Boss GT-001 User Manual

Parameter Guide

• Roland, BOSS, COSM, COMBO DRIVE, CRUNCH, FEEDBACKER,
HARMONIST, INTELLIGENT, METAL ZONE, OVERDRIVE, ROTARY SOUND,
SLICER, TOUCH WAH, Friend Jam, and BOSS Tone Central are either
registered trademarks or trademarks of Roland Corporation in the
United States and/or other countries.

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

Copyright © 2014 BOSS CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.

01

Contents

EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Editing the Eects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

OD/DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

PREAMP (PrA/PrB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

FX1/FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

T. WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

AUTO WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

SUB WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

ADV. COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

LIMITER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

SUB OD/DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

GRAPHIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

PARAMETRIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

TONE MODIFY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

GUITAR SIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

AC. GUITAR SIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

SLOW GEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

DEFRETTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

WAVE SYNTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

SITAR SIM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

HARMONIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

OVERTONE (FX2 Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

SOUND HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

AC. PROCESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ROTARY 1/ROTARY 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

UNI-V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

SLICER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

RING MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

HUMANIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

2X2 CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

SUB DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

TERA ECHO (FX2 Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

PEDAL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

PEDAL BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

DIVIDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

SINGLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

DUAL Ch. A, DUAL Ch. B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

NS1/NS2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

ACCEL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

S-BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

LASER BEAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

RING MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

TWIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

WARP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

FEEDBACKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

CTL/EXP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Pedal Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Using a Pedal to Control Desired Parameters . . . . . . . . . . . . . .25

CTL1, CTL2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

EXP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Specifying the External Pedal Function for Each Patch

(Assign) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

ASSIGN COMMON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

ASSIGN 1–8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Virtual expression pedal system (Internal Pedal / Wave

Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Input level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

KNOB SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

GLOBAL EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

TOTAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

PLAY OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

PREFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

LCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

G.2MIDI (GUITAR TO MIDI) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

MIDI SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

P.MAP (MIDI-PROGRAM CHG MAP) . . . . . . . . . . . . . . . . . . . . . . . .37

MIDI BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

AUTO OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

DAW CTL (DAW Control) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

TUNER/METRONOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

METRONOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Preset Patch List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

2

MEMO

•

This eect sound is mono.

•

This eect sound is output with two channels.

These eects take a mono input and output it on two channels.

•

EFFECT

Editing the Eects

To edit the eect settings, use the value knob to select a page in the
display, and use knobs [1]–[4] to select the value of each parameter.

MEMO

• For details on basic operation for eects, refer to “Editing:
Editing the Eects” (p. 7) in the owner’s manual.

• In each edit screen, you can press the value knob to turn the
eect on/o.

COMP

This is an eect that produces a long sustain by evening out the
volume level of the input signal.

Knob Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

Page 1

BOSS

(BOSS COMP)

HI-BAND

LIGHT

D-COMP This models a MXR DynaComp.

[1] TYPE

[2] SUSTAIN 0–100

[3] ATTACK 0–100

[4] LEVEL 0–100 Adjusts the volume.

Page 2

[1] TONE -50–+50 This adjusts the tone.

ORANGE

FAT

MILD

STEREO

(STEREO COMP)

This models a BOSS CS-3.

This is a compressor that adds
an even stronger eect in the
high end.

This is a compressor with a light
eect.

This is modeled on the sound
of the Dan Armstrong ORANGE
SQUEEZER.

When applied heavily, this
compressor eect provides a fat
tone with a boosted midrange.

When applied heavily, this
compressor eect produces a
sweet tone with the high end
cut.

This selects a stereo compres­sor.

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

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

OD/DS

This eect distorts the sound to create long sustain.

Knob Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

Page 1

[1] TYPE Refer to OD/DS TYPE

[2] DRIVE 0–120 Adjusts the depth of distortion.

[3] TONE -50–+50 This adjusts the tone.

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

[1] BOTTOM -50–+50

DIR.MIX

[2]

(DIRECT MIX)

SOL.SW

[3]

(SOLO SW)

SOL.LV

[4]

(SOLO LEVEL)

0–100

0–100

OFF, ON

0–100

OD/DS TYPE

This is a list of distortion types that can be selected for OD/DS.

Category Type Explanation

MID BST

(MID BOOST)

CLN BST

(CLEAN BOOST)

TRB BST

(TREBLE BOOST)

CRUNCH

NTRL OD

(NATURAL OD)

ADVANCED

WRM OD (WARM
OD)

FAT DS A distortion sound with thick distortion.

LEAD DS

METL DS

(METAL DS)

OCT FUZ

(OCT FUZZ)

A-DIST

* Only for OD/DS

and SUB OD/DS
in FX2

Adjusts the volume of the eect
sound.

Adjusts the tone for the low
frequency range. Turning this to the
left (counterclockwise) produces a
sound with the low end cut; turning
it to the right boosts the low end in
the sound.

Adjusts the volume of the direct
sound.

Switches to a tone that is suitable
for solos.

Adjusts the volume level when the
Solo Sw is ON.

This is a booster with unique characteristics
in the midrange.

Making the connection before the COSM
amp produces sound suitable for solos.

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

This is a booster that has bright
characteristics.

A lustrous crunch sound with an added
element of amp distortion.

This is an overdrive sound that provides
distortion with a natural feeling.

This is a warm overdrive.

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

This is distortion sound that is ideal for
performances of heavy ris.

A fuzz sound with rich harmonic content.

This eect uses MDP (Multi-Dimensional
Processing) to provide ideal distortion in all
pitch ranges of the guitar, from low to high.

3

EFFECT

Category Type Explanation

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

This produces distortion that faithfully
reproduces the nuances of picking.

This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.

This models an Ibanez TS-808.

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

This gives a basic, traditional distortion
sound.

This models the sound of the BOSS MT-2.

It produces a wide range of metal sounds,
from old style to slash metal.

This models a FUZZFACE.

It produces a fat fuzz sound.

This models an Electro-Harmonix Big
Mu π.

Custom OD/DS

You can customize it however you like to
match the sound you want.

VINTAGE

CUSTOM

BLUS OD

(BLUES OD)

OD-1

T-SCRM

(T-SCREAM)

TURB OD

(TURBO OD)

DIST

(DISTORTION)

RAT This models a Proco RAT.

GUV DS This models a Marshall GUV’NOR.

DST+ This models a MXR DISTORTION+.

MTL ZON

(METAL ZONE)

60S FUZ

('60S FUZZ)

MUF FUZ

(MUFF FUZZ)

CUSTOM OD/DS SETTING

Knob Parameter Value Explanation

Page 3 (shown only if OD/DS TYPE is set to “CUSTOM”)

OD-1

OD-2

CRUNCH This is a crunch sound.

