PEDAL WAH

• AUTO WAH

• TONE MODIFY

• ADV. COMP (Advanced Compressor)

• LIMITER

• ENHANCER

• SLOW GEAR

• TREMOLO

• DEFRETTER

• RING MOD (Ring Modulator)

• FEEDBACKER

Parameter Value

On/Off Off, On FX Select PW, AW, TM, ACS, LM, ENH,

SG, TR, DF, RM, FB

Type

This selects the wah type.

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

7String Wah

Reso Wah

Bass Wah Custom 1 Custom wah 1 Custom 2 Custom wah 2 Custom 3 Custom wah 3

This models the sound of the CRY BABY wah pedal popular in the `70s.

This wah has a refined sound with no unusual characteristics.

Wah featuring a broader range of variations for the seven-string guitar.

This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters.

This is a wah suitable for use with bass guitars.

When Type Is Set to Custom1–3

You can select the following parameters when type is set to Custom1–3.

“Customizing Pedal Wah” (p. 57)

EDIT CUSTOM WAH1–3

On/Off (Effect On/Off)

Switches the FX-1 effect on/off.

FX Select (Effect Select)

This selects the effect to be used.

PW (Pedal Wah)

This provides an effect that works like a wah pedal.

With PW selected, the expression pedal connected to the GS10 can be automatically set to function as a wah pedal.

“Setting the External Expression Pedal Functions (Expression

Pedal Function)” (p. 58)

Parameter Value

Type CRY Wah, VO Wah, Fat Wah,

Light Wah, 7String Wah, Reso Wah, Bass Wah, Custom 1,

Custom 2, Custom 3 Pdl Position 0–100 Level 0–100

Parameter Value

Type CRY WAH, VO WAH, Fat WAH,

Light WAH, 7String WAH Q -50–+50 Range Low -50–+50 Range High -50–+50 Presence -50–+50

Pdl Position (Pedal Position)

This adjusts the position of the wah pedal.

Level

Adjusts the volume.

AW (Auto Wah)

This changes the filtering over a periodic cycle, providing an automatic wah effect.

Parameter Value

Mode LPF, BPF Polarity Down, Up Sens 0–100 Freq 0–100 Peak 0–100

Rate 0–100, BPM –BPM Depth 0–100 Level 0–100

Chapter 4 Introduction to Effects and Parameters

Mode

Selection for the wah mode.

LPF (Low Pass Filter):

This creates a wah effect over a wide frequency range.

BPF (Band Pass Filter):

This creates a wah effect in a narrow frequency range.

Polarity

Selection for the direction in which the filter will change in response to the input.

Up:

The frequency of the filter will rise.

Down:

The frequency of the filter will fall.

Sens (Sensitivity)

This adjusts the sensitivity at which the filter 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 effect.

Frequency

This adjusts the center frequency of the Wah effect.

Peak

Adjusts the way in which the wah effect applies to the area around the center frequency. Lower values will produce a wah effect over a wide area around the center frequency. Higher values will produce a wah effect in a narrow area around the center frequency.

* With a value of “50” a standard wah sound will be produced.

Rate

Adjusts the frequency of the auto wah.

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

Depth

Adjusts the depth of the auto wah effect.

TM (Tone Modify)

This changes the characteristics of the connected guitar.

Parameter Value

Type Fat, Presence, Mild, Tight,

Enhance, ‘S’ → ’H’, ‘H’ → ’S’,

‘H’ → ’HF’, ‘S’ → Hollow,

‘H’ → Hollow, ‘S’ → AC,

‘H’ → AC, ‘P’ → AC Low -50–+50 High -50–+50 Level 0–100

Type

This selects the type of tone modification.

Fat Fat tone with boosted mid range. Presence Bright tone with boosted high-mid range. Mild Mild tone with the high end cut back. Tight Tone with the low frequencies cut. Enhance Tone with the high frequencies boosted.

’S’ → ’H’

’H’ → ’S’

’H’ → ’HF’

’S’ → Hollow

’H’ → Hollow

’S’ → AC

’H’ → AC

’P’ → AC

Low

Adjusts the tone for the low frequency range.

High

Adjusts the tone for the High frequency range

Level

Adjusts the volume.

Changes from a single-coil pickup tone to a humbucking pickup tone.

Changes from a humbucking pickup tone to a mixed tone of two single-coil pickups.

Changes from a humbucking pickup tone to a single-coil pickup half tone.

Changes a single-coil pickup tone to a fullacoustic tone with the body resonance added.

Changes a humbucking pickup tone to a full-acoustic tone with the body resonance added.

Changes a single-coil pickup tone to an acoustic guitar tone.

Changes a humbucking pickup tone to an acoustic guitar tone.

Changes a piezo pickup tone to an acoustic guitar tone.

Section 4

Level

Adjusts the volume.

Chapter 4 Introduction to Effects and Parameters

ACS (Advanced Compressor)

This is an effect 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.

Parameter Value

Type Stereo Comp, BOSS Comp,

D-Comp Sustain 0–100 Attack 0–100 Tone -50–+50 Level 0–100

Type

Selects the compressor type.

Stereo Comp This selects a stereo compressor. BOSS Comp This models a BOSS CS-3. D-Comp This models a MXR DynaComp.

Sustain

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

Attack

Adjusts the strength of the picking attack. Larger values will result in a sharper attack, creating a more clearly defined sound.

Tone

Adjusts the tone.

LM (Limiter)

The limiter attenuates loud input levels to prevent distortion.

Parameter Value

Type Stereo LM, Rack 160D, Vtg

Rack U Attack 0–100 Threshold 0–100 Ratio 1:1 –∞:1 Release 0–100 Level 0–100

Type

Selects the limiter type.

Stereo LM This selects a stereo limiter. Rack 160D This models a dbx 160X. Vtg Rack U This models a UREI 1178.

Attack

Adjusts the strength of the picking attack when the strings are played. Higher values result in s sharper attack, creating a more clearly defined sound.

Threshold

Adjust this as appropriate for the input signal from your guitar. When the input signal level exceeds this threshold level, limiting will be applied.

Ratio

This selects the compression ratio used with signals in excess of the threshold level.

Level

Adjusts the volume.

Release

This adjusts the time from when the signal level drops below the threshold until when limiting is removed.

Tone

Adjusts the tone.

Level

Adjusts the volume.

Chapter 4 Introduction to Effects and Parameters

ENH (Enhancer)

By adding sounds which are out-of-phase with the direct sound, this effect enhances the definition of the sound, and pushes it to the forefront.

Parameter Value

Sens 0–100 Freq 800 Hz–10.0 kHz Mix Level 0–100

Sens (Sensitivity)

Adjusts the manner in which the enhancer will be applied relative to the input signals.

Freq (Frequency)

Adjusts the frequency at which the enhancer effect will begin to be applied. The effect will be made apparent in the frequencies above the frequency set here.

Mix Level

Adjusts the amount of phase-shifted sound of the range set by “Frequency” that is to be mixed with the input.

SG (Slow Gear)

TR (Tremolo)

Tremolo is an effect that creates a cyclic change in volume.

Parameter Value

Wave Shape 0–100

Rate 0–100, BPM –BPM Depth 0–100

Wave Shape

This adjusts changes in volume level.

Rate

Adjusts the frequency (speed) of the change.

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

Depth

Adjusts the depth of the effect.

Section 4

This produces a volume-swell effect (“violin-like” sound).

Parameter Value

Sens 0–100 Rise Time 0–100

Sens (Sensitivity)

This adjusts the sensitivity of the slow gear. When it is set to a lower value, the effect of the slow gear can be obtained only with a stronger picking, while no effect is obtained with a weaker picking. When the value is set higher, the effect is obtained even with a weak picking.

Rise Time

This adjusts the time needed for the volume to reach its maximum from the moment you begin picking.

Chapter 4 Introduction to Effects and Parameters

DF (Defretter)

This simulates a fretless guitar.

Parameter Value

Tone -50–+50 Sens 0–100 Attack 0–100 Depth 0–100 Resonance 0–100 Effect Level 0–100 Direct Level 0–100

Tone

Adjusts the amount of blurring between the notes.

Sens (Sensitivity)

This controls the input sensitivity of the defretter.

Attack

Adjusts the attack of the picking sound.

Depth

This controls the rate of the harmonics.

Resonance

Adds a characteristically resonant quality to the sound.

Effect Level

Adjust the volume of the defretter sound.

Direct Level

Adjust the volume of the direct sound.

RM (Ring Modulator)

This creates a bell-like sound by ring-modulating the guitar sound with the signal from the internal oscillator. The sound will be unmusical and lack distinctive pitches.

Parameter Value

Mode Normal, Intelligent Freq 0–100 Effect Level 0–100 Direct Level 0–100

Mode

This selects the mode for the ring modulator.

Normal:

This is a normal ring modulator.

Intelligent:

By ring-modulating the input signal, a bell like sound is created. The intelligent ring modulator changes the oscillation frequency according to the pitch of the input sound and therefore produces a sound with the sense of pitch, which is quite different from “Normal.” This effect does not give a satisfactory result if the pitch of the guitar sound is not correctly detected. So, you must use single notes, not chords.

Freq (Frequency)

This adjusts the frequency of the internal oscillator.

Effect Level

This adjusts the volume of the effect sound.

Direct Level

This adjusts the volume of the direct sound.

FB (Feedbacker)

This allows you to use feedback playing techniques.

* Note that the notes you want to apply feedback to must be

played singly and cleanly.

* You can use the foot switch to switch the effect on and off. For

more details, refer to “Setting the External Pedal Function for Individual Patches (Assign)” (p. 60).

Parameter Value

Mode OSC, Natural Rise Time 0–100 Mode= OSC Rise Time (▲) 0–100 Mode= OSC F.B.Level 0–100 F.B.Level (▲) 0–100 Mode= OSC

Vib Rate 0–100, BPM –BPM

Mode= OSC

Vib Depth 0–100 Mode= OSC

Mode

Select either oscillator “OSC” or natural “Natural.”

OSC (Oscillator):

An artificial feedback sound will be created internally.

* When OSC is selected, the effect is activated after a single note

is played and the note stabilizes. A feedback effect is created when the effect switches on; the feedback disappears when the OSC effect switches off.

Natural:

Analyzes the pitch of the guitar sound being input, and then creates a feedback sound.

Chapter 4 Introduction to Effects and Parameters

Rise Time

This determines the time needed for the volume of the feedback sound to reach its maximum from the moment the effect is turned on.

Rise Time (▲)

This determines the time needed for the volume of the one octave higher feedback sound to reach its maximum from the moment the effect is turned on.

F.B.Level (Feedback Level)

Adjusts the volume of the feedback sound.

F.B.Level (▲)

This adjusts the volume of the one octave higher feedback sound.

Vib Rate (Vibrato Rate)

This adjusts the rate of the vibrato when the feedbacker is on.

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

FX-2

With FX-2, you can select the effect to be used from the following.

• PHASER

• FLANGER

• HARMONIST

• PITCH SHIFT (Pitch Shifter)

• OCTAVE

• PEDAL BEND

• 2x2 CHORUS

• PAN

• VIBRATO

• UNI-V

• ROTARY

• SHORT DELAY

• HUMANIZER

• SLICER

• AUTO RIFF

• GUITAR SYNTH

• BASS SIM. (Bass Simulator)

Section 4

Vib Depth (Vibrato Depth)

This adjusts the depth of the vibrato when the feedbacker is on.

• STEREO EQ (Stereo Equalizer)

Parameter Value

On/Off Off, On FX Select PH, FL, HR, PS, OC, PB, 2CE,

PAN, VB, UV, RT, SDD, HU, SL,

AR, SYN, BS, SEQ

On/Off (Effect On/Off)

Switches the FX-2 effect on/off.

FX Select (Effect select)

This selects the effect to be used.

Chapter 4 Introduction to Effects and Parameters

PH (Phaser)

By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.

Parameter Value

Type 4 Stage, 8 Stage, 12 Stage,

Bi-Phase

Rate 0–100, BPM –BPM Depth 0–100 Manual 0–100 Resonance 0–100

Step Rate Off, 0–100, BPM –BPM Effect Level 0–100 Direct Level 0–100

Type

Selects the number of stages that the phaser effect will use.

4 Stage

8 Stage

12 Stage

Bi-Phase

Rate

This sets the rate of the phaser effect.

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

Depth

Determines the depth of the phaser effect.

Manual

Adjusts the center frequency of the phaser effect.

Resonance

Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.

This is a four-phase effect. A light phaser effect is obtained.

This is an eight-phase effect. It is a popular phaser effect.

This is a twelve-phase effect. A deep phase effect is obtained.

This is the phaser with two phase shift circuits connected in series.

Step Rate

This sets the cycle of the step function that changes the rate and depth. When it is set to a higher value, the change will be finer.

Set this to “Off” when not using the Step function.

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

Effect Level

This adjusts the volume of the phaser.

Direct Level

This adjusts the volume of the direct sound.

FL (Flanger)

The flanging effect gives a twisting, jet-airplane-like character to the sound.

Parameter Value

Rate 0–100, BPM –BPM Depth 0–100 Manual 0–100 Resonance 0–100 Separation 0–100 Low Cut Flat, 55.0 Hz–800 Hz Effect Level 0–100 Direct Level 0–100

Rate

This sets the rate of the flanging effect.

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

Depth

Determines the depth of the flanging effect.

Manual

Adjusts the center frequency at which to apply the effect.

Chapter 4 Introduction to Effects and Parameters

Resonance

Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.

Separation

Adjusts the diffusion. The diffusion increases as the value increases.

Low Cut (Low Cut Filter)

When “Flat” is selected, the low cut filter will have no effect.

Effect Level

This adjusts the volume of the flanger.

Direct Level

This adjusts the volume of the direct sound.

HR (Harmonist)

“Harmonist” is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmonics based on diatonic scales.

* Because of the need to analyze the pitch, chords (two or more

sounds played simultaneously) cannot be played.

Parameter Value

Voice 1-Voice, 2-Mono, 2-Stereo Harm -2oct–+2oct, Scale1–Scale29

PreDly 0 ms–300 ms, BPM –BPM Feedback 0–100 Level 0–100 Key C (Am)–B (G#m) Direct Level 0–100

2-Stereo:

Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.

Harm (Harmony)

This determines the pitch of the sound added to the input sound, when you are making a harmony. It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set to “Scale 1–Scale29,” this parameter sets the user scale number to be used.

PreDly (Pre Delay)

Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally you can leave this set at “0ms.”

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

Feedback

This adjusts the feedback amount of the harmonist sound.

Level

This adjusts the volume.

Key

Specify the key of the song you are playing. By specifying the key, you can create harmonies that fit the key of the song. The key setting corresponds to the key of the song (#, follows.

fig.04-020

) as

Section 4

(User Scale) User 1–29 DIR C–B EFF C–B (±2 octave)

Voice

This selects the number of voices for the pitch shift sound (harmony).

1-Voice:

One-voice pitch-shifted sound output in monaural.

2-Mono:

Two-voice pitch-shifted sound (HR1, HR2) output in monaural.

Direct Level

This adjusts the volume of the direct sound.

Chapter 4 Introduction to Effects and Parameters

Creating Harmonist Scales (User Scale)

When “Harmony” is set to any value from -2oct to +2oct, and the harmony does not sound the way you intend, use a “User scale.”

You can set any of 29 different “User scales.”

1. Press [FX-2], then press PARAMETER [ ] [ ] so

that “FX Select” is displayed.

2. Rotate the PATCH/VALUE dial to select “HR.”

3. Press PARAMETER [ ] [ ] to select “HR1

Harm” (or “HR2 Harm”), then rotate the PATCH/ VALUE dial to select a setting from “Scale 1–29.”

