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

EFFECT

SLICER

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

Knob Parameter Value Explanation

Page 1

[1] PATTERN P1–P20

[2] RATE

SENS

[3]

(TRIGGER SENS)

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

DIR.MIX

[1]

(DIRECT MIX)

0–100,

BPM

0–100

0–100

0–100

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

Adjust the rate at which the sound
will be cut.

* 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.

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.

Adjusts the volume of the eect
sound.

Adjusts the volume of the direct
sound.

VIBRATO

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

Knob Parameter Value Explanation

Page 1

Adjusts the rate of the vibrato.

* 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 vibrato.

[3] TRIGGER OFF, ON

RISE.TM

[4]

(RISE TIME)

Page 2

[1] LEVEL 0–100 Adjusts the volume.

0–100,

BPM

0–100

–

16

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 selects on/o of the vibrato.

* It is assumed that this parameter will be

assigned to the footswitch.

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

* When a patch with TRIGGER set to ON is

called up, the eect obtained is identical
to what happens when TRIGGER is
switched from O to On. If you want
the vibrato eect to be produced
immediately after the patches are
switched, set RISE TIME to 0.

RING MOD

The sound can be unmusical and lack distinctive pitches.

Knob Parameter Value Explanation

This selects the mode for the ring modulator.

NORMAL This is a normal ring modulator.

By ring-modulating the
input signal, a bell like sound
is created. The intelligent
ring modulator changes the
oscillation frequency according

[1] MODE

FREQ

[2]

(FREQUENCY)

E.LEVEL

[3]

(EFFECT LEVEL)

DIR.MIX

[4]

(DIRECT MIX)

INTELLI
(INTELLIGENT)

0–100

0–100

0–100

to the pitch of the input sound
and therefore produces a sound
with the sense of pitch, which
is quite dierent from NORMAL.
This eect 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.

Adjusts the frequency of the
internal oscillator.

Adjusts the volume of the eect
sound.

Adjusts the volume of the direct
sound.

HUMANIZER

This can create human vowel-like sounds.

Knob Parameter Value Explanation

Page 1

This sets the mode that switches the vowels.

[1] MODE

[2] VOWEL 1 a, e, i, o, u Selects the rst vowel.

[3] VOWEL 2 a, e, i, o, u Selects the second vowel.

[4] SENS *1 0–100

Page 2

[1] RATE

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

[3] MANUAL *2 0–100

[4] LEVEL 0–100 Adjusts the volume.

*1 Setting available when MODE is set to PICKING.

*2 Setting available when MODE is set to AUTO.

PICKING

AUTO

0–100,
BPM

–

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

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

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

Adjusts the cycle for changing the two
vowels.

* 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 cycle for changing the two
vowels. 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.

EFFECT

2X2 CHORUS

This allows you to achieve a more natural chorus sound.

Knob Parameter Value Explanation

Page 1

Adjust the speed of the chorus
eect for the low frequency range.

* When set to BPM, the value

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

[1]

[2]

[3]

[4]

Page 2

[1]

[2]

[3]

[4]

Page 3

[1]

[4]

LO.RATE

(LOW RATE)

LO.DPT

(LOW DEPTH)

HI.RATE

(HIGH RATE)

HI.DPT

(HIGH DEPTH)

LO.PDLY

(LOW PRE DELAY)

LO.LVL

(LOW LEVEL)

HI.PDLY

(HIGH PRE DELAY)

HI.LVL

(HIGH LEVEL)

XOVER (CROSSOVER
FREQUENCY)

DIR.MIX

(DIRECT MIX)

0–100,

BPM

–

0–100

0–100,

–

BPM

0–100

0.0 ms–40.0
ms

0–100

0.0 ms–40.0
ms

0–100

100 Hz–4.00
kHz

0–100

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.

Adjust the depth of the chorus
eect for the low frequency
range. If you wish to use this as a
doubling eect, use a setting of 0.

Adjust the speed of the chorus
eect for the high frequency
range.

* 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.

Adjust the depth of the chorus
eect for the high frequency
range. If you wish to use this as a
doubling eect, use a setting of 0.