TYPE

[1]

(CUSTOM TYPE)

CHAR

[2]

(CUSTOM CHARACTER)

BOTTOM

[3]

(CUSTOM BOTTOM)

TOP

[4]

(CUSTOM TOP)

Page 4 (shown only if OD/DS TYPE is set to “CUSTOM”)

[1] LOW (CUSTOM LOW) -50–+50

[2] HIGH (CUSTOM HIGH) -50–+50

DS-1

DS-2

METAL1

METAL2

FUZZ

-50–+50

-50–+50

-50–+50

This models the sound of
the BOSS OD-1.

This is a overdrive sound
with high gain.

This gives a basic,
traditional distortion
sound.

This creates a heavier
distortion sound.

This is a metal sound with a
characteristic midrange.

This gives a heavy metal
sound.

This gives a basic,
traditional fuzz sound.

+: For soloing

-: For backing

This controls the input
sound’s low-frequency
range and adjusts the
amount of distortion in the
low-frequency range

This controls the input
sound’s high-frequency
range and adjusts the
amount of distortion in the
high-frequency range.

Adjusts the low-range
tones after distortion is
applied.

Adjusts the high-range
tones after distortion is
applied.

PREAMP (PrA/PrB)

COSM technology simulates dierent preamp characteristics,
speaker sizes, and cabinet shapes.

Knob Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

Page 1

[1] TYPE Refer to PREAMP TYPE

[2] GAIN 0–120 Adjusts the distortion of the amp.

[3] T-COMP -10–0–+10

[4] LEVEL 0–100

Page 2

[1] BASS 0–100

[2] MIDDLE 0–100

[3] TREBLE 0–100

[4] PRES (PRESENCE) 0–100

Page 3

[1] BRIGHT OFF, ON

[2] GAIN.SW

SOL.SW

[3]

(SOLO SW)

SOL.LV

[4]

(SOLO LEVEL)

LOW, MIDDLE,
HIGH

OFF, ON The tone to one suitable for solos.

0–100

Adjusts the sense of compression
of the amp.

Adjusts the volume of the entire
preamp.

* Be careful not to raise the Level

setting too high.

Adjusts the tone for the low
frequency range.

Adjusts the tone for the middle
frequency range.

Adjusts the tone for the high
frequency range.

Adjusts the tone for the ultra high
frequency range.

* The PRESENCE parameter

functions as a high-cut lter with
some PREAMP TYPEs.

Turns the bright setting on/o.

* The BRIGHT parameter setting

is available only with certain
PREAMP TYPEs.

Switches the amp’s amount of
distortion in three steps: LOW,
MIDDLE, and HIGH. The steps
LOW, MIDDLE, and HIGH provide
correspondingly increasing
amounts of distortion.

* The sound of each Type is

created on the basis that the
Gain is set to MIDDLE.

Adjusts the volume level when the
Solo Sw is ON.

4

EFFECT

Knob Parameter Value Explanation

Page 4

Select the speaker type.

This turns o the speaker
simulator.

This is the built-in speaker of the
amp you selected with PREAMP
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 general open-back speaker
cabinet with two 12-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 12-inch
speakers.

Custom speaker You can customize
it however you like to match the
sound you want.

This is the sound of the SHURE SM-

57. General dynamic mic used for
instruments and vocals. Optimal
for use in miking guitar amps.

Simulates the sound of the MD-

421. Dynamic mic with extended
low end.

Simulates the sound of the AKG
C451B. Small condenser mic for use
with instruments.

Simulates the sound of the
NEUMANN U87. Condenser mic
with at response.

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

This setting points the mic away
from the speaker.

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

Simulates the condition that the
mic is set in the middle of the
speaker cone.

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

Adjusts the volume of the direct
sound.

[1]

[2]

[3]

[4]

Page 5

[1]

[2]

SP.TYP

(SPEAKER TYPE)

*1

MIC.TYP

(MIC TYPE)

*1

MIC.DIS

(MIC DISTANCE)

*1

MIC.POS

(MIC POSITION)

*1

MIC.LVL

(MIC LEVEL) *1

DIR.MIX

(DIRECT MIX) *1

OFF

ORIGIN
(ORIGINAL)

1x8"

1x10"

1x12"

2x12"

4x10"

4x12"

8x12"

CUSTOM

This setting selects the simulated mic type.

DYN57

DYN421

CND451

CND87

FLAT

Simulates the distance between the mic and
speaker.

OFF MIC

ON MIC

This simulates the mic position.

CENTER

1–10 cm

0–100 Adjusts the volume of the mic.

0–100

PREAMP TYPE

This is a list of the amp types that can be selected for PREAMP.

Category Type Explanation

NtrlCLN

(NATURAL CLEAN)

FUL RNG

(FULL RANGE)

CB CRNC

(COMBO CRUNCH)

ST CRNC

(STACK CRUNCH)

ADVANCED

HiG STK

(HiGAIN STACK)

PwrDRV

(POWER DRIVE)

XTRM LD

(EXTREME LEAD)

COR MTL

(CORE METAL)

An unembellished, clean sound that
minimizes the amp’s idiosyncrasies,
such as its trebly character and
boomy low end.

An amp with a broad frequency
range and an extremely at re­sponse. Good for acoustic guitar.

Crunch sound that allows the
nuances of your picking to be
expressed even more faithfully than
on conventional combo amps.

Great-feeling crunch sound that
responds well to picking dynamics
while retaining all the dening
characteristics of a 4 x 12” speaker
cabinet.

High-gain sound of a vintage
Marshall specially revamped in a
way that is possible only with COSM
modeling technology.

A straightforward drive sound
that is suitable for a wide range of
situations from backing to lead, and
which could not be obtained from
previous combo amps or stack amps.

A new type of sound that smoothes
out the uneven frequency response
that is typical of existing large stack
amps.

A large stack sound that has been
tweaked extensively in the pursuit of
the ultimate metal sound.

*1 This is enabled when the OUTPUT SELECT parameter is set to LINE/PHONE.

5

EFFECT

Category Type Explanation

This models the sound of the Roland
JC-120.

This models a Fender Twin Reverb.

This models a Fender Pro Reverb.

This models a Fender Bassman 4 x
10” Combo.

This models a Fender Deluxe Reverb.

This models the drive sound of a VOX
AC-30TB.

This is a sound that it suited to
sixties-style British rock.

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

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

A simulation of the latest tube amp
widely used in styles from blues and
rock.

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

The sound of a tube amp typical of
the late ’70s to ’80s.

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

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

This is a trebly sound suited to hard
rock.