4. Press PARAMETER [ ] a number of times so that

the User scale settings screen is displayed.

fig.04-030d

5. Press PARAMETER [ ] [ ] to move the cursor,

then rotate the PATCH/VALUE dial to set the User scale.

User:

You can change the number of the user scale.

DIR (Direct):

Sets the note name of the input sound. You can also play

individual notes on the guitar and let the GS-10 interpret

the note name.

EFF (Effect):

Sets the note name of the output sound.

The triangle next to the note name indicates the octave.

One downward-pointing triangle indicates a note one

octave below the note displayed; two triangles indicates

a two-octave drop.

One upward-pointing triangle indicates a note one

octave above the note displayed; two triangles indicates

a two-octave rise.

PS (Pitch Shifter)

This effect changes the pitch of the original sound (up or down) within a range of two octaves.

Parameter Value

Voice 1-Voice, 2-Mono, 2-Stereo Mode Fast, Medium, Slow, Mono Pitch -24 –+24 Fine -50–+50

PreDly 0 ms–300 ms, BPM –BPM Feedback 0–100 Level 0–100 Direct Level 0–100

Voice

This selects the number of voices for the pitch shift sound.

1-Voice:

One-voice pitch-shifted sound output in monaural.

2-Mono:

Two-voice pitch-shifted sound (PS1, PS2) output in monaural.

2-Stereo:

Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels.

Mode

Selection for the pitch shifter mode.

Fast, Medium, Slow:

A chord can be input with a normal pitch shifter. The response is slower in the order of Fast, Medium and Slow, but the modulation is lessened in the same order.

Mono:

This mode is used for inputting single notes.

Use this setting when you want to achieve a pedal bend effect with an external expression pedal.

Pitch

Adjusts the amount of pitch shift (the amount of pitch change) in semitone steps.

Fine

Make fine adjustments to the pitch shift.

* The amount of the change in the Fine “100” is equivalent to

that of the Pitch “1.”

PreDly (Pre Delay)

Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at “0ms.”

Chapter 4 Introduction to Effects and Parameters

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

Feedback

This adjusts the feedback amount of the pitch shift sound.

Level

Adjusts the volume.

Direct Level

This adjusts the volume of the direct sound.

OC (Octave)

This adds a note one octave lower, creating a richer sound.

Parameter Value

Range Range 1–Range 4 Octave Level 0–100 Direct Level 0–100

PB (Pedal Bend)

This lets you use the pedal to get a pitch bend effect. The expression pedal automatically switches to the pedal bend function when PB is selected.

“Setting the External Expression Pedal Functions (Expression

Pedal Function)” (p. 58).

Parameter Value

Pitch Min -24–+24 Pitch Max -24–+24 Pdl Position 0–100 Effect Level 0–100 Direct Level 0–100

Section 4

Pitch Min

This sets the pitch at the point where the expression pedal is fully lifted.

Pitch Max

This sets the pitch at the point where the expression pedal is all the way down.

Pdl Position (Pedal Position)

This adjusts the pedal position for pedal bend.

Range

This selects the pitch range for the input sound to which you want to add the effects.

The range to which the affect is applied changes with the Input Select (p. 19) value.

Guitar Input Select

Range 1

Range 2

Range 3

Range 4

Microphone

USB (Gtr/Mic)

AUX

7th string, open (B) to

1st string, 24th fret (E)

7th string, open (B) to

1st string, 12th fret (E)

7th string, open (B) to

1st string, open (E)

7th string, open (B) to

4th string, 2nd fret (E)

Bass USB

Low B, open (B) to High C, 24th fret (C)

Low B, open (B) to 1st string, 19th fret (C)

Low B, open (B) to 1st string, 9th fret (E)

Low B, open (B) to 2nd string, 2nd fret (E)

Octave Level

This adjusts the volume of the sound one octave below.

Direct Level

Adjusts the volume of the direct sound.

Effect Level

This adjusts the volume of the pitch bend sound.

Direct Level

Adjusts the volume of the direct sound.

2CE (2x2 Chorus)

Two separate stereo chorus units are used for the lowfrequency and high-frequency ranges in order to create a more natural chorus sound.

Parameter Value

Xover f 100 Hz–4.00 kHz

Lo Rate 0–100, BPM –BPM Lo Depth 0–100 Lo PreDly 0.0 msec–40.0 msec Lo Level 0–100

Hi Rate 0–100, BPM –BPM Hi Depth 0–100 Hi PreDly 0.0 msec–40.0 msec Hi Level 0–100

Chapter 4 Introduction to Effects and Parameters

Xover f (Crossover Frequency)

This parameter sets the frequency at which the frequency components of the direct sound are divided into bass and treble bands.

Lo Rate (Low Rate)

Adjust the speed of the chorus effect for the low frequency range.

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

Lo Depth (Low Depth)

Adjust the depth of the chorus effect for the low frequency range. If you wish to use this as a doubling effect, use a setting of “0.”

Lo PreDly (Low Pre Delay)

Adjust the time from when the low frequency range direct sound is output until the effect sound is output. Extending the pre-delay will produce the sensation of multiple sounds (doubling effect).

Lo Level (Low Level)

Adjust the volume of the low frequency range.

Hi Rate (High Rate)

Adjust the speed of the chorus effect for the high frequency range.

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

Hi Level (High Level)

Adjust the volume of the high frequency range.

PAN

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

Parameter Value

Wave Shape 0–100

Rate 0–100, BPM –BPM Depth 0–100

Wave Shape

This adjusts changes in volume level.

Rate

Adjusts the frequency (speed) of the change.

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

Depth

Adjusts the depth of the effect.

VB (Vibrato)

This effect creates vibrato by slightly modulating the pitch.

Parameter Value

Rate 0–100, BPM –BPM Depth 0–100 Trigger Off, On Rise Time 0–100

Hi Depth (High Depth)

Adjust the depth of the chorus effect for the high frequency range. If you wish to use this as a doubling effect, use a setting of “0.”

Hi PreDly (High Pre Delay)

Adjust the time from when the high frequency range direct sound is output until the effect sound is output. Extending the pre-delay will produce the sensation of multiple sounds (doubling effect).

Rate

This adjusts the rate of the vibrato.

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

Chapter 4 Introduction to Effects and Parameters

Depth

This adjusts the depth of the vibrato.

Trigger

This selects on/off of the vibrato.

* It is assumed that this parameter will be assigned (p. 60) to the

foot switch.

Rise Time

This sets the time passing from the moment the trigger is turned on until the set vibrato is obtained.

UV (Uni-V)

Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.

Parameter Value

Rate 0–100, BPM –BPM Depth 0–100 Level 0–100

Rate

Adjusts the rate of the Uni-V effect.

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

Depth

Adjusts the depth of the Uni-V effect.

Level

Adjusts the volume.

RT (Rotary)

This produces an effect like the sound of a rotary speaker.

Parameter Value

Speed Sel Slow, Fast

Rate (Slow) 0–100, BPM –BPM

Rate (Fast) 0–100, BPM –BPM Rise Time 0–100 Fall Time 0–100 Depth 0–100

Speed Sel (Speed Select)

This parameter changes the simulated speaker’s rotating speed (Slow or Fast).

Rate (Slow)

This parameter adjusts the speed of rotation when set to “Slow.”

Rate (Fast)

This parameter adjusts the speed of rotation when set to “Fast.”

* When the Rate (Slow) or Rate (Fast) set to BPM, the value of

each parameter will be set according to the value of the Master BPM (p. 54) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased). When setting to BPM, press PARAMETER [ ] to display the Master BPM settings screen.

Rise Time

This parameter adjusts the time it takes for the rotation speed to change when switched from “Slow” to “Fast.”

Fall Time

This parameter adjusts the time it takes for the rotation speed to change when switched from “Fast” to “Slow.”

Section 4

Depth

This parameter adjusts the amount of depth in the rotary effect.

Chapter 4 Introduction to Effects and Parameters

SDD (Short Delay)

This is a delay with the maximum delay time of 400 ms. This effect is useful for making the sound fatter.

Parameter Value

DlyTime 0 ms–400 ms, BPM –BPM Feedback 0–100 Effect Level 0–120

DlyTime (Delay Time)

Adjusts the delay time.

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

Feedback

Feedback refers to returning the delayed signal back into the input of the delay. This parameter adjusts the volume that is returned to the input. Higher settings will result in more delay repeats.

Auto:

By adjusting the rate and depth, two vowels (Vowel 1 and Vowel 2) can be switched automatically.

Random:

Five vowels (a, e, i, o, u) are called out at random by adjusting the rate and depth.

Vowel 1

This selects the first vowel.

fig.04-040d

Vowel 1 Vowel 2

Vowel 2

This selects the second vowel.

Sens (Sensitivity)

This adjusts the sensitivity of the humanizer. When it is set to a lower value, no effect of the humanizer is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the humanizer can be obtained whether the picking is weak or strong.

Rate

This adjusts the cycle for changing the two vowels.

Effect Level

Adjusts the volume of delay sound.

HU (Humanizer)

This can create human vowel-like sounds.

Parameter Value

Mode Picking, Auto, Random Vowel 1 a, e, i, o, u Mode= Picking,

Auto

Vowel 2 a, e, i, o, u Mode= Picking,

Auto

Sens 0–100 Mode= Picking

Rate 0–100, BPM –BPM Depth 0–100 Manual 0–100 Mode= Auto Level 0–100

Mode

This sets the mode that switches the vowels.

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

Depth

This adjusts the depth of the effect.

Manual

This determines the point where the two vowels are switched. When it is set to “50,” vowel 1 and vowel 2 are switched in the same length of time. When it is set to lower than “50,” the time for vowel 1 is shorter. When it is set to higher than “50,” the time for vowel 1 is longer.

Level

Adjusts the volume.

Picking:

It changes from vowel 1 to vowel 2 along with the picking. The time spent for the change is adjusted with the rate.

Chapter 4 Introduction to Effects and Parameters

SL (Slicer)

This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

Parameter Value

Pattern P1–P20

Rate 0–100, BPM –BPM Trigger Sens 0–100

Pattern

Select the slice pattern that will be used to cut the sound.

Rate

Adjust the rate at which the sound will be cut.

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

Trigger Sens (Trigger Sensitivity)

Adjust the sensitivity of triggering. With low settings of this parameter, softly picked notes will not retrigger the phrase (i.e., the phrase will continue playing), but strongly picked notes will retrigger the phrase so that it will playback from the beginning. With high settings of this parameter, the phrase will be retriggered even by softly picked notes.

AR (Auto Riff)

This allows you to automatically produce a phrase simply by picking a single note. This can be used to easily play extremely rapid phrases.

* Reception of large amounts of MIDI data while Auto Riff is

playing may result in disturbances in the sound.

Parameter Value

Phrase Preset1–Preset30,

User1–User10

Loop Off, On

Tempo 0–100, BPM –BPM Sens 0–100 Key C (Am)–B (G#m)

Phrase = Preset Attack 0–100 Hold Off, On Effect Level 0–100 Direct Level 0–100

(User Phrase) User 1–10 IN C–B STEP 1–16 OUT C–B (±2 octave), -, end

Phrase

Select the phrase. User-programmed phrases are used when User 1–10 is selected.

Loop

If “Loop” is turned “On,” the phrase will be played back continuously.

Section 4

Tempo

Adjust the speed of the phrase.

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

Sens (Sensitivity)

No retriggering occurs when the value is set to “0.”

Chapter 4 Introduction to Effects and Parameters

Key

Select the key of the song that you wish to play.

Attack

Adjust the strength of the attack. By adding an attack to each note of the phrase you can produce a sensation as though the notes were being picked.

Hold

If you turn hold “On” after you pick a note, the effect sound will continue even after there is no input signal.

Effect Level

Adjust the volume of the phrase.

Direct Level

Adjust the volume of the direct sound.

Creating Original Phrases (User Phrase)

In addition to the 30 different prepared phrases, you can also create up to ten of your own original phrases (User phrases).

1. Press [FX-2], then press PARAMETER [ ] [ ] so

that “FX Select” is displayed.

2. Rotate the PATCH/VALUE dial to select “AR.”

3. Press [FX-2] a number of times to select “Phrase,” then

rotate the PATCH/VALUE dial to select “User 1–10.”

4. Press PARAMETER [ ] a number of times until you

have the User Phrase settings screen displayed.

fig.04-050d

5. Press PARAMETER [ ] [ ] to move the cursor,

then rotate the PATCH/VALUE dial to set the User phrase.

User:

specify the user phrase number.

IN:

Sets the note name of the input sound. You can also play

individual notes on the guitar and let the GS-10 judge

the note name.

STEP:

Sets the step of the phrase.

You can also play on the guitar and put the step forward.

OUT:

Specify the note name of the output sound.

The triangle next to the note name indicates the octave.

One downward-pointing triangle indicates a note one

octave below the note displayed; two triangles indicates

a two-octave drop.

One upward-pointing triangle indicates a note one

octave above the note displayed; two triangles indicates

a two-octave rise.

SYN (Guitar Synth)

This detects the pitch of an electric guitar and outputs a synthesizer sound.

* When you use a guitar synthesizer, observe the following

points.

• It does not work properly when a chord is played. Be

sure to mute all the other strings and play in a single

note.

• When you are to play the next string while a certain

sound is still playing, perfectly mute the previous sound

then play the next one with a clear attack.

• If the unit cannot detect the attack, it may not sound

correctly.

Parameter Value

Sens 0–100 Wave Square, Saw, Brass, Bow Chromatic Off, On Octave Shift 0, -1, -2 PWM Rate 0–100 Wave= Square PWM Depth 0–100 Wave= Square Cutoff Freq 0–100 Resonance 0–100 FLT.Sens 0–100 FLT.Decay 0–100 FLT.Depth -100 –100 Attack Decay, 0–100 Release 0–100 Velocity 0–100 Hold Off, On Synth Level 0–100 Direct Level 0–100

Sens (Sensitivity)

This adjusts the input sensitivity. The response of the internal sound source is better with a higher sensitivity value, but the malfunctions will be increased on the other hand. So, try to set it as high as possible without causing malfunction.

Wave= Square, Saw

Chapter 4 Introduction to Effects and Parameters

Wave

This selects a wave type that is the source of the guitar synthesizer.

Square:

The unit detects the pitch and attack information from the input guitar sound, then send the square waveform

() from the internal sound generator.

Saw:

The unit detects the pitch and attack information from the

input guitar sound, then send the saw waveform ( ) from the internal sound generator.

Brass:

The unit directly processes the input guitar sound and creates a guitar synthesizer sound. It gives a quick sound rise and send the sound with a sharp edge.

Bow:

The unit directly processes the input guitar sound and creates a guitar synthesizer sound. It outputs a soft sound without attack.

Chromatic

This switches on or off the chromatic function. When it is on, the pitch change of the synthesizer sound is in semitone steps. This does not respond to pitch changes less than a semitone, such as what might be obtained with bending or vibrato. Thus, this is effectively used for realistically playing musical instruments whose pitch will change in steps greater than a semitone, such as a keyboard.

* Use this parameter when “Square” or “Saw” is selected for

wave.

Cutoff Freq (Cutoff Frequency)

This adjusts the frequency where the harmonics contents of the sound are cut off.

Resonance

This adjusts how much of the harmonics contents around the cutoff frequency should be emphasized.

FLT.Sens (Filter Sensitivity)

This adjusts the sensitivity of the filter. When it is set to a lower value, the filter is affected only with stronger picking. When it is set higher, the filter changes even with weaker picking. When it is set to “0,” the depth of the filter will be the same no matter how the picking strength may be.