Adjusts the delay of the eect
sound in the low-frequency range.
Extending the pre-delay will
produce the sensation of multiple
sounds (doubling eect).

Adjusts the volume of the eect
sound in the low-frequency range.

Adjusts the delay of the eect
sound in the high-frequency
range. Extending the pre-delay
will produce the sensation of
multiple sounds (doubling eect).

Adjusts the volume of the eect
sound in the high-frequency
range.

This sets the frequency dividing
the low- and high-frequency
ranges.

Adjusts the volume of the direct
sound.

SUB DELAY

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

Knob Parameter Value Explanation

Page 1

Use this to choose the type of delay.

[1] TYPE

DLY.TIM

[2]

(DELAY TIME)

FEEDBAK

[3]

(FEEDBACK)

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

HI.CUT

[1]

(HIGH CUT)

[2] TAP TIME *1 0–100%

DIR.MIX

[4]

(DIRECT MIX)

*1 Setting available when TYPE is set to PAN.

MONO

PAN

1 ms–1000 ms,

–

BPM

0–100

0–120

630 Hz–

12.5 kHz, FLAT

0–100

Use this to choose the type of
delay.

Provides a tap delay eect that
divides the delay time between
the left and right channels.

Adjusts the delay time.

* 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 that is
returned to the input. Higher
settings will result in more delay
repeats.

Adjusts the volume of the delay
sound.

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.

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

Adjusts the volume of the direct
sound.

TERA ECHO (FX2 Only)

This uses MDP technology to create spaciousness and distinctive
ambience that varies according to your picking dynamics.

Knob Parameter Value Explanation

Page 1

Selects the mode of the eect sound.

MONO

[1] MODE

[2] S.TIME 0–100

FEEDBAK

[3]

(FEEDBACK)

STEREO1

STEREO2

0–100

The L and R channels will both
output the same sound.

The eect is applied separately to
the L and R channels.

The L channel outputs the direct
sound, and the R channel outputs
the eect sound.

Adjusts the length of the eect
sound.

Adjusts the decay of the eect
sound.

17

EFFECT

Knob Parameter Value Explanation

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

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

DIR.MIX

[2]

(DIRECT MIX)

[4] HOLD OFF, ON

0–100

0–100

Adjusts the volume of the eect
sound.

Adjusts the volume of the direct
sound.

The eect sound is held when you
turn this on.

DELAY

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

Knob Parameter Value Explanation

DELAY

ON/OFF

Page 1

OFF, ON Turns this eect on/o.

This selects which type of delay.

* If you switch patches with the Type set to either

DUAL-S, DUAL-P, or DUAL- L/R and then begin to play
immediately after the patches change, you may be
unable to attain the intended eect in the rst portion
of what you perform.

* The stereo eect is cancelled if a monaural eect or

COSM amp is connected after a stereo delay eect.*

SINGLE This is a simple monaural delay.

This delay is specically for stereo
output. This allows you to obtain the tap
delay eect that divides the delay time,
then deliver them to L and R channels.

PAN

STEREO

DUAL-S

EFFECT LEVEL

INPUT

The direct sound is output from the left
channel, and the eect sound is output
from the right channel.

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

DELAY

FEEDBACK

TAP TIME
OUTPUT L

DELAY TIME
OUTPUT R

[1] TYPE

DUAL-P

DUAL-L/R

REVERSE

ANALOG

TAPE

MOD

(MODULATE)

D1 D2

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

D1: DELAY 1
D2: DELAY 2

D1

D2

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

D1

D2

This produces an eect where the sound
is played back in reverse.

This gives a mild analog delay sound. The
delay time can be set within the range of
1 to 2000 ms.

This setting provides the characteristic
wavering sound of the tape echo. The
delay time can be set within the range of
1 to 3400 ms.

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

L

R

18

EFFECT

COMMON

Knob Parameter Value Explanation

Page 1 (if TYPE is set to other than DUAL-S, DUAL-P, or DUAL-L/R)

Adjusts the delay time.