This models the sound of a Marshal
1959’s inputs I and II connected in
parallel. The sound emphasizes the
low end more than I.

Models the sound of the Channel 2
VINTAGE Mode on the MESA/Boogie
DUAL Rectier.

Models the sound of the Channel 2
MODERN Mode on the MESA/Boogie
DUAL Rectier.

This models a Hughes & Kettner
Triamp AMP3.

This models a Soldano SLO-100. This
is the typical sound of the eighties.

This models the lead channel of a
Peavey EVH 5150.

This is a heavily distorted sound that
models the high gain channel of a
Bogner Uberschall.

This models the dirty channel of an
ORANGE ROCKERVERB.

This is a custom preamp.

You can customize it however you
like to match the sound you want.

VINTAGE

CUSTOM

JC-120

CLN TWN

(CLEAN TWIN)

PR CRNC

(PRO CRUNCH)

TWEED

DxCRNC

(DELUXE CRUNCH)

VO DRIV

(VO DRIVE)

VO LEAD

MATCH

(MATCH DRIVE)

BG LEAD

BG DRIV

(BG DRIVE)

1959 I

(MS1959 I)

1959 I+II

(MS1959 I+II)

RFR VIN

(R-FIER VINTAGE)

RFR MDN

(R-FIER MODERN)

T-AMP

(T-AMP LEAD)

SLDN

5150

(5150 DRIVE)

BGNR UB

(BGNR UB METAL)

ORNG RV

(ORNG ROCK REVERB)

CUSTOM AMP SETTING

Knob Parameter Value Explanation

Page 6 (shown only if PREAMP TYPE is set to “CUSTOM”)

JC CLEN

(JC CLEAN)

TW CLEN

(TW CLEAN)

CRUNCH

CMB DRV

TYPE

[1]

(CUSTOM TYPE)

CHAR

[2]

(CUSTOM
CHARACTER)

BOTTOM

[3]

(CUSTOM BOTTOM)

EDGE (CUSTOM

[4]

EDGE)

Page 7 (shown only if PREAMP TYPE is set to “CUSTOM”)

LOW

[1]

(CUSTOM PREAMP
LOW)

HIGH

[2]

(CUSTOM PREAMP
HIGH)

(COMBO DRIVE)

CMB LD

(COMBO LEAD)

MS HiG

(MS HiGAIN)

MDN STK

(MODERN
STACK)

-50–+50

-50–+50

-50–+50

-50–+50

-50–+50

This models the sound of the
Roland JC-120.

This models a Fender Twin Reverb.

This is a crunch sound that can
faithfully reproduce the nuances
of picking.

This is a combo amp sound that it
suited to sixties-style British rock.

This is a lead sound of a combo
tube amp typical of the late ’70s
to ’80s.

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

This is a trebly sound suited to
hard rock.

This original high-gain amp
delivers thick lows and intense
distortion while still preserving
the sound’s clear denition.

+: For soloing

-: For backing

This controls the input sound’s
low-frequency range and adjusts
the amount of distortion in the
low-frequency range

This controls the input sound’s
high-frequency range and adjusts
the amount of distortion in the
high-frequency range.

Adjusts the preamp section’s
low-frequency tone.

Adjusts the preamp section’s
high-frequency tone.

CUSTOM SPEAKER SETTING

Knob Parameter Value Explanation

Page 8 (shown only if SPEAKER TYPE is set to “CUSTOM”)

SP.SIZE

[1]

(CUSTOM SPEAKER SIZE)

SP.NUM

[2]

(CUSTOM SPEAKER NUMBER)

CABINET

[3]

(CUSTOM CABINET)

Page 9 (shown only if SPEAKER TYPE is set to “CUSTOM”)

COLOR.L

[1]

(CUSTOM COLOR LOW)

COLOR.H

[2]

(CUSTOM COLOR HIGH)

5–15" Selects the size of speaker.

x1, x2, x4, x8

Selects the speaker cabinet type.

OPEN

CLOSE

-10–+10

-10–+10

Sets the number of
speakers.

This is an open-backed
cabinet

This type of cabinet
features an enclosed rear
panel.

Adjusts the speaker
section’s low-frequency
tone.

Adjusts the speaker
section’s high-frequency
tone.

6

EFFECT

EQ

This adjusts the tone. A parametric type is adopted for the high­middle and low-middle range.

Knob Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

Page 1

LO.GAIN

[1]

(LOW GAIN)

HI.GAIN

[2]

(HIGH GAIN)

[4] LEVEL -20–+20 dB

Page 2

LM.FREQ

[1]

(LOW-MID
FREQUENCY)

LM.Q

[2]

(LOW-MID Q)

LM.GAIN

[3]

(LOW-MID GAIN)

Page 3

HM.FREQ

[1]

(HIGH-MID
FREQUENCY)

HM.Q

[2]

(HIGH-MID Q)

HM.GAIN

[3]

(HIGH-MID GAIN)

Page 4

LO.CUT

[1]

(LOW CUT)

HI.CUT

[4]

(HIGH CUT)

-20–+20 dB

-20–+20 dB

20 Hz–10.0 kHz

0.5–16

-20–+20 dB

20 Hz–10.0 kHz

0.5–16

-20–+20 dB

FLAT, 20
Hz–800 Hz

630 Hz–

12.5 kHz, FLAT

Adjusts the low frequency range
tone.

Adjusts the high frequency range
tone.

Adjusts the overall volume level
of the equalizer.

Species the center of the
frequency range that will be
adjusted by the LOW-MID GAIN.

Adjusts the width of the area
aected by the EQ centered
at the LOW-MID FREQ. Higher
values will narrow the area.

Adjusts the middle frequency
range tone.

Species the center of the
frequency range that will be
adjusted by the HIGH-MID GAIN.

Adjusts the width of the area
aected by the EQ centered
at the HIGH-MID FREQ. Higher
values will narrow the area.

Adjusts the low-middle
frequency range tone.

This sets the frequency at which
the low cut lter begins to take
eect. When “Flat” is selected, the
low cut lter will have no eect.

This sets the frequency at which
the high cut lter begins to take
eect. When “FLAT” is selected,
the high cut lter will have no
eect.

FX1/FX2

With FX1 and FX2, you can select the eect to be used from the
following. You can select the same eect for FX1 and FX2.

* Some eects can be selected only for FX2.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect on/o.

TYPE Refer to FX1/FX2 TYPE

Selecting the TYPE

1. Choose [EFFECT]"”FX1” or “FX2.”

2. Select the type using the knob [4].

FX1/FX2 TYPE

This is a list of the eects that can be selected for FX1/FX2.