FLT.Decay (Filter Decay)

This sets the time needed for the filter to finish its sweep.

FLT.Depth (Filter Depth)

This adjusts the depth of the filter. When the value is higher, the filter will change more drastically. The polarity of the filter will be opposite with “+” and “-.”

Attack

This adjusts the time needed for a synthesizer sound to reach its maximum. When it is set to a lower value, the sound will rise quickly. When it is set higher, the sound will rise slowly. When it is set to “Decay,” the sound will rise quickly and turn to a Release status regardless of the input of the guitar sound.

* When “Brass” or “Bow” is selected for the wave, the attack

time will not be quicker from a certain level even if the attack is set to “Decay” or “0.”

Section 4

Octave Shift

This allows you to shift the pitch of the internal sound module in an octave step from the guitar sound.

* This parameter should be set when “Square” or “Saw” is

selected for the wave.

PWM Rate

This gives breadth or fatness to the sound by applying modulation to the waveform (only to Square) in the internal sound module. A higher value will quicken the rate of the modulation.

* This parameter should be set only when “Square” is selected

for the wave.

PWM Depth

This adjusts the depth of the PWM. When it is set to “0,” no PWM effect is obtained.

* This parameter should be set only when “Square” is selected

for the wave.

(Pulse Wise Modulation Rate)

(Pulse Wise Modulation Depth)

Release

This determines the time needed for the synthesizer sound to reach zero from the moment the input of the guitar sound is completed.

* When “Brass” or “Bow” is selected for the wave, the guitar

signal itself is processed. That is, the synthesizer sound will go down when the guitar signal goes down no matter how long the release may be set.

Chapter 4 Introduction to Effects and Parameters

Velocity

This adjusts the amount of the volume change of the synthesizer sound. When it is set to high, the volume change will be greater depending on the picking strength. When it is set to “0,” no volume change is caused even by changing the picking manner.

Hold

The hold function can sustain the output of the synthesizer sound. If you turn on the hold while a synthesizer sound is being output, the synthesizer sound will be held until you turn it off.

* It is assumed that this parameter will be assigned (p. 60) to the

foot switch.

* This parameter is used when “Square” or “Saw” is selected for

the wave.

Synth Level

Adjusts the volume of the synthesizer sound.

Direct Level

Adjusts the volume of the direct sound.

SEQ (Stereo Equalizer)

This adjusts the tone as a stereo equalizer. A parametric type is adopted for the high-middle and low-middle range.

Parameter Value

Low EQ -20 dB–+20 dB Lo-Mid f 20.0 Hz–10.0 kHz Lo-Mid Q 0.5–16 Lo-Mid EQ -20 dB–+20 dB Hi-Mid f 20.0 Hz–10.0 kHz Hi-Mid Q 0.5–16 Hi-Mid EQ -20 dB–+20 dB Hi EQ -20 dB–+20 dB Level -20 dB–+20 dB

Low EQ (Low Equalizer)

Adjusts the low frequency range tone.

Lo-Mid f (Low-Middle Frequency)

Specify the center of the frequency range that will be adjusted by the “Lo-Mid EQ.”

BS (Bass Simulator)

Simulates the sound of a bass guitar. Obtain the sound of a bass guitar while playing an electric guitar.

* You should avoid playing chords when using the Bass

Simulator.

Parameter Value

Character Loose, Tight Level 0–100

Character

Bass tone characteristic is set. When “Loose” is selected, the sound becomes as if the string gauge was getting thicker.

Level

This adjusts the volume of the bass simulator.

Lo-Mid Q (Low-Middle Q)

Adjusts the width of the area affected by the EQ centered at the “Lo-Mid f.” Higher values will narrow the area.

Lo-Mid EQ (Low-Middle Equalizer)

Adjusts the “Lo-Mid f” range tone.

Hi-Mid f (High-Middle Frequency)

Specify the center of the frequency range that will be adjusted by the “Hi-Mid EQ.”

Hi-Mid Q (High-Middle Q)

Adjusts the width of the area affected by the EQ centered at the “Hi-Mid f.” Higher values will narrow the area.

Hi-Mid EQ (High-Middle Equalizer)

Adjusts the “Hi-Mid f” range tone.

High EQ (High Equalizer)

Adjusts the high frequency range tone.

Level

Adjusts the volume after the equalizer.

Chapter 4 Introduction to Effects and Parameters

NAME/NS/MASTER

You can select the following items in NAME/NS/MASTER.

• Name (Patch Name)

• Noise Suppressor

• Master

• Foot Volume

• Effect Chain

* With each press of [NAME/NS/MASTER], you move to the

next item that can be set, in this order: Name → Noise Suppressor → Master → Foot Volume → Effect Chain.

Name (Patch Name)

1. Press [NAME/NS/MASTER] so that the Name edit

screen appears in the display.

fig.04-060d

2. Press PARAMETER [ ] [ ] to move the cursor to

the text area you want to edit.

3. Rotate the PATCH/VALUE dial to change the

characters.

* You can use the following functions when changing text

characters.

CAPS: Switches the character at the cursor position

between upper and lower case.

INS: Inserts a blank space at the cursor position.

DEL: Deletes the character at the cursor position and

shifts the characters following it to the left.

Noise Suppressor

This effect reduces the noise and hum picked up by guitar pickups. Since it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound.

* Please connect the noise suppressor in the signal path prior to

the reverberation type effect. This setup will prevent an natural break of the reverberation type effect.

Parameter Value

On/Off Off, On Threshold 0–100 Release 0–100

Section 4

On/Off (Effect On/Off)

Turns the noise suppressor effect on/off.

This parameter can be set with the PATCH/VALUE dial.

* Even if [NAME/NS/MASTER] is pressed, you cannot switch

the noise suppressor on and off.

Threshold

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.

* High settings for the threshold parameter may result in there

being no sound when you play with your guitar volume turned down.

Release

Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”

4. If you want to edit names further, repeat Steps 2 and 3.

5. If you want to save the sequence you’ve set up, use the

Write procedure (p. 25) to save it to a User patch.

Press [EXIT] to return to the Play screen.

Chapter 4 Introduction to Effects and Parameters

Master

Parameter Value

Patch Level 0–200 Master BPM 40–250

Patch Level

This adjusts the output volume of the GS-10.

Master BPM

Adjust the BPM value for each patch.

* BPM (beats per minute) indicates the number of quarter note

beats that occur each minute.

* When you have an external MIDI device connected, the

Master BPM synchronizes to the external MIDI device’s tempo, making it impossible to set the Master BPM. To enable setting of the Master BPM, set “MIDI Sync Clock” (p. 69) to Internal.

Control with the Master BPM

To input the Master BPM with the foot switch, set “Assign” as follows.

Foot Volume

This is a volume control effect.

Usually, this is controlled to the expression pedal.

Parameter Value

Level 0–100

Level

Adjusts the volume.

Effect Chain

Here’s how you can change the order in which the effects are connected.

1. Press [NAME/NS/MASTER] until “Effect Chain”

appears in the display.

* With each press of [NAME/NS/MASTER], you move to the

next item that can be set, in this order: Name → Noise Suppressor → Master → Foot Volume → Effect Chain.

fig.04-070d

Quick Setting (p. 60)

P11: MSTR BPM TAP

Manual Settings (p. 61)

Set ASSIGN to ON and set the following as shown.

Target: Master BPM (Tap)

Target Min: Off

Target Max: On

Source: CTL 1 (or CTL 2)

Source Mode: Normal

Act.Range Lo: 0

Act.Range Hi: 127

* When controlling the Assigns with the foot switch, the

system parameter CTL 1 Func (or CTL 2 Func) must be set to “Assign 1-8” (p. 58, p. 59).

* Effects are shown in lowercase letters when turned off.

2. Use the PATCH/VALUE dial or PARAMETER [ ]

[] to move the cursor to the point where you want to have an effect inserted.

3. Press the On/Off button for the effect you want to

insert.

The selected effect is inserted at the cursor position.

* Use [ASSIGN] to assign Foot Volume.

4. If you want to change the sequence further, repeat

Steps 2 and 3.

5. If you want to save the sequence you’ve set up, use the

Write procedure (p. 25) to save it to a User patch.

Press [EXIT] to return to the Play screen.

Effects can be switched on and off even while making

the settings for the connection order. With effects

appearing to the left and right of the cursor, the ON/

OFF button corresponding to the effect can be pressed to

turn them on/off.

Chapter 5 Creating Original Effects Types (Customize)

With the GS-10’s Customize function, you can rely on your own sensibilities and create a totally new effect by tweaking the settings for the “Preamp/Speaker Simulator,” “Overdrive/Distortion,” and “Pedal Wah.” The result can then be saved on the GS-10 as “Custom” settings.

You can also use these custom settings in other patches.

Customizing the COSM Amps

You can make three different sets of settings, Custom 1, Custom 2, and Custom 3.

* The sound of any patch that uses Custom 1, 2, or 3 will be

altered if the custom settings are edited.

1. Press the PREAMP/SPEAKER On/Off switch to display

the PREAMP/SPEAKER effect screen.

Parameter Value

Type JC Clean, TW Clean, Crunch,

VO Lead, BG Lead,

MS1959 Stk, Modern Stk Bottom -50–+50 Edge -50–+50 Bass Freq -50–+50 Treble Freq -50–+50 Preamp Low -50–+50 Preamp High -50–+50

Type

Selects the basic type of preamp.

JC Clean This is the sound of the Roland JC-120. TW Clean This models a Fender Twin Reverb.

Crunch

VO Lead

BG Lead

MS1959 Stk

Modern Stk

This is a crunch sound that can produce natural distortion.

This models the drive sound of a VOX AC-30TB.

This models the lead sound of the MESA/Boogie combo amp.

This models the sound input to Input I on a Marshall 1959.

This models the rhythm channel of a MESA/Boogie Dual Rectifier.

Section 5

2. Press PARAMETER [ ] [ ] to call up the Type

parameter.

3. Rotate the PATCH/VALUE dial to call up “Custom 1,”

“Custom 2,” or “Custom 3.”

fig.05-010d

4. Press PARAMETER [ ] [ ] to show the custom

parameters.

fig.05-020d

5. Rotate the PATCH/VALUE dial to change the setting’s

value.

6. Repeat Steps 4 and 5 as needed.

7. Press [EXIT] to return to the Play screen.

Bottom

Adjusts the amount of distortion in the low frequencies.

Edge

Adjusts the amount of distortion in the high frequencies.

Bass Freq (Bass Frequency)

Adjusts the frequency affected by the BASS knob.

Treble Freq (Treble Frequency)

Adjusts the frequency affected by the TREBLE knob.

Preamp Low

Adjusts the preamp section’s low-frequency tone.

Preamp High

Adjusts the preamp section’s high-frequency tone.

Chapter 5 Creating Original Effects Types (Customize)

Customizing the Speakers

You can make three different sets of settings, Custom 1 and Custom 2.

* The sound of any patch that uses Custom 1 or 2 will be altered

if the custom settings are edited.

1. Press the PREAMP/SPEAKER On/Off switch to display

the PREAMP/SPEAKER effect screen.

2. Press PARAMETER [ ] [ ] to call up the SP

Type parameter.

3. Rotate the PATCH/VALUE dial to call up “Custom 1”

or “Custom 2.”

fig.05-030d

4. Press PARAMETER [ ] [ ] to show the custom

parameters.

fig.05-040d

Close:

This type of cabinet features an enclosed rear panel.

Customizing Overdrive and Distortion

You can make three different sets of settings, Custom 1, Custom 2, and Custom 3.

* The sound of any patch that uses Custom 1, 2, or 3 will be

altered if the custom settings are edited.

1. Press the OD/DS On/Off switch to display the OD/DS

effect screen.

2. Press PARAMETER [ ] [ ] to call up the Type

parameter.

3. Rotate the PATCH/VALUE dial to call up “Custom 1,”

“Custom 2,” or “Custom 3.”

fig.05-050d

5. Rotate the PATCH/VALUE dial to change the setting’s

value.

6. Repeat Steps 4 and 5 as needed.

7. Press [EXIT] to return to the Play screen.

Parameter Value

Speaker Size 5”–15” Color Low -10–+10 Color High -10–+10 Speaker Num x1, x2, x4, x8 Cabinet Open, Close

Speaker Size

Selects the size of speaker.

Color Low

Adjusts the speaker section’s low-frequency tone.

Color High

Adjusts the speaker section’s high-frequency tone.

4. Press PARAMETER [ ] [ ] to show the custom

parameters.

fig.05-060d

5. Rotate the PATCH/VALUE dial to change the setting’s

value.

6. Repeat Steps 4 and 5 as needed.

7. Press [EXIT] to return to the Play screen.

Parameter Value

Type OD-1, OD-2, CRUNCH, DS-1,

DS-2, METAL-1, METAL-2,

FUZZ Bottom -50–+50 Top -50–+50 Low -50–+50 High -50–+50

Speaker Num (Speaker Number)

Sets the number of speakers.

Cabinet

Selects the speaker cabinet type.

Open:

This is an open-backed cabinet.

Chapter 5 Creating Original Effects Types (Customize)

Type

Selects the basic type of overdrive/distortion.

OD-1 This is the sound of the BOSS OD-1. OD-2 This is the sound of the BOSS OD-2. CRUNCH This is a crunch sound of the BOSS BD-2.

DS-1

DS-2 This creates a heavier distortion sound. METAL-1 This is the sound of the BOSS MT-2. METAL-2 This gives a heavy metal sound. FUZZ This models a FUZZFACE.

This gives a basic, traditional distortion sound.

Bottom

Adjusts the amount of distortion in the low frequencies.

Top

Adjusts the amount of distortion in the high frequencies.

Low

Adjusts low-frequency tone.

High

Adjusts the high-frequency tone.

Customizing Pedal Wah

You can make three different sets of settings, Custom 1, Custom 2, and Custom 3.

5. Press PARAMETER [ ] [ ] to show the custom

parameters.

fig.05-080d

6. Rotate the PATCH/VALUE dial to change the setting’s

value.

7. Repeat Steps 4 and 5 as needed.

8. Press [EXIT] to return to the Play screen.

Parameter value

Type CRY WAH, VO WAH, Fat WAH,

Light WAH, 7String WAH Q -50–+50 Range Low -50–+50 Range High -50–+50 Presence -50–+50

Type

Selects the basic type of wah.

CRY WAH

VO WAH This models the sound of the VOX V846. Fat WAH This a wah sound featuring a bold tone. Light WAH This wah has a refined smooth sound.

7String WAH

This models the sound of the CRY BABY wah pedal popular in the `70s.

Wah featuring a broader range of variations for the seven-string guitar.

Section 5

* The sound of any patch that uses Custom 1, 2, or 3 will be

altered if the custom settings are edited.

1. Press the FX-1 On/Off switch to display the FX-1 effect

screen.

2. Press PARAMETER [ ] [ ] to call up the “FX

Select” parameter, then select “PW” with the PATCH/ VALUE dial.

3. Press PARAMETER [ ] [ ] to call up the “Type”

parameter.

4. Rotate the PATCH/VALUE dial to call up “Custom 1,”

“Custom 2,” or “Custom 3.”

fig.05-070d

Adjusts the amount of characteristic effect applied to the wah tone.

Range Low

Selects the tone produced when the pedal is back.

Range High

Selects the tone produced when the pedal is forward.

Presence

Adjusts the tonal quality of the wah effect.