* When set to BPM, the value

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

DLY.TIM

[2]

(DELAY TIME)

FEEDBAK

[3]

(FEEDBACK)

E.LEVE

[4]

(EFFECT LEVEL)

Page 2 (if TYPE is set to other than DUAL-S, DUAL-P, or DUAL-L/R)

HI.CUT

[1]

(HIGH CUT)

DIR.MIX

[4]

(DIRECT MIX)

1 ms–2000 ms,

BPM

–

0–100

0–120

630 Hz–

12.5 kHz, FLAT

0–100

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 that is
returned to the input. A higher
value will increase the number
of the delay repeats.

Adjusts the volume of the
delay sound.

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.

Adjusts the volume of the
direct sound.

PAN

Knob Parameter Value Explanation

Page 2

Adjusts the delay time of the left channel

[2] TAP TIME 0–100%

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

DUAL-S, DUAL-P, DUAL-L/R

Knob Parameter Value Explanation

Page 2, 3 (if TYPE is set to DUAL-S, DUAL-P, or DUAL-L/R)

Adjusts the delay time.

* 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 amount of feedback of
the DELAY 1 (or DELAY 2). A higher
value will increase the number of
the delay repeats.

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

Adjusts the volume of the DELAY 1
(or DELAY 2).

[1]

[2]

[3]

[4]

1:TIME

2:TIME

1:F.BAK

(FEEDBACK)

2:F.BAK

(FEEDBACK)

1:HiCUT

(HIGH CUT)

2:HiCUT

(HIGH CUT)

1:LEVEL

2:LEVEL

1 ms–1000 ms,

BPM

–

0–100

630 Hz–

12.5 kHz, FLAT

0–120

MODULATE

Knob Parameter Value Explanation

Page 3

MOD.RT

[1]

(MODULATION RATE)

MOD.DPT (MODULATION

[2]

DEPTH)

0–100

0–100

Adjusts the modulation rate of
the delay sound.

Adjusts the modulation depth
of the delay sound.

CHORUS

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

Knob Parameter Value Explanation

CHORUS

ON/OFF

Page 1

[1] MODE

[2] RATE

[3] DEPTH 0–100

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

PRE.DLY

[1]

(PRE DELAY)

LO.CUT

[2]

(LOW CUT)

HI.CUT

[3]

(HIGH CUT)

DIR.MIX

[4]

(DIRECT MIX)

OFF, ON Turns this eect on/o.

Selection for the chorus mode.

MONO

STEREO1

STEREO2

0–100,

BPM

0–100

0.0 ms–40.0
ms

FLAT,

20 Hz–800 Hz

630 Hz–

12.5 kHz,
FLAT

0–100

This chorus eect outputs the same
sound from both L channel and R
channel.

This is a stereo chorus eect that
adds dierent chorus sounds to L
channel and R channel.

This stereo chorus uses spatial
synthesis, with the direct sound
output in the L channel and the
eect sound output in the R channel.

Adjust the speed of the chorus eect
for the high frequency range.

* 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 depth of the chorus
eect.

* To use it for doubling eect, set the

value to 0.

Adjusts the volume of the eect
sound.

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

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

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

Adjusts the volume of the direct
sound.

19

EFFECT

REVERB

This eect adds reverberation to the sound.

Knob Parameter Value Explanation

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

Page 1

This selects the reverb type. Various dierent
simulations of space are oered.

Simulates an ambience mic
(o-mic, placed at a distance

AMBIENC
(AMBIENCE)

ROOM

[1] TYPE

TIME

[2]

(REVERB TIME)

PRE.DLY

[3]

(PRE DELAY)

E.LEVEL

[4]

(EFFECT LEVEL)

Page 2

LO.CUT

[1]

(LOW CUT)

HI.CUT

[2]

(HIGH CUT)

[3] DENSITY 0–10

DIR.MIX

[4]

(DIRECT MIX)

Page 3

SPRING

(SPRING SENS)

(TYPE = SPRING
only)

HALL 1

HALL 2

PLATE

SPRING

MOD (MODU­LATE)

0.1 s–10.0 s

0 ms–500 ms

0–100

FLAT,

20 Hz–800 Hz

630 Hz–

12.5 kHz, FLAT

0–100

0–100

from the sound source) used in
recording and other applications.
Rather than emphasizing the
reverberation, this reverb is used
to produce a sense of openness
and depth.

Simulates the reverberation in
a small room. Provides warm
reverberations.