Eect Name TYPE Explanation

T. WAH ( Touch Wah)

AUTO WAH (Auto Wah)

SUB WAH —

ADV. COMP

LIMITER —

SUB OD/DS —

GRAPHIC EQ

PARAMETRIC EQ

TONE MODIFY —

GUITAR SIM

AC.GUITAR SIM —

SLOW GEAR —

DEFRETTER — This simulates a fretless guitar.

WAVE SYNTH —

SITAR SIM (Sitar Simulator) This simulates the sound of the sitar.

OCTAVE —

PITCH SHIFTER —

(Advanced
Compressor)

(Graphic
Equalizer)

(Parametric
Equalizer)

(Guitar
Simulator)

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

This changes the ltering over a periodic
cycle, providing an automatic wah eect.

You can use an expression pedal
connected to the CTL/EXP jack to control
the wah eect in real time.

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

The limiter attenuates loud input levels to
prevent distortion.

This eect distorts the sound to create
long sustain.

This adjusts the tone. You can adjust the
sound quality in ten bands.

This adjusts the tone. You can adjust the
sound quality in four bands. You can
adjust the sound quality in four bands.

This changes the tone of the connected
guitar.

Simulation of the characteristics of
particular guitar components such as
pickups and dierent guitar bodies
allows you to switch among a number
of dierent guitar types all while using a
single guitar.

This transforms the sound of an electric
guitar into the sound of an acoustic guitar.

This produces a volume-swell eect
(“violin-like” sound).

This is a synth sound that processes the
guitar input signal.

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

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

7

EFFECT

Eect Name TYPE Explanation

Harmonist is an eect where the amount

HARMONIST —

OVERTONE

* FX2 only

SOUND HOLD —

AC. PROCESSOR

PHASER —

FLANGER —

TREMOLO —

ROTARY 1 —

ROTARY 2 —

UNI-V —

PAN —

SLICER —

VIBRATO —

RING MOD —

HUMANIZER — This can create human vowel-like sounds.

2X2 CHORUS —

SUB DELAY —

TERA ECHO

* FX2 only

—

(Acoustic
Processor)

—

of shifting is adjusted according to an
analysis of the guitar input, allowing you
to create harmony based on diatonic
scales.

This eect uses MDP technology to add
new harmonics to the sound, producing
resonance and richness that was not
present in the original sound.

You can have sound played on the guitar
be held continuously. This eect allows
you to perform the melody in the upper
registers while holding a note in the lower
registers.

This processor allows you to change the
sound produced by the pickup on an
acoustic electric guitar, creating a richer
sound similar to that obtained with a
microphone placed close to the guitar.

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

The anging eect gives a twisting,
jet-airplane-like character to the sound.

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

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

This provides rotation that has a dierent
feel than Rotary 1.

This models a Uni-Vibe.

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

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

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

This eect creates vibrato by slightly
modulating the pitch.

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

This allows you to achieve a more natural
chorus sound.

This is a delay with the maximum delay
time of 1,000 ms. This eect is useful for
making the sound fatter.

This eect uses MDP technology to create
a unique ambience and a spaciousness
that changes according to your picking
dynamics.

T. WAH

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

Knob Parameter Value Explanation

Page 1

Selects the wah mode.

[1] MODE

[2] POLAR

[3] SENS 0–100

[4] FREQ 0–100

Page 2

[1] PEAK 0–100

E.LEVEL

[3]

(EFFECT
LEVEL)

DIR.MIX

[4]

(DIRECT MIX)

LPF

BPF

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

DOWN The frequency of the lter will fall.

UP The frequency of the lter will rise.

0–100 Adjusts the volume of the eect sound.

0–100 Adjusts the volume of the direct sound.

Low pass lter. This provides a wah eect
over a wide frequency range.

Band pass lter. This provides a wah eect in
a narrow frequency range.

Species the sensitivity with which the lter
changes in the direction specied by the
POLAR setting.

Higher values will produce a stronger tone
which emphasizes the wah eect more. With
a setting of 0, the strength of picking will
have no eect.

Adjusts the center frequency of the Wah
eect.

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

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

AUTO WAH

This changes the ltering over a periodic cycle, providing an
automatic wah eect.

Knob Parameter Value Explanation

Page 1

Selects the wah mode.

[1] MODE

[2] RATE

[3] DEPTH 0–100 Adjusts the depth of the eect.

[4] FREQ 0–100

Page 2

LPF

BPF

0–100,

BPM
–

Low pass lter. This provides a wah eect
over a wide frequency range.

Band pass lter. This provides a wah eect in
a narrow frequency range.

Adjusts the frequency (speed) of the change.

* When set to BPM, the value of each

parameter will be set according to the
value of the “MASTER BPM” specied for
each patch. This makes it easier to achieve
eect sound settings that match the
tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it is
then synchronized to a period either 1/2 or
1/4 of that time.

Adjusts the center frequency of the Wah
eect.

8

EFFECT

Knob Parameter Value Explanation

Adjusts the way in which the wah eect
applies to the area around the center

[1] PEAK 0–100

E.LEVEL

[3]

[4]

(EFFECT
LEVEL)

DIR.MIX

(DIRECT MIX)

0–100 Adjusts the volume of the eect sound.

0–100 Adjusts the volume of the direct sound.

frequency.

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

SUB WAH

You can control the wah eect in real time by adjusting the
expression pedal connected to the CTL/EXP jack.

Knob Parameter Value Explanation

Page 1

Selects the wah mode.

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

This models the sound of the
VOX V846.

This is a wah sound featuring
a bold tone.

This wah has a rened
sound with no unusual
characteristics.

This expanded wah features
a variable range compat­ible with seven-string and
baritone guitars.

This completely original eect
oers enhancements on the
characteristic resonances
produced by analog synth
lters.

Adjusts the position of the
wah pedal.

* This parameter is used after

it’s been assigned to an EXP
Pedal or similar controller.

Selects the tone produced
when the heel of the EXP
Pedal is depressed.

Selects the tone produced
when the toe of the EXP Pedal
is depressed.

Adjusts the volume of the
eect sound.

Adjusts the volume of the
direct sound.

[1] TYPE

PD.POS

[2]

(PEDAL POSITION)

PD.MIN

[3]

(PEDAL MIN)

PD.MAX

[4]

(PEDAL MAX)

Page 2

E.LEVEL

[1]

(EFFECT LEVEL)

DIR.MIX

[2]

(DIRECT MIX)

CRY

(CRY WAH)

VO

(VO WAH)

FAT (FAT WAH)

LIGHT

(LIGHT WAH)

7STRING

(7STRING WAH)

RESO

(RESO WAH)

0–100

0–100

0–100

0–100

0–100

ADV. COMP

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

Knob Parameter Value Explanation

Page 1

Selects the compressor type.