Chapter 6 Setting the External Pedal Functions

This section describes the settings required to use an expression pedal or foot switch connected to the EXP PEDAL/CTL1,2 jack on the rear panel.

If you want the external pedal to have the same function at all times

In situations such as when you want to use the expression pedal only as a volume pedal, you can set the external pedal function as a global setting common to the GS-10 overall.

“Expression Pedal Function” (refer to right)

“Control 1, 2 Function” (p. 59)

If you want the external pedal function to change with the patch

If you want the external pedal to function differently depending on the patch, perhaps using the expression pedal to change the volume in one patch, but using it to adjust the amount of overdrive distortion in another patch, then use the “Assign” settings.

In each patch you can set up to eight different types (Assign numbers) determining which parameter is to be controlled by a particular controller.

In addition, you can use the “Assign” function to set controllers using Control Change messages from external MIDI devices.

“Assign” (p. 60)

When using an expression pedal or foot switch with the “Assign” settings, set the Expression pedal Function or Control 1 or 2 Function setting to “Assign 1-8.”

Setting the External Expression Pedal Functions (Expression Pedal Function)

fig.06-001

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “EXP PDL Func” is displayed.

fig.07-110d

2. Rotate the PATCH/VALUE dial to set the expression

pedal function.

Auto:

Normally used as a “foot volume” pedal. When Pedal Wah (p. 36) or Pedal Bend (p. 45) is switched on, the expression pedal automatically switches to the “pedal wah” or “pedal bend” function.

When Pedal Wah and Pedal Bend are switched off, the pedal automatically operates as a “foot volume” pedal.

Assign 1-8:

Used as the controller set in the Assign (p. 60) for each patch.

Foot Volume:

Used as a “foot volume” pedal.

Patch Level:

Used as a patch level controller.

Pedal Wah:

Used as a “pedal wah” when Pedal Wah is on.

Pedal Bend:

Used as a “pedal bend” when Pedal Bend is on.

3. Press [EXIT] to return to the Play screen.

Chapter 6 Setting the External Pedal Functions

Setting the External Foot Switch Functions (Control 1, 2 Function)

* When connecting two foot switches using the special optional

Roland PCS-31 connector cord, the foot switch connected with the white-banded plug functions according to the Control 1 function settings, and the foot switch connected with the redbanded plug functions according to the Control 2 function settings.

* When you have only one foot switch connected, the Control 1

function settings are used.

fig.06-002

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “CTL 1 Func” or “CTL 2 Func” is displayed.

fig.07-120d

Direct Patch Up:

The direct patch (p. 18) number increases by 1 each time the foot switch is pressed.

Direct Patch Down:

The direct patch (p. 18) number decreases by 1 each time the foot switch is pressed.

Patch Up:

The patch (p. 18) number increases by 1 each time the foot switch is pressed.

Patch Down:

The patch (p. 18) number decreases by 1 each time the foot switch is pressed.

Patch Level Inc1:

The patch level (p. 54) value increases by 10 each time the foot switch is pressed.

Patch Level Inc2:

The patch level (p. 54) value increases by 20 each time the foot switch is pressed.

Patch Level Dec1:

The patch level (p. 54) value decreases by 10 each time the foot switch is pressed.

Patch Level Dec2:

The patch level (p. 54) value decreases by 20 each time the foot switch is pressed.

3. Press [EXIT] to return to the Play screen.

Section 6

2. Rotate the PATCH/VALUE dial to set the foot switch

function.

Assign 1-8:

The controller set in each patch’s Assign (p. 60) is used.

Tuner On/Off:

The foot switch is used as a tuner On/Off switch.

Use a momentary-type foot switch (such as the optional FS-5U).

Remote Strt/Stop:

Used as a foot switch for use in starting and stopping a computer or a recorder, sequencer, or other MIDIconnected device.

For more on the settings for the device being run, refer to “Controlling Recorders and Sequencers Remotely from the GS-10 (Remote Control)” (p. 75).

Chapter 6 Setting the External Pedal Functions

Setting the External Pedal Function

5. Turn the PATCH/VALUE dial to select the Preset

for Individual Patches (Assign)

6. To use the Quick Settings with other Assigns, repeat

There are two ways to set the assignments, “Quick Settings,” which allows you to use [QUICK FX] to complete the settings quickly and easily, and “Manual Settings,” where each parameter is set one at a time.

7. To save the settings, use the Write procedure (p. 25).

Quick Settings

When you use [QUICK FX] to select prepared settings (Preset settings), the relevant parameters are then instantly set to their optimal values. This lets you finish making the settings simply, instead of setting each individual parameter separately.

fig.06-010

1,3 4

1. Press [ASSIGN].

2. Press PARAMETER [ ] [ ] to select one of the

Assigns from Assign 1–8.

3. Press [ASSIGN] to set the selected Assign to “On.”

Each time [ASSIGN] is pressed it alternately switches this on and off. “ASSIGN” flashes in the display when the Assign is switched off.

* Always set any Assign to “Off” when it is not being used.

4. Press [QUICK FX].

The Preset settings selection screen appears in the display.

fig.06-011d

Preset Settings

P01 PEDAL WAH

P02 PEDAL BEND

P03 FOOT VOLUME

P04 COMP ON/OFF

P05 OD/DS ON/OFF

P06 DELAY ON/OFF

P07

P08 FX-1 ON/OFF

P09 FX-2 ON/OFF

P10 DLY TIME TAP

P11 MSTR BPM TAP

P12 CH SEL INC

* The foot switch function is enabled for the foot switch

settings.

Steps 2–5.

Even when using this procedure, the settings selected in Step 5 are maintained as is and carried over to the Quick Settings for the next effect.

Press [EXIT] to return to the Play screen.

The expression pedal functions as a wah pedal.

The expression pedal is used for pedal bend.

The expression pedal functions as a volume pedal.

The compressor is switched on and off with the foot switch.

The overdrive/distortion is switched on and off with the foot switch.

The delay is switched on and off with the foot switch.

CHRUS ON/OFF

connected to CTL 1.

The chorus is switched on and off with the foot switch.

FX-1 is switched on and off with the foot switch.

FX-2 is switched on and off with the foot switch.

The foot switch is used for tap input of the delay time.

The foot switch is used for tap input of the Master BPM.

The foot switch is used for switching the preamp/speaker channel select (A → B → C → A → ...).

* The following appears when the Quick Settings are changed

through editing of parameters immediately after the patches are changed.

fig.06-012d

Chapter 6 Setting the External Pedal Functions

Manual Settings

Here, you can individually determine which controller is to control which parameter.

fig.06-013

5 2,4

1,3

1. Press [ASSIGN].

2. Press PARAMETER [ ] [ ] to select one of the

Assigns from Assign 1–8.

3. Press [ASSIGN] to set the selected Assign to “On.”

Each time [ASSIGN] is pressed it alternately switches this on and off. “ASSIGN” flashes in the display when the Assign is switched on.

* Always set any Assign that is not going to be used to “Off.”

4. Press PARAMETER [ ] [ ] to display the

following screens.

fig.06-020d

Target

7. To use other Assigns, repeat Steps 2–6.

Even when using this procedure, the settings selected in Step 6 are maintained as is and carried over to the Quick Settings for the next effect.

8. To save the settings, use the Write procedure (p. 25).

Press [EXIT] to return to the Play screen.

Target

fig.06-040d

This sets the parameter to be affected. The parameters that you can select as the target are shown below.

Effect On/Off Effect’s Parameters

Switches on/off the effect indicated in the screen and controls the effect’s parameters.

MST: Patch Level

Controls the patch volume.

MST: Master BPM

Controls the Master BPM.

TUNER On/Off

Turns the tuner on and off.

Master BPM(Tap)

Controls the Master BPM using tap input.

Delay Time(Tap)

Controls the delay time using tap input.

Section 6

Target value range: Min

Target value range: Max

Source

Source Mode

Active Range Low

Active Range High

5. Rotate the PATCH/VALUE dial to change the setting’s

value.

6. Repeat Steps 4 and 5 as needed.

Remote Strt/Stop

Starts and stops the recorder, sequencer, or other such device connected to the GS-10.

Patch Level Inc1

Increases the patch volume level in increments of 10 units.

Patch Level Inc2

Increases the patch volume level in increments of 20 units.

Patch Level Dec1

Decreases the patch volume level in increments of 10 units.

Patch Level Dec2

Decreases the patch volume level in increments of 20 units.

CH Select Inc

Switches the preamp channel in the following order: A → B → C → A...

CH Select Dec

Switches the preamp channel in the following order: C → B → A → C...

Chapter 6 Setting the External Pedal Functions

maximum value

Target Max

minimum value

Target Min

When the pedal is fully advanced

When the pedal

is fully raised

Expression Pedal

Off

Target Max

Off

Target Min

When the pedal

is fully advanced

When the pedal

is fully raised

When the pedal

is advanced halfway

Expression Pedal

* Although you can set this so that the same target is controlled

by more than one controller, in such cases, make sure not to have different sources changing the parameter at the same time. Changing the parameter simultaneously using different sources may result in noise being generated.

Target Range

fig.06-050d

The value of the parameter selected as the target changes within the range defined by “Min” and “Max,” as set on the GS-10.

When using an external foot switch, or other controller that acts as an on/off switch, “Min” is selected with Off (CLOSED), and “Max” is selected with On (OPEN).

When using an external expression pedal or other controller that generates a consecutive change in the value, the value of the setting changes accordingly, within the range set by the minimum and maximum values.

Also, when the target is of an on/off type, the median value of the received data is used as the dividing line in determining whether to switch it on or off.

When using the foot switch:

fig.06-060

Amount of change in parameter value

maximum value

Target Max

When using the expression pedal:

fig.06-070

When controlling the On/Off target with the expression pedal:

fig.06-080

* The range that can be selected changes according to the target

setting.

* When the “minimum” is set to a higher value than the

“maximum,” the change in the parameter is reversed.

* The values of settings can change if the target is changed after

the “minimum” and “maximum” settings have been made. If you’ve changed the target, be sure to recheck the “minimum” and “maximum” settings.

minimum value

Target Min

Off

Release

Foot Switch

Depress

Chapter 6 Setting the External Pedal Functions

Source

fig.06-090d

This sets the controller (source) that affects the target parameter.

Controllers that can be selected as the source are shown below.

EXP PEDAL

Expression pedal connected to the EXP PEDAL/CTL 1, 2 jack.

CTL 1, CTL 2

Foot switch connected to the EXP PEDAL/CTL 1, 2 jack.

MIDI CC# 1–31, 64–95

Control Change messages from an external MIDI device (1– 31, 64–95)

Source Mode

fig.06-100d

Active Range

fig.06-110d

This sets the operational range within which the value of the setting changes when an expression pedal or other controller that changes the value consecutively is used as the source. If the controller is moved outside the operational range, the value does not change, it stops at “minimum” or “maximum.”

(Example) With Act. Range Lo: 40, Act. Range Hi: 80

fig.06-120

maximum value

Target

Max

This determines whether the control pedal will function as a momentary type switch (such as the optional FS-5U).

Normal

The normal state is Off (minimum value), with the switch On (maximum value) only while the foot switch is depressed.

Toggle

The setting is toggled On (maximum value) or Off (minimum value) with each press of the foot switch.

* Set this to “Normal” when a latch-type foot switch (such as

the optional FS-5L) is connected, or when selecting something other than a foot switch as the controller.

minimum value

Target

Min

fig.06-130

Off

0408060

Act.Range

04080

Act.RangeLoAct.Range

Off

Center

value

Act.Range Hi

127

* When using a foot switch or other on/off switching controller

as the source, leave these at “Lo: 0” and “Hi: 127.” With certain settings, the value may not change.

Section 6

Chapter 7 Convenient Functions and System Settings

Tuning the Guitar

When the Tuner is turned on, sounds input to the GS-10 are output directly as is (bypassed), and the tuner is activated.

Under these conditions you can then tune your guitar.

Turning the Tuner Function On

fig.07-010

Each time [TUNER] is pressed, the Tuner is switched on or off.

The [TUNER] button’s indicator lights when the function is on.

How to Tune

1. Play a single open note on the string being tuned.

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

* Only play a single note on the one string being tuned.

2. Tune the string until the string name appears in the

display.

7th 6th 5th 4th 3rd

Regular B E A D G B E 1/2 Step

Down 1 Step

Down

3. As you watch the Tuning Guide, adjust the guitar’s

tuning until “■” appears in the center.

4. Repeat Steps 1–3 until all of the strings are tuned.

* When tuning guitars equipped with a tremolo bar, when one

string is tuned, the others may end up being out of tune. In this case, tune to the pitch indicated by the initial note name, then tune the other strings again, repeatedly fine-tuning each string.

A# D# G# C# F# A# D#

A D G C F A D

2nd

1st

About the Display During Tuning

With the GS-10’s internal tuner, the note name is indicated in the upper row of the display and the Tuning Guide is shown in the lower row, indicating the difference between the input sound and the sound in the display.

fig.07-020d

Note Name

Tuning Guide

When the difference from the correct pitch falls within 50 cents, the Tuning Guide then indicates the size of that difference. As you watch the Tuning Guide, tune the guitar so that the “■” appears in the center.

fig.07-030

Too High

Tuned

Too Low

Changing the Tuner Settings

You can change the following tuner-related settings.

Changing the Reference Pitch (435–445 Hz)

fig.07-040d

The frequency of A4 (the middle A on a piano keyboard) played by an instrument (such as a piano) that provides the pitch to which the other instruments refer in tuning before a performance begins is called the reference pitch. You can set the reference pitch on the GS-10 from 435 to 445 Hz.

* This is set to 440 Hz when shipped from the factory.

Setting the Output Used During Tuning

fig.07-050d

This selects the output while Tuner is on.

Mute:

Sounds are muted, and no sound is output.

Chapter 7 Convenient Functions and System Settings

Bypass:

Sounds input to the GS-10 bypass the processing and are output directly as is.

* This is set to “Bypass” when shipped from the factory.

fig.07-060

5 1,5

1. Press [TUNER], causing the indicator to light.

2. Press PARAMETER [ ] [ ] until you have either

“Tuner Pitch” or “Tuner Output” displayed.

3. Rotate the VALUE dial to change the settings.

4. Repeat Steps 2 and 3 to change each parameter’s

settings.

5. Press [TUNER] or [EXIT] to return to the Play screen.

Adjusting the Display Contrast (LCD Contrast)

Depending on where the GS-10 is placed, the display may become difficult to read. If this occurs, adjust the display contrast.

1. Press [SYSTEM] a number of times until “LCD

Contrast” is displayed.

* You can also select this by pressing [SYSTEM], and then

pressing PARAMETER [ ] [ ].

fig.07-070d

2. Rotate the PATCH/VALUE dial to adjust the contrast.

Valid Settings: 1–16

3. Press [EXIT] to return to the Play screen.

Limiting the Patches That Can Be Switched (Patch Extent)

By setting an upper limit to the patches, thus limiting the range of patches that can be switched, you can set the GS-10 so that only the patches you need can be selected.

Switching Tuner On and Off with the External Pedal

You can use an external pedal (such as the FS-5U) connected to the EXP PEDAL CTL 1,2 jack to switch the tuner on and off.

Use the Assign (p. 60) settings to set the following to one of the Assigns in ASSIGN 1–8.

Target: TUNER On/Off

Target Min: On

Target Max: Off

Source: CTL1 (or CTL2)

Mode: Toggle

Act. Range Lo: 0

Act. Range Hi: 1–127

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “Patch Extent” is displayed.

fig.07-080d

Section 7

2. Rotate the PATCH/VALUE dial to set the upper limit

for the patches.