Simulates the reverberation in a
concert hall. Provides clear and
spacious reverberations.

Simulates the reverberation in
a concert hall. Provides mild
reverberations.

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

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

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

Adjusts the length (time) of
reverberation.

Adjusts the time until the reverb
sound appears.

Adjusts the volume of the reverb
sound.

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.

Adjusts the density of the reverb
sound.

Adjusts the volume of the direct
sound.

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

PEDAL FX

PEDAL FX is an eect that lets you use an expression pedal
connected to the CTL/EXP jack to control WAH or PEDAL BEND. For
details on how to edit the eect that’s assigned to the expression
pedal, refer to ”CTL/EXP” (p. 25).

PEDAL BEND

This lets you use the pedal to get a pitch bend eect.

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

played simultaneously) cannot be played.

* To use PEDAL BEND, set EXP PEDAL’s FUNC to PB (PEDAL BEND)

or PB/FV (PEDAL BEND/FOOT VOLUME).

Knob Parameter Value Explanation

[1] PITCH -24–+24

PD.POS

[2]

[3]

[4]

(PEDAL POSITION)

E.LEVEL

(EFFECT LEVEL)

DIR.MIX

(DIRECT MIX)

0–100

0–100

0–100

WAH

The expression pedal connected to the CTL/EXP jack controls the
wah eect in real time.

* To use WAH, set EXP PEDAL’s FUNC to WAH or WAH/FV (WAH/

FOOT VOLUME).

Knob Parameter Value Explanation

Page 1

Selects the type of wah.

CRY (CRY WAH)

VO (VO WAH)

FAT (FAT WAH)

[1] TYPE

PD.POS

[2]

(PEDAL POS)

PD.MIN

[3]

(PEDAL MIN)

PD.MAX

[4]

(PEDAL MAX)

LIGHT

(LIGHT WAH)

7STRING

(7STRING WAH)

RESO

(RESONANCE WAH)

0–100

0–100

0–100

This sets the pitch at the point
where the EXP Pedal is all the way
down.

Adjusts the pedal position for
pedal bend. This parameter is
used after it’s been assigned to an
EXP Pedal or similar controller.

Adjusts the volume of the pitch
bend sound.

Adjusts the volume of the direct
sound.

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.

20

EFFECT

Knob Parameter Value Explanation

Page 2

[1]

[2]

E.LEVEL

(EFFECT LEVEL)

DIR.MIX

(DIRECT MIX)

0–100

0–100

Adjusts the volume of the
eect sound.

Adjusts the volume of the
direct sound.

FOOT VOLUME

FOOT VOLUME

This is a volume control eect.

It’s controlled by the expression pedal connected to the CTL/EXP
jack.

Knob Parameter Value Explanation

MIN

[1]

(VOLUME
MIN)

MAX

[2]

(VOLUME
MAX)

0–100

0–100

Sets the volume when the heel of the EXP
Pedal is depressed.

Selects the volume when the toe of the
EXP Pedal is depressed.

You can select how the actual volume
changes relative to the amount the pedal
is pressed.

Volume

DIVIDER

Within the eect chain, the point where the signal is split into
channels “A” and “B” is called the “divider,” and the point where the
two signals are recombined is called the “mixer.”

You can use the divider to switch between channels “A” and “B,” to
assign strongly picked notes and softly picked notes to dierent
channels, or to assign dierent frequency bands of your guitar
sound to dierent channels.

The mixer lets you adjust the volume balance of channels “A” and “B,”
place them in the stereo eld, or slightly delay the sound of channel
“B” to produce a spacious sound.

DIVIDER MIXER

Knob Parameter Value Explanation

Page 1

[1] MODE

SINGLE

SINGLE Use only one channel, either “A” or “B.”

DUAL Use the two channels “A” and “B.”

CURVE

[3]

(VOLUME
CURVE)

[4] LEVEL 0–100 Adjusts the volume.

SLOW 1,
SLOW 2,
NORMAL,
FAST

Minor

When the pedal is
fully raised

FAST

NORMAL

SLOW 2

SLOW 1

When the

pedal is fully

advanced

If “SINGLE” is selected in [1]

Knob Parameter Value Explanation

Page 1

[2]

CH.SEL

(CHANNEL SELECT)

Ch. A,

Selects the channel to use.