BOSS

(BOSS COMP)

HI-BAND

LIGHT

D-COMP This models a MXR DynaComp.

[1] TYPE

[2] SUSTAIN 0–100

[3] ATTACK 0–100 Adjusts the attack time.

[4] LEVEL 0–100 Adjusts the volume.

Page 2

[1] TONE -50–+50 This adjusts the tone.

ORANGE

FAT

MILD

STEREO

(STEREO COMP)

This models a BOSS CS-3.

This is a compressor that adds an
even stronger eect in the high
end.

This is a compressor with a light
eect.

This is modeled on the sound
of the Dan Armstrong ORANGE
SQUEEZER.

When applied heavily, this compres­sor eect provides a fat tone with a
boosted midrange.

When applied heavily, this
compressor eect produces a sweet
tone with the high end cut.

This selects a stereo compressor.

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

LIMITER

The limiter attenuates loud input levels to prevent distortion.

Knob Parameter Value Explanation

Page 1

Selects the limiter type.

BOSS

(BOSS LIMITER)

[1] TYPE

THRESH

[2]

(THRESHOLD)

[3] RATIO 1:1–INF:1

[4] LEVEL 0–100 Adjusts the volume.

Page 2

[1] ATTACK 0–100

[2] RELEASE 0–100 Adjusts the release time.

160D

(RACK 160D)

RACK U

(VINAGE RACK U)

0–100

This selects a stereo limiter.

This models a dbx 160X.

This models a UREI 1178.

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

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

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

9

EFFECT

SUB OD/DS

This eect distorts the sound to create long sustain.

Knob Parameter Value Explanation

Page 1

Refer to “OD/DS TYPE” (p. 3).

[1] TYPE

[2] DRIVE 0–120 Adjusts the depth of distortion.

[3] TONE -50–+50 Adjusts the tone.

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

[1] BOTTOM -50–+50

DIR.MIX

[2]

(DIRECT MIX)

SOL.SW

[3]

(SOLO SW)

SOL.LV

[4]

(SOLO LEVEL)

* “CUSTOM” is not available.

* “A-DIST” can be used only with FX2.

0–100

0–100

OFF, ON The tone to one suitable for solos.

0–100

Adjusts the volume of the eect
sound.

Adjusts the tone for the low
frequency range. Turning this to the
left (counterclockwise) produces a
sound with the low end cut; turning
it to the right boosts the low end in
the sound.

Adjusts the volume of the direct
sound.

Adjusts the volume level when the
Solo Sw is ON.

GRAPHIC EQ

This adjusts the tone. You can adjust the sound quality in ten bands.

Knob Parameter Value Explanation

LM.FREQ

[1]

(LOW-MID FRE­QUENCY)

[2] LM.Q (LOW-MID Q) 0.5–16

LM.GAIN

[3]

(LOW-MID GAIN)

Page 3

HM.FREQ

[1]

(HIGH-MID FRE­QUENCY)

HM.Q

[2]

(HIGH-MID Q)

HM.GAIN

[3]

(HIGH-MID GAIN)

Page 4

LO.CUT

[1]

(LOW CUT)

HI.CUT

[4]

(HIGH CUT)

20 Hz–10.0 kHz

-20–+20 dB

20 Hz–10.0 kHz

0.5–16

-20–+20 dB

FLAT, 20 Hz–800 Hz

630 Hz–

12.5 kHz, FLAT

Species the center of
the frequency range that
will be adjusted by the
LOW-MID GAIN.

Adjusts the width of the
area aected by the EQ
centered at the LOW-MID
FREQ. Higher values will
narrow the area.

Adjusts the low-middle
frequency range tone.

Species the center of
the frequency range that
will be adjusted by the
HIGH-MID GAIN.

Adjusts the width of the
area aected by the EQ
centered at the HIGH-MID
FREQ. Higher values will
narrow the area.

Adjusts the high-middle
frequency range tone.

This sets the frequency
at which the low cut lter
begins to take eect. When
“Flat” is selected, the low
cut lter will have no
eect.

This sets the frequency at
which the high cut lter
begins to take eect. When
“FLAT” is selected, the
high cut lter will have no
eect.

Knob Parameter Value

Page 1

[1] 31 Hz

[2] 62 Hz

[3] 125 Hz

[4] 250 Hz

Page 2

[1] 500 Hz

[2] 1 kHz

[3] 2 kHz

[4] 4 kHz

Page 3

[1] 8 kHz

[2] 16 kHz

[4] LEVEL -20–+20 dB

-20–+20 dB

PARAMETRIC EQ

This adjusts the tone. You can adjust the sound quality in four
bands.

Knob Parameter Value Explanation

Page 1

LO.GAIN

[1]

(LOW GAIN)

HI.GAIN

[2]

(HIGH GAIN)

[4] LEVEL -20–+20 dB

Page 2

-20–+20 dB

-20–+20 dB

Adjusts the low frequency
range tone.

Adjusts the high frequency
range tone.

Adjusts the overall volume
level of the equalizer.

TONE MODIFY

This changes the tone of the connected guitar.

Knob Parameter Value Explanation

Page 1

Selects the type of tone modication.

FAT

PRES (PRESENCE)

MILD

[1] TYPE

[2] LOW -50–+50

[3] HIGH -50–+50

[4] LEVEL 0–100

Page 2

[1] RESO 0–100

TIGHT

ENHANC (ENHANCE)

RESO1 – 3

(RESONATOR1–3)

Fat tone with boosted mid
range.

Bright tone with boosted
high-mid range.

Mild tone with the high end
cut back.

Tone with the low frequencies
cut.

Tone with the high frequencies
boosted.

This produces a tone with
greater power and punch
by adding resonance in the
low-frequency range and
midrange.

Adjusts the tone for the low
frequency range.

Adjusts the tone for the high
frequency range.

Adjusts the volume of the
eect sound.

This adjusts the strength of
the low-end and midrange
resonance when TYPE is set to
RESO 1, 2, or 3.

10

EFFECT

GUITAR SIM

Simulation of the characteristics of particular guitar components
such as pickups and dierent guitar bodies allows you to switch
among a number of dierent guitar types all while using a single
guitar.

Knob Parameter Value Explanation

Page 1

Selects the type of the guitar simulator.

S"H

H"S

H"HF

(HALF TONE)

S"HLW
(HOLLOW)

[1] TYPE

H"HLW

S"AC

(ACOUSTIC)

H"AC

(ACOUSTIC)

P"AC

(PIEZO

"ACOUSTIC)

[2] LOW -50–+50 Adjusts the low frequency range tone.

[3] HIGH -50–+50

[4] LEVEL 0–100

Page 2

[1] BODY 0–100

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

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

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

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

Changes a humbucking pickup tone
to a hollow body 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.