Valid Settings: U001–U100, P101–P200

3. Press [EXIT] to return to the Play screen.

Chapter 7 Convenient Functions and System Settings

Keeping the Same Pedal Operations When Switching Patches (Assign Hold)

This setting determines whether or not the Assign’s (p. 60) operational status is carried over to the next patch when patches are switched.

* Assign Hold does not function if the Assign Source mode is set

to Toggle (whereby the value is toggled between Min and Max each time the pedal is pressed).

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “Assign Hold” is displayed.

fig.07-090d

Setting the Knob Functions (Knob Mode)

This sets the way the values of settings are changed when the control knobs are turned.

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “Knob Mode” is displayed.

fig.07-100d

2. Rotate the PATCH/VALUE dial to set the Knob mode.

Immediate:

Turning the knobs immediately changes the values.

2. Rotate the PATCH/VALUE dial to set Expression Pedal

Hold.

Current Setting:

Values begin to change only once the knob position reaches the values set in the patch.

On: The Assign status is carried over.

(Example)

If a patch is switched while the volume is being controlled with the expression pedal, the volume of the subsequent patch will take on the value determined by the current pedal position (angle).

If the patch switched to has the expression pedal controlling the wah effect, then the volume assumes the value set in the patch, and the patch’s wah effect is given the value derived from the current pedal position (angle).

3. Press [EXIT] to return to the Play screen.

Off: The Assign status is not carried over.

(Example)

If a patch is switched while the volume is being controlled with an expression pedal, the volume of the subsequent patch is set to the value set in that patch.

If the expression pedal is operated, and that information is transmitted to the GS-10, the volume will change in accord with the pedal’s movement.

3. Press [EXIT] to return to the Play screen.

Chapter 7 Convenient Functions and System Settings

Checking the Effect Output Level with the Level Meter

You can meter the output level of each effect. This is handy for checking the effects’ output levels.

fig.07-130

1. Press [METER].

fig.07-140d

2. Rotate the PATCH/VALUE dial to select the effect

whose level you want to check.

* Effects are shown in lowercase letters when turned off.

* You can check the level of signals being input to the INPUT

jack by selecting “Input.” Selecting “Output” allows you to check the level of signals output from the GS-10.

* You may not be able to achieve the effects you envision if your

output levels are set too high. Adjust the output level of each of your effects to the optimum value while checking the meter and making sure the needle doesn’t swing too far to the right.

3. Press [EXIT] to return to the Play screen.

Section 7

Chapter 8 Using the GS-10 with External MIDI Devices Connected

Remotely Controlling the GS-10

The GS-10’s MIDI operations are altered when the GS-10 and the computer are connected via USB.

Also refer to “Chapter 9 Using USB to Connect a Computer” (p. 78) when making these connections.

Operations Using MIDI

You can perform the following operations using MIDI with the GS-10.

* The use of MIDI requires that the MIDI channels of the

connected devices match. If the MIDI channel settings are not correct, the GS-10 will be unable to exchange data with other MIDI devices.

Operating From the GS-10

Outputting Program Change Messages

When a patch is selected on the GS-10, a Program Change message corresponding to the patch number is transmitted simultaneously. The external MIDI device then switches its settings according to the Program Change message it receives.

fig.08-010

Using an External MIDI Device

Switching Patch Numbers

When the GS-10 receive Program Change messages from the external MIDI device, its patches are simultaneously switched.

You can set up the correspondence between MIDI Program

Change messages and the GS-10’s patches using the Program

Change Map (p. 73). You may need to work on these

correspondences when you want to line up some effects in

combination with other MIDI devices.

The connections shown in the figure below are for a sequencer automatically performing the backing as a guitar is being played. The patches are switched automatically when the program numbers corresponding to the patches are input along with the performance data at the points where you have determined the GS-10 patches are to be switched.

fig.08-020

MIDI IN

MIDI OUT

Outputting Control Change Messages

Data describing the actions of the external devices connected to the EXP PEDAL/CTL 1,2 jack are output as Control Change messages. Such messages can be used to (among other things) manipulate the parameters of an external MIDI device.

Transmitting Data

You can use Exclusive messages to transmit the settings for effect sounds and other content stored in the GS-10 to other MIDI devices. For example, you can provide another GS-10 with the same settings, and save effect sound settings to a sequencer or other device.

MIDI OUT

MIDI IN

Receiving Control Change Messages

You can control specified parameters during a performance by having the GS-10 receive Control Change messages.

Parameters to be controlled are set with Assign (p. 60).

Receiving Data

The GS-10 can receive data transmitted from another GS-10, as well as data that’s been stored on a sequencer.

Chapter 8 Using the GS-10 with External MIDI Devices Connected

Making the Settings for MIDI Functions

Here is a description of the GS-10’s MIDI functions. Set them as needed, depending on the intended use.

1. Press [SYSTEM] a number of times until the following

screen appears.

fig.08-030d

2. Press PARAMETER [ ] [ ] so that the

parameter that you want to set appears in the display.

3. Rotate the PATCH/VALUE dial to change the setting’s

value.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

RX Channel (Receive Channel)

Valid Settings: 1–16

fig.08-040d

TX Channel (Transmit Channel)

Valid Settings: 1–16, Rx

fig.08-060d

This sets the MIDI Transmit channel used for transmitting MIDI messages. When set to “Rx,” this MIDI channel is same as the MIDI Receive channel.

* This is set to “Rx” when shipped from the factory.

Device ID

Valid Settings: 1–32

fig.08-070d

This sets the Device ID used for transmitting and receiving Exclusive messages.

* This is set to “17” when shipped from the factory.

Sync Clock

Valid Settings: Auto, Internal

fig.08-080d

This sets the MIDI channel used for receiving MIDI messages.

* This is set to “1” when shipped from the factory.

Omni Mode

Valid Settings: Omni Off, Omni On

fig.08-050d

When set to “Omni On,” messages are received on all channels, regardless of the MIDI channel settings.

* Even when Omni Mode is set to ON, the only Exclusive

messages received are for Device ID data set with “Device ID.”

* This is set to “Omni On” when shipped from the factory.

You can synchronize the performance of a sequencer or other external MIDI device.

Auto:

When the MIDI Clock of the external MIDI device is not being received, the performance is synchronized to the tempo set in MASTER BPM; when the external MIDI device’s MIDI Clock is being received, the performance is synchronized to that.

Internal:

The performance is synchronized to the tempo set in Master BPM.

* This is set to “Auto” when shipped from the factory.

* When you have an external MIDI device connected, the

Master BPM is then synchronized to the external MIDI device’s tempo, thus disabling the Master BPM setting. To enable setting of the Master BPM, set to “Internal.”

* When synchronizing performances to the MIDI Clock signal

from an external MIDI device, timing problems in the performance may occur due to errors in the MIDI Clock.

Section 8

Chapter 8 Using the GS-10 with External MIDI Devices Connected

Remote Ctrl (Remote Control)

Valid Settings: Standard, Advanced, MMC

This setting determines the MIDI messages transmitted when a MIDI sequencer or other external MIDI device is controlled with a foot switch or other controller connected to the GS-10.

fig.08-090d

Standard:

System Realtime messages are transmitted.

Advanced:

System Realtime messages and Note messages are transmitted.

MMC:

MIDI Machine Control is transmitted.

* For more details, refer to “Controlling Recorders and

Sequencers Remotely from the GS-10 (Remote Control)” (p. 75).

* This is set to “Advanced” when shipped from the factory.

KnobCtl Out (Knob Control Out)

Valid Settings: Off, On

fig.08-100d

Off:

Program Change messages are not output, even when patches are switched.

On:

Program Change messages are simultaneously output when patches are switched.

* This is set to “On” when shipped from the factory.

EXP PDL Out (Expression Pedal Out)

Valid Settings: Off, 1–31, 33–95

fig.08-120d

This sets the controller number when expression pedal operation data is output as Control Change messages. When set to “Off, “Control Change messages are not output.

* This is set to “CC# 7” when shipped from the factory.

CTL1 Out (Control 1 Out)

Valid Settings: Off, 1–31, 33–95

fig.08-130d

This setting determines whether or not the information describing the knob adjustments is output as System Exclusive messages.

Off:

Knob operations are not output as System Exclusive messages.

On:

Knob operations are output as System Exclusive messages.

* This is set to “On” when shipped from the factory.

PC Out (Program Change Out)

Valid Settings: Off, On

fig.08-110d

This setting determines whether or not Program Change messages are output when patches are switched on the GS-

10.

This sets the controller number when operation data from the external pedal connected to the CTL 1 jack is output as Control Change messages. When set to “Off, “Control Change messages are not output.

* This is set to “Off” when shipped from the factory.

CTL2 Out (Control 2 Out)

Valid Settings: Off, 1–31, 33–95

fig.08-140d

This sets the controller number when operation data from the external pedal connected to the CTL 2 jack is output as Control Change messages. When set to “Off, “Control Change messages are not output.

* This is set to “Off” when shipped from the factory.

Chapter 8 Using the GS-10 with External MIDI Devices Connected

134

1,22

Transmitting and Receiving Settings Data

On the GS-10, you can use Exclusive messages to provide another GS-10 with identical settings, and save effect settings on a sequencer or other device.

Transmitting data this way is called “Bulk Dump,” while receiving such data is referred to as “Bulk Load.”

Transmitting Data to an External MIDI Device (Bulk Dump)

The following types of data can be transmitted. You can transmit data by specifying the range from the start to the end of transmission.

Displayed Data Transmitted

System Parameters, Harmonist scales,

System

U001–U100

Temp

Auto Riff phrases, and Preamp, Overdrive/Distortion, and Wah Custom Edit parameter settings

Settings for Patch Number U001 through U100

Settings for the patch the is currently called up

When Transmitting Data to Another GS-10

Connect as shown in the figure below, and match the Device ID for the transmitting and receiving devices.

fig.08-160

MIDI IN

MIDI OUT

Transmitting

fig.08-170

Making the Connections

When Saving to a MIDI Sequencer

Connect as shown in the figure below, and put the sequencer in the state where it is ready to receive Exclusive messages.

fig.08-150

MIDI IN

MIDI OUT

Section 8

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “MIDI:Bulk Dump” is displayed.

fig.08-170d

2. Press PARAMETER [ ] [ ] to move the cursor,

and rotate the PATCH/VALUE dial to select the start and end of the data to be transmitted.

* For instructions on operating the sequencer, refer to the

owner’s manual for the sequencer you are using.

3. When the data to be sent has been determined, press

[WRITE].

The data is transmitted.

Chapter 8 Using the GS-10 with External MIDI Devices Connected

fig.08-180d

When the transmission is completed, the screen prior to transmission returns to the display.

4. Press [EXIT] to return to the Play screen.

Receiving Data from an External MIDI Device (Bulk Load)

Making the Connections

When Receiving Data Saved on a MIDI Sequencer

Connect as shown below. Set the GS-10’s Device ID to the same number that was used when the data was transmitted to the MIDI sequencer.

fig.08-190

fig.08-210d

The following appears in the display when the GS-10 finishes receiving the data.

fig.08-220d

At this stage, even more data can be received.

3. Press [EXIT] to quit Bulk Load.

After you press [EXIT], the Play screen returns to the display.

MIDI OUT

MIDI IN

* For instructions on operating the sequencer, refer to the

owner’s manual for the sequencer you are using.

Receiving

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “MIDI:Bulk Load” is displayed.

fig.08-200d

2. Transmit the data from the external MIDI device.

The following appears in the display when the GS-10 receives the data.

Chapter 8 Using the GS-10 with External MIDI Devices Connected

1,423

Setting the Program Change Map

When switching patches using Program Change messages transmitted by an external MIDI device, you can freely set the correspondence between Program Change messages received by the GS-10 and the patches to be switched to in the “Program Change Map.”

Initial Program Change Map Settings

The Program Change Map set at the factory is shown below.

Program Change

Bank

Select

Program

Number

1 U001 2 U002 3 U003 : : : : 98 U098 99 U099 100 U100 101 U100 102 U100 : : 128 U100 1 P101 2 P102 3 P103 : : : : 98 P198 99 P199 100 P200 101 P200 102 P200 : : 128 P200

Patch Number

fig.08-230

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “MIDI:Map Select” is displayed.

fig.08-240d

2. Rotate the PATCH/VALUE dial to select “Program.”

* You cannot set the Program Change Map when “Fix” is

selected (it is not displayed).

* See below for more on “MID Map Select.”

3. Press PARAMETER [ ] until “MIDI:Program Map”

appears in the display.

fig.08-250d

Bank Select

Number

4. Press PARAMETER [ ] [ ] to move the cursor,

and rotate the PATCH/VALUE dial to set the received Program number and the corresponding patch number.

* Use this same procedure to select Bank Select Numbers.

* When using only Program Change messages to make program

changes, without using Bank Select messages, set the Program number (1-128) when the Bank Select number is “0.”

Program

Number

Patch

Number

Section 8

5. Repeat Step 4 as needed, setting patch numbers to their

corresponding Program numbers, until the Program Change Map is completed.

6. Press [EXIT] to return to the Play screen.

Chapter 8 Using the GS-10 with External MIDI Devices Connected

Enabling/Disabling the Program Change Map Settings (MIDI Map Select)

This setting determines whether patches are switched according to the Program Change Map settings, or to the default settings.

1. Press [SYSTEM], then press PARAMETER [ ]

[] so that “MIDI:Map Select” is displayed.

fig.08-260d

2. Rotate the PATCH/VALUE dial to select “Fix” or

“Prog.”

Changing Patch Numbers on an External MIDI Device From the GS-10

When patches are switched with the GS-10, a Program Change message is transmitted. The correspondence between the GS-10’s initial bank and patch numbers and the transmitted Program Change messages is shown in the table below.

Fix:

Switches to the patches according to the default settings.

For more on the default settings, refer to “Initial Program Change Map settings” (p. 73).

Prog:

Switches to the patches according to the Program Change Map.

3. Press [EXIT] to return to the Play screen.

Program Change

Patch Number

U001 U002 2 U003 3 : : : : U098 98 U099 99 U100 100 P101 P102 2 P103 3 : : : : P198 98 P199 99 P200 100

Bank

Select

Program

Number

Chapter 8 Using the GS-10 with External MIDI Devices Connected

Note# 00 On Note# 04 On Note# 00 OffNote# 04 Off

Note Messages for Assigning Functions: Note#04 (E -1)

Note Messages for Remote Control: Note#00 (C -1)

Controlling Recorders and Sequencers Remotely from the GS-10 (Remote Control)

If you have a MIDI-controllable recorder, sequencer, or other such external MIDI device connected to the GS-10, you can connect a foot switch to the EXP PEDAL CTL 1,2 jack and use it for remote control of the external MIDI device.

Setting the Messages Used for Controlling Devices

The GS-10 features three kinds of messages (MIDI messages) that are used for controlling external MIDI devices, and you can select messages in accordance with the connected device.

fig.08-270

Use the software to set the operations to be performed by means of these Note messages.

* Settings examples are given on p. 76 and p. 77. Please refer to

these examples.

STOP 90 00 00 90 02 01 90 02 00 90 00 00 FC START 90 00 00 90 04 01 90 04 00 90 00 00 FA

About Note Messages

When START is activated, the following messages are output.

fig.08-281

Messages are similarly output for Reset/Stop/Play/Rec.

The following shows the correspondence between the functions and the Note messages used in assigning them.

1. Press [SYSTEM] a number of times, then press

PARAMETER [ ] [ ] so that “MIDI:Remote Ctrl” is displayed.

fig.08-280d

2. Use the PATCH/VALUE dial to select the message

according to the connected external MIDI device.