Ch. B

DUAL Ch. A, DUAL Ch. B

If “DUAL” is selected in [1]

Knob Parameter Value Explanation

Page 2, 3

OFF DYNAMIC will not be used.

A:DYN

(Ch.A:DYNAMIC)

[1]

B:DYN

(Ch.B:DYNAMIC)

A:SENS

(Ch.A:DYNAMIC SENS)

[2]

B:SENS

(Ch.B:DYNAMIC SENS)

A:FILTR

(Ch.A:FILTER)

[3]

B:FILTR

(Ch.B:FILTER)

A:CUTOF

(Ch.A:CUTOFF FREQUENCY)

[4]

B:CUTOF

(Ch.B:CUTOFF FREQUENCY)

POLAR+

POLAR-

0–100 Species the picking sensitivity.

OFF The lter will not be used.

LPF

HPF

100 Hz–4
kHz

Only notes picked more
strongly than the DYNAMIC
SENS setting will be output.

Only notes picked more
softly than the DYNAMIC SENS
setting will be output.

Only the region below the
cuto frequency will be
output.

Only the region above the
cuto frequency will be
output.

Cuto frequency

21

EFFECT

MIXER

Knob Parameter Value Explanation

STEREO

[1] MODE

PAN L/R

A/B.BAL

[2]

(Ch.A/B
BALANCE)*1

[3] SPREAD *1 0–100

*1 Shown only if DIVIDER MODE is “DUAL.”

100:0–
0:100

Channels “A” and “B” will be mixed and output
in stereo.

Channels “A” and “B” will be assigned
respectively to the L and R OUTPUT jacks.

Adjusts the volume balance of channels “A”
and “B.”

Slightly delays the sound of channel “B” to
make the sound more spacious.

NS1/NS2

This eect 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 eect on the guitar sound, and does not
harm the natural character of the sound.

Knob Parameter Value Explanation

NS ON/OFF OFF, ON Switches the noise suppressor eect on/o.

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

THRESH

[1]

(THRESHOLD)

[2] RELEASE 0–100

[4] DETECT

level is low, a lower setting is appropriate.

0–100

* High settings for the threshold parameter

may result in there being no sound when
you play with your guitar volume turned
down.

Adjusts the time from when the noise
suppressor begins to function until the noise
level reaches “0.”

This controls the noise suppressor based on the
volume level for the point specied in Detect.

Input volume from input jack.

INPUT

* Ordinarily, DETECT should be set to

“INPUT.”

Noise suppressor input volume.

* When connected as illustrated below, and

you want to prevent a spatial-type eects

NS
INPUT

FV OUT

sound (such as a delay sound) from being
eradicated by the NS, you should set
DETECT to “NS INPUT.”

(Spatial-type eect)

Volume after passing through Foot Volume.

* If you want to use FV (Foot Volume) in

place of the guitar’s volume control, you
need to set DETECT to “FV OUT.”

INPUT

Foot Volume

ACCEL FX

You can use six types of Accel eects in which operating an external
pedal connected to the CTL/EXP jack produces time-varying
changes in the sound.

* To use the Accel eect, connect a pedal such as the FS-6 to the

CTL/EXP jack, and set MENU"CTL/EXP"CTL1/CTL2 to assign
the FUNC (FUNCTION) as ACCEL.

Knob Parameter Value Explanation

Page 1

S-BEND Applies intense bending.

LASR BM

(LASER BEAM)

RNGMOD

(RING MOD)

[1] TYPE

TWIST

WARP Produces a dream-like sound.

FEEDBKR

(FEEDBACKER)

S-BEND

Applies intense bending.

Knob Parameter Value Explanation

Page 1

-3 oct, -2 oct,

[2] PITCH

RISE.TM

[3]

(RISE TIME)

FALL.TM

[4]

(FALL TIME)

-1 oct, +1 oct,
+2 oct, +3 oct,
+4 oct

0–100

0–100

LASER BEAM

Produces a laser beam-like sound.