Adjusts the high frequency range
tone.

Adjusts the volume of the eect
sound.

Adjusts the way the body sounds
when TYPE is set to SHLW, HHLW, SAC,
HAC or PAC.

The body sound increases as the value
is raised; reducing the value produces
a tone similar to that from a piezo
pickup.

SLOW GEAR

This produces a volume-swell eect (“violin-like” sound).

Knob Parameter Value Explanation

Adjusts the sensitivity of the slow gear. When
it is set to a lower value, the eect of the slow

[1] SENS 0–100

RISE.TM

[2]

(RISE TIME)

[4] LEVEL 0–100 Adjusts the volume of the eect sound.

0–100

gear can be obtained only with a stronger
picking, while no eect is obtained with a
weaker picking. When the value is set higher,
the eect is obtained even with a weak
picking.

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

DEFRETTER

This simulates a fretless guitar.

Knob Parameter Value Explanation

Page 1

[1] SENS 0–100

[2] DEPTH 0–100

[3] TONE -50–+50

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

[1] ATTACK 0–100

[2] RESO 0–100

DIR.MIX

[4]

(DIRECT MIX)

0–100

0–100

This controls the input sensitivity of
the defretter.

This controls the rate of the
harmonics.

Adjusts the amount of blurring
between the notes.

Adjusts the volume of the eect
sound.

Adjusts the attack of the picking
sound.

Adds a characteristically resonant
quality to the sound.

Adjusts the volume of the direct
sound.

AC. GUITAR SIM

This eect simulates the tonal character of an acoustic guitar.

Knob Parameter Value Explanation

[1] BODY 0–100 Adjusts the body resonance.

[2] LOW -50–+50

[3] HIGH -50–+50

[4] LEVEL 0–100 Species the volume of the eect.

Species the sense of volume for the
low-frequency range.

Species the sense of volume for the
high-frequency range.

WAVE SYNTH

This is a synth sound that processes the guitar input signal.

* When you use a wave synthesizer, observe the following points.

• Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played. Be sure to mute all the
other strings and play only one note at a time.

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

• The sensitivity may vary according to the guitar’s TONE knob and
pickup type.

Knob Parameter Value Explanation

Page 1

Selects a wave type which the synth sound is based.

[1] WAVE

[2] CUTOFF 0–100

SAW

SQUARE

Creates a synth sound with a saw
waveform (

Creates a synth sound with the
square waveform (

Adjusts the frequency where the
harmonics contents of the sound are
cut o.

).

).

11

EFFECT

Knob Parameter Value Explanation

This adjusts the amount of resonance

[3] RESO 0–100

SENS

[4]

Page 2

[1]

[2]

[3]

[4]

(FILTER SENS)

DECAY

(FILTER DECAY)

DEPTH

(FILTER DEPTH)

SYN.LVL

(SYNTH LEVEL)

DIR.MIX

(DIRECT MIX)

0–100

0–100

0–100

0–100 Adjusts the volume of the synth sound.

0–100 Adjusts the volume of the direct sound.

(and the tone coloration) in the synth
sound. The higher the value, the
more the synth tone coloration is
emphasized.

This adjusts the amount of ltering
applied in response to the input.

This sets the time needed for the lter
to nish its sweep.

Adjusts the depth of the lter. When
the value is higher, the lter will change
more drastically.

SITAR SIM.

This simulates the sound of the sitar.

Knob Parameter Value Explanation

Page 1

Adjusts the sensitivity of the sitar.
When it is set to a lower value, no
eect of the sitar is obtained with

[1] SENS 0–100

[2] DEPTH 0–100

[3] TONE -50–+50

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

[1] RESO 0–100

[2] BUZZ 0–100

DIR.MIX

[4]

(DIRECT MIX)

0–100 Adjust the volume of the sitar sound.

0–100

weaker picking, while stronger
picking produces the eect. When it
is set to a higher value, the eect of
the sitar can be obtained whether the
picking is weak or strong.

This adjusts the amount of eect
applied.

This adjusts the tone. The high end is
boosted as the value increases.

This adjusts the undulation of the
resonance.

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

Adjusts the volume of the direct
sound.

OCTAVE

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

Knob Parameter Value Explanation

This selects the register to which the eect is
applied.

B1 (corresponds to the sound

RANGE 1 (B1–E6)

RANGE 2 (B1–E5)

[1] RANGE

RANGE 3 (B1–E4)

RANGE 4 (B1–E3)

12

of an open 7th string) to E6
(corresponds to the 1st string
played at the 24th fret)

B1 (corresponds to the sound
of an open 7th string) to E5
(corresponds to the 1st string
played at the 12th fret)

B1 (corresponds to the sound
of an open 7th string) to E4
(corresponds to the sound of
an open 1st string)

B1 (corresponds to the sound
of an open 7th string) to E3
(corresponds to the 4th string
played at the 2nd fret)

Knob Parameter Value Explanation

[3]

[4]

E.LEVEL

(EFFECT LEVEL)

DIR.MIX

(DIRECT MIX)

0–100

0–100

Adjusts the volume of the
sound one octave below.

Adjusts the volume of the
direct sound.

PITCH SHIFTER

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

Knob Parameter Value Explanation

Page 1

Selects the number of voices for the pitch shift sound.

1VOICE

[1] VOICE

[2]

1:PITCH

[3]

2:PITCH

DIR.MIX

[4]

(DIRECT MIX)

Page 2/Page 3 (if VOICE is set to “1VOICE”: page 2 only)

1:MODE

[1]

2:MODE

1:FINE

[2]

2:FINE

1:P-DLY

(1:PRE DELAY)

[3]

2:P-DLY

(2:PRE DELAY)

1:LEVEL

[4]

2:LEVEL

Page 4 (if VOICE is set to “1VOICE”: page 3)

1:F-BAK

[1]

(1:FEEDBACK)

2MONO

2STEREO

-24–+24

0–100

Selection for the pitch shifter mode.

FAST,

MEDIUM,

SLOW

MONO

-50–+50

0 ms–300 ms,

–

BPM

0–100

0–100

One-voice pitch-shifted sound
output in monaural.

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

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

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

Adjusts the volume of the direct
sound.

The response is slower in the
order of FAST, MEDIUM and SLOW,
but the modulation is lessened in
the same order.

MONO is used for inputting single
notes.

* You may be unable to produce

the intended eect when
playing chords (two or more
notes played simultaneously).

Make ne adjustments to
the interval. The amount of
the change in the Fine 100 is
equivalent to that of the Pitch 1.