When set to Standard

MIDI System messages are transmitted.

STOP FC START FA

When set to Advanced

Some computer applications allow recording and playback functions such as Start and Stop to be assigned to specified MIDI messages.

When this setting is selected, Note messages used in sending commands for remote control to the application and Note messages for assigning various functions are transmitted together with the Standard messages.

Note#

Reset 05 F -1 Stop 02 D -1 Play 04 E -1

Rec 07 G -1

* The note name (Key) may differ depending on the

application used and the settings; you may wish to refer to the relevant manual for details.

* Note messages are transmitted over the selected transmission

channel (p. 69).

Note Name (Key)

When set to MMC

MIDI Machine Control is transmitted.

STOP F0 7F 7F 06 01 F7 START F0 7F 7F 06 02 F7

3. Press [EXIT] to return to the Play screen.

Section 8

Chapter 8 Using the GS-10 with External MIDI Devices Connected

Controlling the Device Remotely

Making the Connections

Make the connections as shown below.

fig.08-280

MIDI IN

With the GS-10, you can control external MIDI devices by combining [EXIT] and DIRECT PATCH [1]–[4].

fig.08-300

Reset Play RecStop

The Reset, Stop, Play, and Rec functions are assigned to DIRECT PATCH [1]–[4]. When you press these buttons while holding down [EXIT], the messages corresponding to the MIDI: Remote Ctrl setting are transmitted.

MIDI OUT

* For more on the operation of the connected device, refer to the

owner’s manual for the device you are using.

EXP PEDAL / CTL 1,2

Setting

1. Follow the instructions in “Setting the Messages Used

for Controlling Devices” (p. 75) to set the messages that are to be used for remote control.

2. Press [SYSTEM] a number of times, then press

PARAMETER [ ] [ ] so that “SYS:CTL1 Func” (or “SYS:CTL2 Func”) is displayed.

fig.08-290d

When MIDI: Remote Ctrl is set to Standard

MIDI System messages are transmitted.

Reset No function Stop FC Play FA Rec No function

* Neither FA nor FC can be transmitted consecutively.

When MIDI: Remote Ctrl is set to Advanced

Some computer applications allow recording and playback functions such as Start and Stop to be assigned to specified MIDI messages.

When set to this setting, Note messages used in assigning functions are transmitted in addition to the Standard messages.

Use the software to set the operations to be performed by means of these Note messages.

Reset 90 00 01 90 05 01 90 05 00 90 00 00 Stop 90 00 01 90 02 01 90 02 00 90 00 00 FC Play 90 00 01 90 04 01 90 04 00 90 00 00 FA Rec 90 00 01 90 07 01 90 07 00 90 00 00

* If connecting only one foot switch, set the GS-10 so that

“SYS:CTL1 Func” is indicated; if connecting two foot switches, set the GS-10 so that “SYS:CTL1 Func” or “SYS:CTL2 Func” is indicated for the corresponding foot switch.

3. Rotate the PATCH/VALUE dial to select “Remote Strt/

Stop.”

* For more on “SYS:CTL1 Func” (or “SYS:CTL2 Func”), refer

to p. 59.

4. Press [EXIT] to return to the Play screen.

Each time the foot switch is pressed, it alternately sends Start and Stop.

* Neither FA nor FC can be transmitted consecutively.

* Note messages are transmitted over the selected

transmission channel (p. 69).

When set to MMC

MIDI Machine Control is transmitted.

Reset F0 7F 7F 06 44 06 01 00 00 00 00 00 F7 Stop F0 7F 7F 06 01 F7 Play F0 7F 7F 06 02 F7 Rec F0 7F 7F 06 06 F7

Chapter 8 Using the GS-10 with External MIDI Devices Connected

Settings Example: When Using SONAR 2.0

The following settings allow you to control the sequencer Play/Stop, Reset, and Record functions from the GS-10.

(With SONAR 2.0, these are set according to note names (Keys) rather than Note messages.)

1. From the Options menu, choose “MIDI Devices.”

2. In the “MIDI Devices” dialog box, select [BOSS GS-

10 Control] as both the Inputs and Outputs.

3. From the Options menu, choose “Key Bindings.”

4. Make the following settings in the “Key Bindings”

dialog box.

[Type of Keys]

Check “MIDI” and “Enable”

[MIDI ‘Shift’ Options]

Check “Key”, and input “C -1”

5. In the [Bindings] area, set [Key] to [D -1].

6. In the [Function] area, select [Transport | Stop].

7. Click the [Bind] button.

The [Key] [D -1] will be connected to the [Function] area [Transport | Stop].

8. In the [Bindings] area, set [Key] to [E -1].

9. In the [Function] area, select [Transport | Play].

10. Click the [Bind] button.

The [Key] [E -1] will be connected to the [Function] area [Transport | Play].

14. In the [Bindings] area, set [Key] to [G -1].

15. In the [Function] area, select [Transport | Record].

16. Click the [Bind] button.

The [Key] [G -1] will be connected to the [Function] area [Transport | Record].

Repeat Steps 5–16 so that the following settings are created.

Note # Key Function

Reset 05 F -1 Transport | Reset Stop 02 D -1 Transport | Stop Play 04 E -1 Transport | Play Rec 07 G -1 Transport | Record

17. Click the [OK] button to finish making settings.

The “Key Bindings” dialog box will close, and the settings will be completed.

11. In the [Bindings] area, set [Key] to [F -1].

12. In the [Function] area, select [Transport | Reset].

13. Click the [Bind] button.

The [Key] [F -1] will be connected to the [Function] area [Transport | Reset].

Section 8

Chapter 9 Using the GS-10 Connected to a Computer Via USB

Before Connecting with USB

With the GS-10, you can use USB to transmit both digital audio signals and MIDI messages between the GS-10 and your computer.

This requires installation of a USB driver on your computer so that it can work with the GS-10’s driver mode settings.

For instructions on installing the driver, please read “Installing & Setup the USB Driver” (p. 91).

fig.09-009

Computer

Setting USB-Related Functions

Adjusting the Recording Level (Output Level)

This adjusts the volume level of the digital audio output to the USB and DIGITAL OUT connectors.

1. Press [USB].

2. Press PARAMETER [ ] [ ] so that “Out Levl” is

displayed.

fig.09-010d

3. Rotate the PATCH/VALUE dial to set the output level.

4. Press [EXIT] to return to the Play screen.

Adjusting the Playback Volume Level (Input Level)

This adjusts the volume level of the digital audio input from the USB connector.

Driver Mode

The GS-10 features two operational modes, one mode that uses the special driver on the CD-ROM included with the GS-10 and another mode that uses the operating system’s (Windows/Mac OS) standard drivers.

The special driver provides high-quality sound and stable timing for audio recording, playback, and editing.

In addition, the driver enables you to control the GS-10 with MIDI messages and connect external MIDI devices to your computer.

1. Press [USB].

2. Press PARAMETER [ ] [ ] so that “Input

Level” is displayed.

fig.09-020d

3. Rotate the PATCH/VALUE dial to set the input level.

4. Press [EXIT] to return to the Play screen.

Chapter 9 Using the GS-10 Connected to a Computer Via USB

Enabling and Disabling the Direct Monitor Command

This setting determines whether or not the command (the Direct Monitor command) controlling the Direct Monitor (described later) setting is enabled.

1. Press [USB].

2. Press PARAMETER [ ] [ ] “Monitor Cmd” is

displayed.fig.

09-021d

3. Use the PATCH/VALUE dial to enable or disable the

command.

Disable:

The Direct Monitor command is disabled, maintaining the Direct Monitor mode set by the GS-10.

Enable:

The Direct Monitor command is enabled, allowing the Direct Monitor mode to be switched from an external device.

* This is set to “Disable” when shipped from the factory.

4. Press [EXIT] to return to the Play screen.

Switching the Output Signals (Direct Monitor)

Off:

Set this to Off if transmitting audio data internally through a computer (Thru).

* This is set to “On” when shipped from the factory.

* If you are using the special driver, you can control Direct

Monitor On/Off from ASIO 2.0-compatible application such as Cubase.

4. Press [EXIT] to return to the Play screen.

Setting the Output Mode

This selects whether the output is in stereo or if the effect sound and direct sound are output separately.

1. Press [USB].

2. Press PARAMETER [ ] [ ] so that “Output

Mode” is displayed.

fig.09-031d

3. Rotate the PATCH/VALUE dial to set the output mode.

Stereo (L/R):

Sounds are output in stereo.

Effect/Direct:

The effect sound and direct sound are output separately and independently.

* This is set to “Stereo (L/R)” when shipped from the factory.

This setting determines whether or not the effect sound is output by the GS-10’s speakers or at the PHONES, OUTPUT L/R, or GUITAR AMP OUT jacks.

1. Press [USB].

2. Press PARAMETER [ ] [ ] so that “Dir

Monitor” is displayed.

fig.09-030d

3. Rotate the PATCH/VALUE dial to set On or Off.

On:

The effect sound is output. Set this to On when using the GS-10 as a standalone device, without connecting to a computer (no sound will be output if this is set to Off).

4. Press [EXIT] to return to the Play screen.

Section 9

Chapter 9 Using the GS-10 Connected to a Computer Via USB

Switching the Driver Mode

After first installing both the special and standard drivers and then switching the GS-10’s driver mode, you can switch between the special driver and the standard driver to use the one you need.

For more on installing the drivers, refer to “Installing & Setup the USB Driver” (p. 91).

1. Press [USB].

2. Press PARAMETER [ ] [ ] so that “Driver

Mode” is displayed.

fig.09-040d

3. Rotate the PATCH/VALUE dial to set the driver mode.

Standard:

The standard OS USB driver is used in this mode.

Advanced:

The special driver on the included CD-ROM is used in this mode.

* This is set to “Advanced” when shipped from the factory.

4. Press [EXIT] to return to the Play screen.

* If the driver for the set mode has not yet been installed, at this

point you need to turn off the power to the GS-10 and install the driver.

5. Quit any sequencer software and any other computer

applications used by the GS-10.

6. Switch off the GS-10, then turn it on again.

The corresponding driver is installed on the computer.

MIDI in Standard Driver Mode

Normally, it’s better to use MIDI in the Advanced driver mode.

* With the factory settings, the Standard driver mode is

compatible only with audio.

If “Standard” is selected as the driver mode with an OS standard driver that is compatible with both audio and MIDI data, you can use both audio and MIDI with the standard driver by making the following settings.

* It has been confirmed that standard Windows XP/2000/Me/98

and Mac OS X/9/8 drivers are not supported or that problems may occur due to their use.

1. Press [USB].

2. Press PARAMETER [ ] [ ] so that “Std.Drv

Func” is displayed.

fig.09-050d

3. Rotate the PATCH/VALUE dial to set the standard

driver function.

Audio:

Only audio is used.

Audio&MIDI:

Both audio and MIDI are used.

4. Press [EXIT] to return to the Play screen.

5. Quit any sequencer software and any other computer

applications used by the GS-10.

6. Turn off the power to the GS-10, and then turn the unit

on again.

* For more on installing the drivers, refer to “Installing & Setup

the USB Driver” (p. 91).

Chapter 9 Using the GS-10 Connected to a Computer Via USB

Recording the GS-10’s Output with a Computer

Set your application (such as a sequencer) so that the audio input port it uses is the GS-10.

You can freely set the point in the signal chain from which to extract the signal to be sent to the computer with Effect Chain (p. 24). For example, by setting this so that the computer records the signals as they are at the beginning of the chain, you can record the sounds without any effects added while you listen to the performance with the effects applied from the speakers.

If you are using the software to send the audio data through, set Direct Monitor (p. 79) to Off.

Applying Effects with the GS-10 to a Computer’s Audio Playback

Set the audio output port used by applications to the GS-10.

You can use the GS-10 to add effects to audio data played back from the computer, and then record these sounds back to the computer.

Use this feature when you want to add effects to existing audio data.

Running the GS-10 from a Computer

You can use USB MIDI to run the GS-10 from your computer.

When you set the GS-10 to the Advanced driver mode (p. 92, p. 112), the MIDI connectors used for operation of the GS-10 switches from MIDI IN/OUT connectors to the USB driver’s “GS-10 Control” MIDI ports. Set your editor and sequencer MIDI input and output ports to GS-10 Control.

For more on MIDI-related settings, refer to “Chapter 8 Using the GS-10 with External MIDI Devices Connected” (p. 68).

Using the GS-10 As a MIDI Interface

When the GS-10 is set to the Advanced driver mode (p. 92, p.

112) and connected via USB, you can use the GS-10’s MIDI IN and OUT connectors to connect your computer to external MIDI devices.

Set the input and output ports used for the computer’s MIDI applications to GS-10 MIDI In/Out.

1. Press [INPUT SELECT].

fig.09-060d

2. Use the PATCH/VALUE dial to select one of the

following settings.

USB (Gtr/Mic):

Effects are applied to guitar and vocal sounds from the computer.

USB (Bass):

Effects are applied to bass sounds from the computer.

3. Press [EXIT] to return to the Play screen.

The flow of audio signals at this point is shown in the figure on p. 19, p. 20.

In this mode, set the software so that audio is not

transmitted through (not set to Thru).

Section 9

Appendices

About MIDI

MIDI is an acronym for Musical Instrument Digital Interface, and is a world-wide standard for allowing electronic musical equipment to communicate by transmitting messages such as performance information and sound selections. Any MIDI equipped device is able to transmit applicable types of data to another MIDI equipped device, even if the two devices are different models or were made by different manufacturers.

In MIDI, performance information such as playing a key or pressing a pedal are transmitted as MIDI Messages.

How MIDI messages are transmitted and received

First, we will explain briefly how MIDI messages are transmitted and received.

MIDI connectors

The following types of connector are used to convey MIDI messages. MIDI cables are connected to these connectors as needed.

fig.10-010

MIDI has sixteen channels 1–16, and MIDI messages will be received by the instrument (the receiving device) whose channel matches the channel of the transmitter.

* If omni mode is on, data of all MIDI channels will be received

regardless of the MIDI channel setting. If you do not need to control a specific MIDI channel, you may set Omni On.

Main types of MIDI message used by the GS-10

MIDI includes many types of MIDI messages that can convey a variety of information. MIDI messages can be broadly divided into two types; messages that are handled separately by MIDI channel (channel messages), and messages that are handled without reference to a MIDI channel (system messages).

Channel messages

These messages are used to convey performance information. Normally these messages perform most of the control. The way in which a receiving device will react to each type of MIDI message will be determined by the settings of the receiving device.

MIDI IN

MIDI OUT

MIDI THRU

* The GS-10 features both “MIDI IN” and “MIDI OUT”

connectors.

This connector receives messages from another MIDI device.

This connector transmits messages from this device.

This connector re-transmits the messages that were received at MIDI IN.

MIDI channels

MIDI is able to independently control more than one MIDI device over a single MIDI cable. This is possible because of the concept of MIDI channels.

The idea of MIDI channels is somewhat similar to the idea of television channels. By changing channels on a television set, you can view a variety of programs. This is because the information of a particular channel is received when the channels of the transmitter and receiver match.

fig.10-020

Broadcasting

Station A

Station B

Station C

T.V. information from many different broadcasting station is sent through an antena.

Select the channel of the broadcasting station you wish to watch

Program change messages

These messages are generally used to select sounds, and include a program change number from 1 to 128 which specifies the desired sound. The GS-10 also allows you to select any of the 200 different patch numbers in conjunction with bank select messages; a type of control change message.