NS1DLY

NS1FV

Knob Parameter Value Explanation

Page 2

[1] RATE 0–100 Adjusts the modulation rate of the sound.

[2] DEPTH 0–100 Adjusts the modulation depth of the sound.

RISE.TM

[3]

(RISE TIME)

FALL.TM

[4]

(FALL TIME)

0–100

0–100

Produces a laser beam-like sound.

Produces a metallic sound, creating
the impression that the sound is
being focused.

Produces an aggressive sense of
rotation. Using this in conjunction
with distortion will produce an even
wilder sense of rotation.

Generates feedback performance.

Adjusts the amount of pitch shift in
octave steps.

This parameter adjusts the amount
of time it is to take for the eect to
transition to the maximum.

This parameter adjusts the amount
of time it is to take for the eect to
transition to the original.

This parameter adjusts the amount of time
it is to take for the eect to transition to the
maximum.

This parameter adjusts the amount of time
it is to take for the eect to transition to the
original.

22

EFFECT

RING MOD

Produces a metallic sound, creating the impression that the sound
is being focused.

Knob Parameter Value Explanation

Page 1

[2] FREQ 0–100

RISE.TM

[3]

[4]

Page 2

[1]

[2]

[3]

(RISE TIME)

FALL.TM

(FALL TIME)

RNG.LVL

(RING LEVEL)

OCT.LVL

(OCTAVE LEVEL)

DIR.MIX

(DIRECT MIX)

0–100

0–100

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

0–100

0–100 Adjusts the volume of the direct sound.

Adjusts the frequency of the internal
oscillator.

This parameter adjusts the amount
of time it is to take for the eect to
transition to the maximum.

This parameter adjusts the amount
of time it is to take for the eect to
transition to the original.

Adjusts the volume of the one octave
low sound.

TWIST

Produces an aggressive sense of rotation. Using this in conjunction
with distortion will produce an even wilder sense of rotation.

Knob Parameter Value Explanation

Page 1

RISE.TM

[2]

(RISE TIME)

FALL.TM

[3]

(FALL TIME)

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

0–100

0–100

This parameter adjusts the amount of time
it is to take for the eect to transition to the
maximum.

This parameter adjusts the amount of time
it is to take for the eect to transition to the
original.

FEEDBACKER

Generates feedback performance.

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

played singly and cleanly.

Knob Parameter Value Explanation

Page 1

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

An articial feedback sound will
be created internally. When OSC
is selected, the eect is activated
after a single note is played and
the note stabilizes. A feedback
eect is created when the
eect switches on; the feedback
disappears when the OSC eect
switches o.

Adjusts the ease with which
feedback will occur when the
FEEDBACKER is on.

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

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

Adjusts the volume of the
feedback sound.

Adjusts the volume of the one
octave higher feedback sound.

Adjusts the rate of the vibrato
when the FEEDBACKER is on.

[2] MODE

DEPTH

[3]

*1

RISE.TM

[3]

(RISE TIME)

*2

OCT.RTM

(OCTAVE RISE

[4]

TIME)

*2

Page 2

FEEDBAK
(FEEDBACK

[1]

LEVEL)

*2

OCT.FBK

(OCTAVE

[2]

FEEDBACK LEVEL)

*2

VIB.RAT

[3]

(VIBRATO RATE)*20–100

NORMAL

OSC

(OSCILLATOR)

0–100

0–100

0–100

0–100

0–100

WARP

Produces a dream-like sound.

Knob Parameter Value Explanation

Page 1

RISE.TM

[2]

(RISE TIME)

FALL.TM

[3]

(FALL TIME)

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

0–100

0–100

This parameter adjusts the amount of time
it is to take for the eect to transition to the
maximum.

This parameter adjusts the amount of time
it is to take for the eect to transition to the
original.

VIB.DPT

[4]

(VIBRATO DEPTH)*20–100

*1 MODE=NORMAL only

*2 MODE=OSC only

Adjusts the depth of the vibrato
when the FEEDBACKER is on.

23

EFFECT

MASTER SETTING

These settings are applied to the overall patch.

MASTER SETTING

Knob Parameter Value Explanation

Page 1

PAT.LVL

[1]

(PATCH
LEVEL)

USB type B

[3]

(MASTER
BPM)

0–200 Adjusts the volume of the patch.