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

* When set to BPM, the value

of each parameter will be set
according to the value of the
“MASTER BPM” specied for
each patch. This makes it easier
to achieve eect sound settings
that match the tempo of the
song.

* If, due to the tempo, the time

is longer than the range of
allowable settings, it is then
synchronized to a period either
1/2 or 1/4 of that time.

Adjusts the volume of the pitch
shifter.

Adjusts the feedback amount of
the pitch shift sound.

EFFECT

HARMONIST

Harmonist is an eect where the amount of shifting is adjusted
according to an analysis of the guitar input, allowing you to create
harmony based on diatonic scales.

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

sounds played simultaneously) cannot be played. Be sure to
mute all the other strings and play only one note at a time.

* If the unit cannot detect the attack, it may not sound correctly. If

the unit cannot detect the attack, it may not sound correctly.

* The sensitivity may vary according to the guitar’s TONE knob

and pickup type.

* For the USB SECONDARY audio routing (p. 34), the harmonist

eect cannot be used on audio from USB IN.

Knob Parameter Value Explanation

Page 1

Selects the number of voices for the pitch shift sound.

1VOICE

[1] VOICE

[2]

1:HARM

[3]

2:HARM

KEY

[4]

(MASTER KEY)

Page 2/Page 3 (if VOICE is set to “1VOICE”: page 2 only)

1:P-DLY

(1:PRE DELAY)

[1]

2:P-DLY

(2:PRE DELAY)

1:F-BAK

[2]

(1:FEEDBACK)

1:LEVEL

[3]

2:LEVEL

DIR.MIX

[4]

(DIRECT MIX)

2MONO

2STEREO

-2 oct–+2
oct, USER

C (Am)–B
(G#m)

0 ms–300
ms,

BPM

0–100

0–100

0–100

One pitch-shifted voice is output in
monaural.

Two pitch-shifted voices are output in
monaural.

Two pitch-shifted voices are output
to the L-channel and the R-channel
respectively.

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 USER, this
parameter sets the user scale number
to be used.

The key setting corresponds to the key
of the song (#, b) as follows.

Major

Minor

Major

Minor

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

* When set to BPM, the value of each

parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This makes

–

it easier to achieve eect sound
settings that match the tempo of
the song.

* If, due to the tempo, the time is

longer than the range of allowable
settings, it is then synchronized to a
period either 1/2 or 1/4 of that time.

Adjusts the feedback amount of the
harmonist sound.

Adjusts the volume of the harmony
sound.

Adjusts the volume of the direct
sound.

Knob Parameter Value Explanation

For 1VOICE: pages 3–5

For 2MONO or 2STEREO: pages 4–6 (1:HARM), 7–9 (2:HARM)

[1]

[2] Db

[3] D

[4] Eb

[1] E

[2] F

USER SCALE

*1 *2

[3] F#

[4] G

[1] Ab

[2] A

[3] Bb

[4] B

*1 This can be specied if 1:HARM or 2:HARM is “USER.”

*2 The correspondence between the note names and the knobs diers depending

on the specied KEY. Knob [1] of the rst page is the tonic (root note) of the
specied KEY. The table shows the example of when KEY is set to C (Am).

C

-24

-24

-24

-24

-24

-24

-24

-24

-24

-24

-24

-24

C–+24 C

D²–+24 D²

D–+24 D

E²–+24 E²

E–+24 E

F–+24 F

F¾–+24 F¾

G–+24 G

A²–+24 A²

A–+24 A

B²–+24– B²

B–+24 B

You can specify a
pitch in the range
two octaves
above or below
the direct sound.

OVERTONE (FX2 Only)

This eect uses MDP technology to add new harmonics to the
sound, producing resonance and richness that was not present in
the original sound.

Knob Parameter Value Explanation

Page 1

LWR.LVL

[1]

(LOWER LEVEL)

UPR.LVL

[2]

(UPPER LEVEL)

DIR.MIX

[3]

(DIRECT MIX)

[4] DETUNE 0–100

Page 2

[1] TONE -50–+50 This adjusts the tone.

0–100

0–100

0–100 Adjusts the volume of the direct sound.

Adjusts the volume of the harmonic
one octave below.

Adjusts the volume of the harmonic
one octave above.

Adjusts the amount of the detune
eect that adds depth to the sound.

SOUND HOLD

You can have sound played on the guitar be held continuously.
This eect allows you to perform the melody in the upper registers
while holding a note in the lower registers.

* This function will not work properly when two or more notes are

played simultaneously.

Knob Parameter Value Explanation

Switches the hold sound on and o.
Normally, this is controlled with the
CTL pedals.

[1] HOLD OFF, ON

RISE.TM

[2]

[4]

(RISE TIME)

E.LEVEL

(EFFECT LEVEL)

0–100

0–120 Adjusts the volume of the hold sound.

• It is assumed that this parameter will
be assigned to the footswitch.

• Patches are written with the HOLD
parameter set to O.

Adjusts how rapidly the Sound Hold
sound is produced.

13

EFFECT

AC. PROCESSOR

This processor allows you to change the sound produced by the
pickup on an acoustic electric guitar, creating a richer sound similar
to that obtained with a microphone placed close to the guitar.

Knob Parameter Value Explanation

Page 1

Selects the modeling type.

SMALL

[1] TYPE

[2] BASS -50–+50

[3] MIDDLE -50–+50 Adjusts the midrange balance.

M.FREQ

[4]

(MIDDLE FREQ)

Page 2

[1] TREBLE -50–+50

PRES

[2]

(PRESENCE)

[4] LEVEL 0–100 Adjusts the volume.

MEDIUM

BRIGHT This is a bright acoustic guitar sound.

POWER This is a powerful acoustic guitar sound.

20.0 Hz–10.0
kHz

-50–+50

This is the sound of a small-bodied
acoustic guitar.

This is a standard, unadorned acoustic
guitar sound.

Adjusts the tone for the low frequency
range.

Species the frequency range to be
adjusted with Middle.

Adjusts the tone for the high frequency
range.

Adjusts the balance in the extended
upper range.

Knob Parameter Value Explanation

Page 2

[1] MANUAL 0–100

[2]

[3]

[4]

STEP.RT

(STEP RATE)

E.LEVEL

(EFFECT LEVEL)

DIR.MIX

(DIRECT MIX)

OFF, 0–100,

BPM

0–100 Adjusts the volume of the phaser.

0–100

Adjusts the center frequency of the
phaser eect.

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 ner. Set this to “O ”
when not using the Step function.

* When set to BPM, the value of each

parameter will be set according
to the value of the “MASTER BPM”

–

specied for each patch. This makes
it easier to achieve eect sound
settings that match the tempo of
the song.

* If, due to the tempo, the time is

longer than the range of allowable
settings, it is then synchronized to a
period either 1/2 or 1/4 of that time.