Control change messages

These messages are used to enhance the expressiveness of a performance. Each message includes a controller number, and the settings of the receiving device will determine what aspect of the sound will be affected by control change messages of a given controller number.

The specified parameters can be controlled with the GS-10.

System messages

System messages include exclusive messages, messages used for synchronization, and messages used to keep a MIDI system running correctly.

Exclusive messages

Exclusive messages handle information related to a unit’s own unique sounds, or other device-specific information. Generally, such messages can only be exchanged between devices of the same model by the same manufacturer. Exclusive messages can be employed to save the settings for effects programs into a sequencer, or for transferring such data to another GS-10.

The two instruments must be set to the same device ID numbers when exchanging SysEx messages.

Appendices

About the MIDI implementation

MIDI allows a variety of messages to be exchanged between instruments, but it is not necessarily the case that all types of message can be exchanged between any two MIDI devices. Two devices can communicate only if they both use the types of messages that they have in common.

Thus, every owner’s manual for a MIDI device includes a “MIDI Implementation Chart.” This chart shows the types of message that the device is able to transmit and receive. By comparing the MIDI implementation charts of two devices, you can tell at a glance which messages they will be able to exchange. Since the charts are always of a uniform size, you can simply place the two charts side by side.

fig.10-030

MIDI Device A MIDI Device B

Fold here

TransmitFunction

Recognized

Remarks

Error Messages

If you attempt an incorrect operation or if an operation could not be executed, the display will indicate an error message. Refer to this list and take the appropriate action.

fig.10-060d

● The memory backup battery inside the GS-10 has run

down. (This message will appear when the power is turned on.)

❍ Replace the battery as soon as possible. For battery

replacement, please contact a nearby Roland service center or your dealer.

fig.10-070d

● There is a problem with the MIDI cable connection.

On the supplied GS-10 Software CD-ROM disc you can find the “MIDI Implementation” document (Imp_E.pdf). This document provides detailed descriptions of all the functions that the GS-10 is capable of offering when communicating using MIDI.

* In order to read “Imp_E.pdf,” you will need Adobe

Acrobat Reader.

About USB

USB, short for “Universal Serial Bus,” is an interface for connecting peripheral equipment to computers. Using USB, you can connect a variety of peripherals using a single USB cable and transfer data rapidly. It also allows peripheral devices to be connected or disconnected while the power is left on, while the computer automatically recognizes when this occurs (some devices may require settings or other procedures).

With the GS-10, you can use MIDI to transfer MIDI messages and audio data.

❍ Check to make sure the cable has not been pulled out or

is not shorted.

fig.10-080d

● More MIDI messages were received in a short time than

could be processed correctly.

fig.10-081d

● You are attempting to change the following PREAMP/

SPEAKER (p. 28) parameter settings with OUTPUT SELECT (p. 16) set to something other than Line/ Phones:

SP Type, Mic Type, Mic Dis., Mic Pos., Mic Level, Direct Level

❍ The settings may be changed, but they have no effect.

Appendices

Patch List

No. Patch Name OD/DS

P101 POWER LEAD - A MS1959(I) Drive Stack Metal Lead P102 WARM CLEAN - A Warm Clean Warm Clean JC-120 P103 BRIT VALVES - A VO Drive MS1959(I) MS HiGain P104 METAL MASTERS - A T-Amp Lead R-FIER Red 5150 Drive P105 ATTIC AMPS - A Pro Crunch Clean TWIN VO Lead P106 WARM OVERDRIVE T-Scream A Fat MATCH Crunch VO Drive P107 1969 VIBE '60s FUZZ A MS1959(I) MS1959(I) Power Stack P108 CLASSICAL ROCK T-Scream A Pro Crunch MS1959(I) MS HiGain P109 5th TONE+SlwGEAR - A Warm Clean JC-120 SLDN P110 CRYING GUV DS A MS1959(I) MS1959(II) MS HiGain P111 70's FUNK - A Clean TWIN Clean TWIN Clean TWIN P112 ALMOST HUMAN - A Clean TWIN Crunch BG Lead P113 80's ROCKABILLY - A Warm Clean Pro Crunch Drive Stack P114 H&K TRIPLE - A T-Amp Clean T-Amp Crunch T-Amp Lead P115 TEXAS TREM Blues OD A Warm Clean Clean TWIN Pro Crunch P116 JAZZ CATS - B Jazz Combo Pro Crunch SLDN P117 DRIVIN' BG - A BG Rhythm BG Drive R-FIER Orng P118 BIGGEST MUFF MUFF FUZZ A JC-120 Full Range Pro Crunch P119 CLEAN + DRIVE Turbo OD A Warm Clean MATCH Drive Smooth Drive P120 SOLID STACK Booster A Power Stack Power Stack Power Stack P121 CRUNCH ROTARY - A Crunch Crunch Crunch P122 CLASSIC TRIO - A Clean TWIN MS1959(I+II) R-FIER Red P123 OC + FUZZ MUFF FUZZ A MS1959(I) BG Lead Power Stack P124 3 CHANNEL TWIN - A Clean TWIN Clean TWIN Clean TWIN P125 CREAMED MS1959 - A Wild Crunch MS1959(I+II) MS1959(II) P126 CRUNCHY STRAT Blues OD A Warm Clean Clean TWIN Pro Crunch P127 FLANGE ME OUT! - A Clean TWIN Crunch Smooth Drive P128 DS-1 STANDARD Distortion A MS1959(I) Drive Stack Drive Stack P129 DOTTED 8th DELAY - A Warm Clean Tweed Full Range P130 FAT CRUNCH!! - A Wild Crunch Fat MATCH SLDN P131 FEEDBACK - A Crunch R-FIER Red R-FIER Red P132 FRETLESS SOLO - A Mic Preamp BASS 360 Warm Clean P133 1968-80 for LP - A VO Drive MS1959(I) MS1959(I) P134 GS-PAD - C Full Range Clean TWIN Warm Clean P135 HARMONYMAN in Am - A Warm Clean Wild Crunch MS1959(I+II) P136 NATURAL CRUNCH Natural OD A Blues T-Amp Clean Drive Stack P137 HUM->ACOUSTIC - C Full Range Full Range Full Range P138 HARD ROCK70s-90s - A MS HiGain BG Lead 5150 Drive P139 HEAVY RIFF - A R-FIER Vint R-FIER Orng R-FIER Red P140 HiGAIN BG LEAD - A BG Rhythm BG Drive BG Lead P141 HIT E5 CHORD Booster A MS1959(I+II) SLDN BG Drive P142 JAZZY CHORD LP - A Warm Clean Jazz Combo JC-120 P143 LOUD,LDR,LOUDEST - A MS1959(I) Power Stack R-FIER Orng P144 CLASSIC DUDE T-Scream A JC-120 VO Drive VO Lead P145 LEGATO MASTER - A Clean TWIN Smooth Drive T-Amp Lead P146 MAGIC JC - A JC-120 JC-120 MS HiGain P147 MATCH ROCK - A MATCH Drive Fat MATCH Fat MATCH P148 MELLOW HOLLOW - A Warm Clean Crunch Smooth Drive P149 MELTDOWN - A JC-120 Fat MATCH MS1959(I) P150 METALIZER - A Clean TWIN 5150 Drive Metal Lead

Ch. Select

ch-A ch-B ch-C

Appendices

No. Patch Name OD/DS

P151 MORPHEOUS - C Full Range MATCH Drive R-FIER Vint P152 MS TRI-CHANNEL - A MS1959(I) MS1959(I) MS HiGain P153 MODERN CRUNCH - A T-Amp Clean T-Amp Clean T-Amp Lead P154 MONO SYNTH - A JC-120 Blues SLDN P155 CLEAN&COMPRESSED - A Clean TWIN Clean TWIN BG Lead P156 DRIVE1964-65-69 - A VO Drive VO Lead Clean TWIN P157 OCTAVE SYN LEAD Metal Zone A Mic Preamp Mic Preamp Mic Preamp P158 OLD MS w/JUMPER - A MS1959(I) MS1959(II) MS1959(I+II) P159 SLICE IT UP! - A BG Rhythm Clean TWIN SLDN P160 OCTAVE T-WAH - A Clean TWIN BG Lead 5150 Drive P161 RHODES GUITAR - A Warm Clean Warm Clean Warm Clean P162 PINK WALL - A MATCH Drive MATCH Drive MATCH Drive P163 POWER CHORD Blues OD A Crunch MATCH Drive Fat MATCH P164 ORCHESTRAL DELAY - A Clean TWIN Crunch VO Drive P165 ROCK ON DOWN 2 D Turbo OD A Warm Clean Pro Crunch MS HiGain P166 TRIPLE CLEAN - A Warm Clean Pro Crunch T-Amp Clean P167 R-FIRED UP - A R-FIER Orng R-FIER Orng R-FIER Red P168 REAL TWEED - A Tweed Tweed Tweed P169 SINGLE->ACOUSTIC - A Mic Preamp Full Range Warm Clean P170 SMOOTH LEAD - A Smooth Drive Smooth Drive Smooth Drive P171 SNAPPY WAH - A Warm Clean Blues T-Amp Lead P172 ST CRUNCH AMB - A Fat MATCH Crunch VO Drive P173 SUPER CLEAN - A Mic Preamp Mic Preamp JC-120 P174 SCOOP! - A Crunch T-Amp Lead 5150 Drive P175 SEMI-HOLLOW - A Clean TWIN Clean TWIN Clean TWIN P176 SMOOTH SOLO - A Smooth Drive Smooth Drive Smooth Drive P177 STRICTLY STRAT Blues OD A Warm Clean Clean TWIN Pro Crunch P178 OCTAVE FUZZ Oct FUZZ A Pro Crunch Clean TWIN Pro Crunch P179 SUPER NATURAL - A Warm Clean Mic Preamp JC-120 P180 AUSTIN + HOUSTON - A Warm Clean Clean TWIN BG Rhythm P181 MOVING IN SYNC - A Pro Crunch Tweed BG Drive P182 SWAMP for ST - A Pro Crunch Tweed MS1959(I) P183 TON O'METAL - A R-FIER Red Drive Stack MS HiGain P184 TREM-VIBRATO - A Clean TWIN VO Drive Power Stack P185 5th MONO DRONE Oct FUZZ A Warm Clean Clean TWIN MS1959(I+II) P186 CLN,CRUNCH&TWEED - A Clean TWIN Pro Crunch Tweed P187 ROCK RHYTHM - A Warm Clean MS1959(I) MS1959(I) P188 BASSFACE - A CONCERT 810 Bass Crunch Bass HiGain P189 PLAY E.ACOUSTIC - A Mic Preamp Full Range JC-120 P190 PIEZO->Ac.GUITAR - C Full Range Full Range Full Range P191 VOCAL HARMO[Mic] - A Mic Preamp Clean TWIN MS HiGain P192 FINGERED [Bass] - A FLIP TOP T. E. BASS 360 P193 PICK DRIVE[Bass] - A SESSION BASS 360 Bass Crunch P194 FUNK SLAP [Bass] - A Bass Clean T. E. SESSION P195 ENHANCED [Bass] - A SESSION Bass Clean T. E. P196 FRETLESS [Bass] - A BASS 360 Mic Preamp T. E. P197 TRIPLE 810[Bass] - A CONCERT 810 CONCERT 810 CONCERT 810 P198 OC HiGAIN [Bass] - A T. E. B-MAN Bass HiGain P199 B-MANIAC [Bass] - A B-MAN B-MAN B-MAN P200 DI CLEAN [Bass] - A Mic Preamp Mic Preamp Bass Clean

Ch. Select

ch-A ch-B ch-C

Appendices

* With the factory settings, the content of the User patches is the same as that of the Preset patches.

* Patches with [Mic] appended to the name are for use with mics. Sound from the GUITAR/BASS jack won’t be heard.

* Patches with [Bass] appended to the name are for use with basses.

Appendices

Restoring the Factory Settings (Factory Reset)

Restoring the GS-10 to the settings made at the factory is referred to as “Factory Reset.”

Not only can you return all of the settings to the values in effect when the GS-10 was shipped from the factory, you can also specify the range of settings to be reset.

fig.10-040

POWER

1. Turn off the power.

2. While holding down PREAMP/SPEAKER CHANNEL

SELECT [A] and [B], turn on the power.

The Factory Reset range setting screen appears in the display.

fig.10-050d

Factory Reset range

* To cancel Factory Reset, press [EXIT].

332 +

Factory Settings

Tuner

Tuner Pitch: A= 440 Hz Tuner Output: Bypass Output Select OUTPUT Select: Line/Phones

Direct Patch

Direct Patch 1/2/3/4: U001/U002/U003/U004

System

LCD Contrast: 16 Patch Extent: P200 Assign Hold: On Knob Mode: Immediate EXP PDL Func: Auto CTL1 Func: Assign 1-8 CTL2 Func: Assign 1-8

MIDI

RX Channel: 1 Omni Mode: Omni On TX Channel: Rx Device ID: 17 Sync Clock: Auto Remote Ctrl: Advanced KnobCtrlOut: On PC Out: On EXP PDL Out: CC#7 CTL1 Out: Off CTL2 Out: Off Map Select: Fix

3. Press PARAMETER [ ] [ ] to move the cursor,

and rotate the PATCH/VALUE dial to specify the range of settings you want to restore to factory settings.

System:

System parameters, Harmonist scales, Auto Riff phrases, and Preamp/Speaker, Overdrive/Distortion, and Wah Custom Edit parameter settings.

U001–U100:

Settings for Patch Number U001 through U100.

4. If you want to proceed with the factory reset, press

[ENTER].

The specified range of data will be returned, and return to the Play screen.

USB

Output Level: 100 Input Level: 100 Monitor Cmd: Disable Dir Monitor: On Output Mode: Stereo (L/R) Driver Mode: Advanced Std.Drv Func: Audio

Others

Speaker ON/OFF: ON Mic Gain: 50

MIDI Implementation Chart

GUITAR EFFECTS SYSTEM with USB AUDIO INTERFACE

Model GS-10

MIDI Implementation Chart

Appendices

Date: Jul. 15, 2003

Version: 1.00

Basic Channel

Mode

Note Number :

Velocity

After Touch

Pitch Bend

Control Change

Function...

Default Changed

Default Messages Altered

True Voice

Note ON Note OFF

Key's Ch's

0, 32

1–31 33–63 64–95

Transmitted Recognized Remarks

1–16 1–16

X X

**************

X **************

1–16 1–16

OMNI ON/OFF X X

X X

Memorized

X X

O (0–1) O O O

X X

O O X O

* 1 * 2

* 2

Bank Select

Prog Change

: True #

System Exclusive

System Common

System Real Time

Aux Message

: Song Pos : Song Sel : Tune

: Clock : Command

: All sound off :

Reset All Controller

Local ON/OFF : All Notes OFF : Active Sense : Reset

Notes

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

**************

X X X

X O

X X X X X X

* 1

00H: For values of 01H or lower, the Program Change Map will be switched according to the value.

For values of 02H or higher, the received data will be ignored. 20H: The received data will be ignored, regardless of the value. Rcognizes messages designated by specifying this as a source (p. 63) for Assign.