Adjusts the volume of the direct
sound.

FLANGER

The anging eect gives a twisting, jet-airplane-like character to
the sound.

PHASER

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

Knob Parameter Value Explanation

Page 1

Selects the number of stages that the phaser eect
will use.

4 STAGE

[1] TYPE

[2] RATE

[3] DEPTH 0–100

RESO

[4]

(RESONANCE)

8 STAGE

12 STAGE

BiPHASE

0–100,

BPM

0–100

This is a four-phase eect. A light
phaser eect is obtained.

This is a eight-phase eect. It is a
popular phaser eect.

This is a twelve-phase eect. A deep
phase eect is obtained.

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

This sets the rate of the phaser eect.

* When set to BPM, the value of each

parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This makes
it easier to achieve eect sound

–

settings that match the tempo of
the song.

* If, due to the tempo, the time is

longer than the range of allowable
settings, it is then synchronized to a
period either 1/2 or 1/4 of that time.

Determines the depth of the phaser
eect.

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

Knob Parameter Value Explanation

Page 1

This sets the rate of the anging
eect.

* When set to BPM, the value of

each parameter will be set accord­ing to the value of the “MASTER

[1] RATE

[2] DEPTH 0–100

RESO

[3]

(RESONANCE)

[4] MANUAL 0–100

Page 2

SEPARAT

[1]

(SEPARATION)

LO.CUT

[2]

(LOW CUT)

E.LEVEL

[3]

(EFFECT LEVEL)

DIR.MIX

[4]

(DIRECT MIX)

0–100,

BPM

0–100

0–100

FLAT,
55 Hz–800 Hz

0–100 Adjusts the volume of the anger.

0–100

–

BPM” specied for each patch. This
makes it easier to achieve eect
sound settings that match the
tempo of the song.

* If, due to the tempo, the time

is longer than the range of
allowable settings, it is then
synchronized to a period either
1/2 or 1/4 of that time.

Determines the depth of the
anging eect.

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

Adjusts the center frequency at
which to apply the eect.

Adjusts the diusion. The diusion
increases as the value increases.

This sets the frequency at which the
low cut lter begins to take eect.
When “Flat” is selected, the low cut
lter will have no eect.

Adjusts the volume of the direct
sound.

14

EFFECT

TREMOLO

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

Knob Parameter Value Explanation

WAVE

[1]

(WAVE SHAPE)

[2] RATE

[3] DEPTH 0–100 Adjusts the depth of the eect.

[4] LEVEL 0–100 Adjusts the volume.

0–100

0–100,

BPM

Adjusts changes in volume level.
A higher value will steepen wave’s
shape.

Adjusts the frequency (speed) of the
change.

* When set to BPM, the value of each

parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This
makes it easier to achieve eect

–

sound settings that match the
tempo of the song.

* If, due to the tempo, the time is

longer than the range of allowable
settings, it is then synchronized to
a period either 1/2 or 1/4 of that
time.

ROTARY 1/ROTARY 2

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

ROTARY 1 and ROTARY 2 provide a dierent-feeling sense of
rotation.

UNI-V

This models a Uni-Vibe.

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

Knob Parameter Value Explanation

Adjusts the rate of the UNI-V eect.

* When set to BPM, the value of each

parameter will be set according to the
value of the “MASTER BPM” specied

[1] RATE

[2] DEPTH 0–100 Adjusts the depth of the UNI-V eect.

[4] LEVEL 0–100 Adjusts the volume.

0–100,

BPM

–

for each patch. This makes it easier
to achieve eect sound settings that
match the tempo of the song.

* If, due to the tempo, the time is longer

than the range of allowable settings, it
is then synchronized to a period either
1/2 or 1/4 of that time.

PAN

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

Knob Parameter Value Explanation

Page 1

[1] SPEED SLOW, FAST

RATE.S

[2]

(RATE-SLOW)

RATE.F

[3]

(RATE-FAST )

[4] DEPTH 0–100

Page 2

RISE.TM

[1]

(RISE TIME)

FALL.TM

[2]

(FALL TIME)

B/H.BAL

[3]

(BASS/HORN
BALANCE) *1

[4] LEVEL 0–100 Adjusts the volume.

Page 3

DIR.MIX

[1]

(DIRECT MIX*1

1 ROTARY 2 only.

0–100,

–

BPM

0–100,

BPM

–

0–100

0–100

100:0–0:100

0–100

This parameter changes the
simulated speaker’s rotating
speed (SLOW or FAST).

This parameter adjusts the SPEED
SELECT of rotation when set to
“SLOW.”

This parameter adjusts the SPEED
SELECT of rotation when set to
“FAST.”

* When set to BPM, the value

of each parameter will be set
according to the value of the
“MASTER BPM” specied for
each patch. This makes it easier
to achieve eect sound settings
that match the tempo of the
song.

* If, due to the tempo, the time

is longer than the range of
allowable settings, it is then
synchronized to a period either
1/2 or 1/4 of that time.

This parameter adjusts the
amount of depth in the rotary
eect.

This parameter adjusts the time
it takes for the rotation SPEED
SELECT to change when switched
from “SLOW” to “FAST.”

This parameter adjusts the time
it takes for the rotation SPEED
SELECT to change when switched
from “FAST” to “SLOW.”

Adjusts the volume balance
between the BASS rotor and the
HORN rotor.

Adjusts the volume of the direct
sound.

Knob Parameter Value Explanation

Page 1

This varies the volume level on

AUTO

[1] TYPE

MANUAL

WAVE

[2]

(WAVE SHAPE) *1

[3] RATE *1

[4] DEPTH *1 0–100 Adjusts the depth of the eect.

POS

[2]

(POSITION) *2

Page 2

[4] LEVEL *3 0–100 Adjusts the volume.

*1 Setting available when TYPE is set to AUTO

*2 Setting available when TYPE is set to MANUAL.

*3 If TYPE is set to MANUAL, this is shown in page 1.

0–100

0–100,

–

BPM

L 100–CENTER–
R 100

the left and right according to
the settings for WAVE SHAPE,
RATE, and DEPTH.

Output uses the volume balance
set with POS.

Adjusts changes in volume level.

A higher value will steepen
wave’s shape.

Adjusts the frequency (speed) of
the change.

* When set to BPM, the value

of each parameter will be
set according to the value of
the “MASTER BPM” specied
for each patch. This makes it
easier to achieve eect sound
settings that match the tempo
of the song.

* If, due to the tempo, the time

is longer than the range of
allowable settings, it is then
synchronized to a period either
1/2 or 1/4 of that time.

This adjusts the volume balance
between the left and right
channels.

15