* 2

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

O 0–127

X X X

O X

X X X X O X

Program Number 1–128

O : Yes

X : No

Appendices

Specifications

GS-10: Guitar Effects System with USB Audio Interface

Rated Power Output

1.5 W + 1.5 W

Signal Processing

AD Conversion: 24 bit + AF method

DA Conversion: 24 bit

Digital Out/USB Audio: 24 bit

Sampling Frequency

44.1 kHz

Program Memories

200: 100 (User) + 100 (Preset)

Nominal Input Level

GUITAR/BASS INPUT: -10 dBu

MIC INPUT: -40 dBu (BALANCE)

AUX INPUT L/R: -10 dBu

Input Impedance

GUITAR/BASS INPUT: 1 MΩ

MIC INPUT: 2.2 kΩ

AUX INPUT L/R: 33 kΩ

Nominal Output Level

OUTPUT L/R: -10 dBu

GUITAR AMP OUT: -10 dBu

Output Impedance

OUTPUT L/R: 1 kΩ

GUITAR AMP OUT: 1.5 kΩ

Speaker

Internal Speaker x 2

Connectors

GUITAR/BASS input jack

PHONES jack

MIC INPUT jack (TRS balanced, 1/4 inch phone type)

MIC INPUT connector (XLR balanced)

AUX INPUT jack L/R (RCA Phono type)

OUTPUT jack L/R (RCA Phono type)

GUITAR AMP OUT jack

EXP PEDAL/CTL 1,2 jack

DIGITAL OUT connector (Coaxial)

USB connector

MIDI connector IN/OUT

AC Adaptor jack

Control

(PREAMP/SPEAKER)

GAIN knob

BASS knob

MIDDLE knob

TREBLE knob

PRESENCE knob

LEVEL knob

On/Off button

CHANNEL SELECT button A/B/C

(COMP)

SUSTAIN knob

On/Off button

(OD/DS)

DRIVE knob

LEVEL knob

On/Off button

Digital Output

EIAJ CP1201, S/P DIF

USB

AUDIO IN/OUT: Stereo, 44.1 kHz, 24 bit (Capable of simultaneous recording and playback)

MIDI Control IN/OUT

MIDI IN/OUT

Display

16 characters, 2 lines (backlit LCD)

(DELAY)

FEEDBACK knob

LEVEL knob

On/Off button

TAP button

(CHORUS)

LEVEL knob

On/Off button

(REVERB)

LEVEL knob

On/Off button

FX-1 button

FX-2 button

EQ button

NAME/NS/MASTER button

ASSIGN button

INPUT SELECT button

QUICK FX button

PARAMETER button L/R

EXIT button

WRITE button

TUNER button

USB button

SPEAKER ON/OFF button

METER button

SYSTEM button

DIRECT PATCH button 1–4

AUX INPUT LEVEL knob

OUTPUT LEVEL knob

PATCH/VALUE dial

Appendices

In the interest of product improvement, the specifications

and/or appearance of this unit are subject to change without

prior notice.

AF Method (Adaptive Focus method)

This is a proprietary method from Roland that vastly improves the signal-to-noise (S/N) ratio of the A/D and D/A converters.

Power Supply

AC 14 V; Supply AC adaptor (BOSS BRC series)

Current Draw

800 mA

Dimensions

329 (W) x 231 (D) x 85 (H) mm

13 (W) x 9-1/8 (D) x 3-3/8 (H) inches

Weight

2.25 kg/5 lbs

Accessories

AC Adaptor (BRC series)

Read This First (Leaflet)

Owner’s Manual

USB cable

GS-10 Software CD-ROM

Cakewalk Music Creator set (CD-ROM, Owner’s Manual)

Options

Expression Pedal: EV-5 (Roland)

Foot Switch: FS-5U

Connection Cord: PCS-31 (Roland)

(1/4 inches Phone Plug (stereo) – 1/4 inches Phone Plug (mono) x 2)

*0 dBu= 0.775 Vrms

Appendices

MEMO

Installing & Setup the USB Driver

In order to use the GS-10 USB, you must first install the USB driver. The USB Driver is included in the “GS-10 SOFTWARE CD-ROM.”

■ What is USB Driver?

The USB Driver is software which passes data between the GS-10 and the application (sequencer software etc.) that is running on the USB-connected computer.

The GS-10 Driver sends data from the application to the GS-10, and passes data from the GS-10 to the application.

The GS-10 can receive and transmit both digital audio signals and MIDI messages.

Application

USB connector

USB

Driver

USB cable

Computer GS-10

The explanation about installing and setup the driver is organized according to the computer and driver mode that you are using. Please proceed to the following pages.

Installing & Setting Up the Driver (Windows) ............................... (p. 92)

Installing & Setting Up the Driver (Macintosh) ........................... (p. 112)

Installing & Setting Up the Driver (Windows)

Special Driver and Standard Driver

The GS-10 features two operational modes, each of which uses a different type of driver, with one

mode using the special driver on the CD-ROM included with the GS-10 and the other mode using

the standard Windows driver.

Before installing the drivers, you must first switch the GS-10’s driver mode.

For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).

■ Special Driver

Special Driver mode allows audio to be recorded/played/edited with high quality and stable

timing.

Audio signals can be transferred between the GS-10 and the computer at a resolution of 24 bits and

sampling frequencies of 44.1 kHz.

And in addition to audio, you can also control the GS-10 using MIDI messages and connect external

MIDI devices and computers.

Select this mode if you are using an application that allows high-quality audio recording/playback/

editing, such as an application that supports 24 bit audio (e.g., the Cakewalk series or Cool Edit) or

an ASIO-compatible application (e.g., Cubase VST, Logic Audio, or SingerSongWriter).

→ “Installing the special driver” (p. 93)

■ Standard Driver

In Standard Driver mode, audio signals are transferred between the GS-10 and the computer at a

resolution of 16 bits and sampling frequencies of 44.1 kHz.

Select this mode if you are using an application that uses Window’s own functionality, such as an

application that uses the computer’s CD-ROM drive to play back CD-audio, or an application that

uses the software synthesizer included with Windows.

→ “Installing the OS-standard driver” (p. 102)

* If you want to use MIDI, use special driver mode.

* The standard driver included with Windows does not support ASIO.

Installing the special driver

The installation procedure will differ depending on your system.

Please proceed to one of the following sections, depending on the system you use.

• Windows XP/2000 users................ (p. 93)

• Windows Me/98 users ................. (p. 101)

■ Windows XP/2000 users

Installing & Setting Up the Driver (Windows)

Windows XP

With the GS-10 disconnected, start up Windows.

Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

Open “Control Panel” from the Windows Start menu, then open the “System Properties” dialog.

Click “Hardware” tab, and then click [Driver Signing].

Open the “Driver Signing Options” dialog box.

fig.11-020

If you are using Windows XP

Professional, you must log on

using a user name with an

administrative account type

(e.g., Administrator).

Depending on how your

system is set up, the System

icon may be displayed directly

in the Control Panel (the

Classic display). In this case,

double-click the System icon.

Make sure that “What action do you want Windows to take?” is set to “Ignore”.

If currently set to “Warn” or “Block,” set it to “Ignore” here, then after installing the driver, restore

the original setting.

Click [OK] to close the “System Properties” dialog box.

Exit all currently running software (applications).

Also close any open windows. If you are using virus checking or similar software, be sure to exit it

as well.

Insert the CD-ROM into the CD-ROM drive of your computer.

Click the Windows start button. From the menu that appears, select “Run...”.

Open the “Run...” dialog box.

Installing & Setting Up the Driver (Windows)

In the dialog box that appears, input the following into the “Open” field, and click [OK].

D:\DRIVER\USB_XP2k\SETUPINF.EXE

* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.

fig.11-030

The “SetupInf” dialog box will appear, with “Ready to install the driver” appearing in the box.

fig.11-040

In this manual, the location of

folders and files is given in

terms of the file path, using \

as the delimiter. For example,

WinXP_2k\SETUPINF.EXE

indicates the SETUPINF.EXE

file found in the WinXP_2k

folder.

10.

Before connecting the USB cable, switch the GS-10’s driver mode to “Advanced.”

For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).

11.

With the power switch turned OFF, use the USB cable to connect the GS-10 to your computer.

12.

Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then switch ON the POWER switch.

The “Found New Hardware Wizard” will appear.

fig.11-050

13.

Make sure that the screen indicates “BOSS GS-10”, select “Install from a list or specific location (Advanced)”, and click [Next].

The screen will indicate “Please choose your search and installation options”.

Turn on power to your various

devices in the order specified.

By turning on devices in the

wrong order, you risk causing

malfunction and/or damage to

other devices.

This unit is equipped with a

protection circuit. A brief

interval (a few seconds) after

power up is required before

the unit will operate normally.

Installing & Setting Up the Driver (Windows)

fig.11-060

14.

Select “Don’t search. I will choose the driver to install”, and click [Next].

fig.11-070

15.

Make sure that the “Model” field indicates “BOSS GS-10”, and click [Next].

Driver installation will begin.

If the “What action do you want Windows to take?” setting in step 4 was not set to “Ignore”, a “Hardware Installation” dialog box will appear.

fig.11-080

If the [Continue Anyway] button appears, click the [Continue Anyway] button to continue with the installation.

If you are unable to continue, click [STOP Installation] or [OK] to begin the driver installation over again from Step 1.

The Insert Disk dialog box will appear.

fig.11-090

The Insert Disk dialog may not

appear. In that case, proceed to

step 17.

16.

Click [OK].

The “Files Needed” dialog box will appear.

Installing & Setting Up the Driver (Windows)

17.

Input the following into the “Copy files from” field, and click [OK].

D:\DRIVER\USB_XP2k

* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.

fig.11-100

If the “What action do you want Windows to take?” setting in step 4 was not set to “Ignore”, a “Hardware Installation” dialog box will appear.

fig.11-110

If the [Continue Anyway] button appears, click the [Continue Anyway] button to continue with the installation.

The Found New Hardware Wizard will appear.

fig.11-120

18.

Verify that “BOSS GS-10” is displayed, and click [Finish].

Wait until “Found New Hardware” appears near the taskbar.

When driver installation has been completed, the “System Settings Change” dialog box will appear.

19.

Click [Yes].

Windows will restart automatically.

→ Next, you need to make the driver settings (p. 107).

Windows 2000

Installing & Setting Up the Driver (Windows)

With the GS-10 disconnected, start up Windows.

Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

Click the Windows Start button, and from the menu that appears, select “Settings | Control Panel.” In “Control Panel,” double-click the System icon.

The “System Properties” dialog box will appear.

fig.11-130

Click the “Hardware” tab, and then click [Driver Signature].

Open the “Driver Signing Options” dialog box.

fig.11-140

If the GS-10 is already

connected to your computer

and a message of “Add New

Hardware Wizard” is

displayed, go to the included

CD-ROM folder named

DRIVER\USB_XP2k, open the

file Readme_e.htm, and read

the “Troubleshooting” section

entitled “You attempted to

install using the above

procedure, but were not able

to.”

You must log on using a user

name with an administrative

account type (e.g., Administrator).

the “File signature verification” is set to “Ignore,” and click [OK].

If currently set to “Warn” or “Block,” set it to “Ignore” here, then after installing the driver, restore

the original setting.

Click [OK] to close the “System Properties” dialog box.

Exit all currently running software (applications).

Also close any open windows. If you are using virus checking or similar software, be sure to exit it

as well.

Insert the CD-ROM into the CD-ROM drive of your computer.

Click the Windows start button. From the menu that appears, select “Run...”.

Open the “Run...” dialog box.

Installing & Setting Up the Driver (Windows)

In the dialog box that appears, input the following into the “Open” field, and click [OK].

D:\DRIVER\USB_XP2k\SETUPINF.EXE

* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.

fig.11-150

The “SetupInf” dialog box will appear, with “Ready to install the driver” appearing in the box.

fig.11-160

In this manual, the location of

folders and files is given in

terms of the file path, using \

as the delimiter. For example,

WinXP_2k\SETUPINF.EXE

indicates the SETUPINF.EXE

file found in the WinXP_2k

folder.

10.

Before connecting the USB cable, switch the GS-10’s driver mode to “Advanced.”

For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).

11.

With the power switch turned OFF, use the USB cable to connect the GS-10 to your computer.

12.

Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then switch ON the POWER switch.

If the “File signature verification” setting in step 4 was not set to “Ignore”, a “Digital Signature Not Found” dialog box will appear.

fig.11-170

Turn on power to your various

devices in the order specified.

By turning on devices in the

wrong order, you risk causing

malfunction and/or damage to

other devices.

This unit is equipped with a

protection circuit. A brief

interval (a few seconds) after

power up is required before

the unit will operate normally.

If the [Yes] button appears, click the [Yes] button to continue with the installation.

If you are unable to continue, click [No] or [OK] to begin the driver installation over again from Step 1.

The “Insert Disk” dialog box will appear.

If the Insert Disk dialog box

does not appear, please read

The “Insert Disk” dialog box

does not appear (p. 133)

Installing & Setting Up the Driver (Windows)

fig.11-180

13.

Click [OK].

The “Files Needed” dialog box will appear.

14.

In the Copy files from field, type the folder name that is shown in the dialog box, and click [OK].

D:\DRIVER\USB_XP2k

* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.

fig.11-190

If the “File signature verification” setting in step 4 was not set to “Ignore”, a “Digital Signature Not Found” dialog box will appear.

fig.11-200

Click [Yes], and continue the installation.

The “Find New Hardware Wizard” may be displayed.

fig.11-210

Installing & Setting Up the Driver (Windows)

15.

Verify that “BOSS GS-10” is displayed, and click [Finish].

Driver installation will begin.

When driver installation has been completed, the “System Settings Change” dialog box will appear.

fig.11-220

16.

Click [Yes].

Windows will restart automatically.

→ Next, you need to make the driver settings (p. 107).

100

Boss GS-10 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

IMPORTANT NOTES

Main Features

Panel Descriptions

Front Panel

Rear Panel

Signal Flow

Chapter 1 Playing Sounds

Making the Connections

Turning Off the Power

Using the GS-10’s Speakers

Turning On the Power

Adjusting the Output Level

Setting Output Device (Amps) (OUTPUT SELECT)

Connecting Audio Devices to the AUX INPUT Jack

Using the Digital Output

Chapter 2 Creating Your Own Favorite Tones (Patches)

What is a Patch?

How to Select Patches (Patch Change)

About the Display Indication

If the Patch Does Not Switch

Selecting the Input (INPUT SELECT)

Setting the Mic Input Level (MIC GAIN)

Adjusting the Tones with the Knobs

Turning the Effect On and Off

Setting the Effects Simply (QUICK FX)

Making More Precise Effect Settings

Naming Patches

Changing the Connection Order of Effects (Effect Chain)

Chapter 3 Saving the Tones You Have Created

Storing Patches (PATCH WRITE)

Copying Patches

Exchanging Patches

Initializing Patches

Registering Your Favorite Patches (DIRECT PATCH)

Copying the PREAMP/SPEAKER Settings to Another Channel

Chapter 4 Introduction to Effects and Parameters

PREAMP/SPEAKER (Preamp/ Speaker Simulator)

COMP (Compressor)

DELAY

CHORUS

REVERB

EQ (Equalizer)

FX-1

PW (Pedal Wah)

AW (Auto Wah)

TM (Tone Modify)

ACS (Advanced Compressor)

LM (Limiter)

ENH (Enhancer)

SG (Slow Gear)

TR (Tremolo)

DF (Defretter)

RM (Ring Modulator)

FB (Feedbacker)

FX-2

PH (Phaser)

FL (Flanger)

HR (Harmonist)

PS (Pitch Shifter)

OC (Octave)

PB (Pedal Bend)

2CE (2x2 Chorus)

VB (Vibrato)

UV (Uni-V)

RT (Rotary)

SDD (Short Delay)

HU (Humanizer)

SL (Slicer)

AR (Auto Riff)

SYN (Guitar Synth)

SEQ (Stereo Equalizer)

BS (Bass Simulator)

NAME/NS/MASTER

Name (Patch Name)

Noise Suppressor

Master