Adjusts the BPM value for each patch.

* BPM (beats per minute) indicates the

number of quarter note beats that occur
each minute.

40–250

* 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”SYNC” (p. 36), set to INTERNAL.

This sets the key for the FX HARMONIST.

Major

KEY

[4]

(MASTER
KEY)

C (Am) –

B (G#m)

Minor

Major

Minor

MASTER EQ

Knob Parameter Value Explanation

Page 2

LO.GAIN

[1]

(MASTER LOW GAIN)

HI.GAIN

[2]

(MASTER HIGH GAIN)

Page 3

MID.FREQ

[1]

(MASTER MID
FREQUENCY)

MID.Q

[2]

(MASTER MID Q)

MID.GAIN

[3]

(MASTER MID GAIN)

-20–+20 dB

-20–+20 dB

20.0 Hz–10.0
kHz

0.5–16

-20–+20 dB

Adjusts the low frequency
range tone.

Adjusts the high frequency
range tone.

Specify the center of the
frequency range that will
be adjusted by the MASTER
MID GAIN.

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

Adjusts the middle
frequency range tone.

24

MENU

CTL/EXP

Pedal Settings

Connect your footswitch to the CTL/EXP jack as shown in the illustration,
and set its POLARITY switch.

EXP

When Connecting an FS-5U

CTL 1

Cable:

1/4” phone
type#"

1/4” phone type

POLARITY switch

or

When Connecting Two FS-5Us

CTL 1

or

When Connecting an FS-6

CTL 1

CTL 2

POLARITY switch

CTL 2

MODE/POLARITY switch

Cable:

Stereo 1/4” phone type

#"

1/4” phone type x 2

Cable:

Stereo 1/4” phone type

#"

Stereo 1/4” phone type

Using a Pedal to Control Desired Parameters

Here’s how to assign the parameters that will be controlled by the
CTL 1, CTL 2 and the expression pedals.

1. Choose [MENU]"”CTL/EXP”"”CTL1”, ”CTL2”, or ”EXP.”

2. Set the parameter values with knobs [1]–[4].

CTL1, CTL2

Assign the parameters that are controlled by the CTL1 and CTL2
pedals.

Knob

Parameter

[1] FUNC

Value Explanation

OFF No assignment.
ACCEL Switches the ACCEL eect on and o.
CH SEL (DIV CH

SELECT)
OD SL (OD/DS

SOLO)
A/B SL

(A/B SOLO)

A&B SL

(A&B SOLO)

COMP Switches the COMP on and o.
OD/DS Switches the OD/DS on and o.
PREAMP Switches the PREAMP/SPEAKER on and o.
EQ Switches the EQ on and o.
FX1 Switches the FX1 on and o.
FX2 Switches the FX2 on and o.
DELAY Switches the DELAY on and o.
CHORUS Switches the CHORUS on and o.
REVERB Switches the REVERB on and o.
PEDL FX

(PEDAL FX)
TUNER Switches the TUNER on and o.
BPM TAP *1 Used for tap input of the MASTER BPM.
DELY TAP

(DELAY TAP) *1
MIDI ST (MIDI

START)
MMC PLY (MMC

PLAY)
LVL+10 (LEVEL

+10) *1
LVL+20 (LEVEL

+20) *1
LVL-10 (LEVEL

-10) *1
LVL-20 (LEVEL

-20) *1
NUM INC

(NUMBER INC)

*1 *2

NUM DEC

(NUMBER DEC)

*1 *2

FAV INC

(FAVORITE
INC) *2

FAV DEC

(FAVORITE
DEC) *2

Switches between Preamp channel A and B.

Switches the OD/DS SOLO on and o.

Switches the Preamp SOLO on and o.

Switches the preamp SOLO, for both
channel A and B, on and o. If one of the
two channels is o, both will be turned on.

Switches the Pedal FX on and o.

Used for tap input of the delay time.

Controls the Start/Stop of external MIDI
devices (such as sequencers).

Controls the Play/Stop of external MIDI
devices (such as hard disk recorders).

Increases the patch volume level by 10
units.

Increases the patch volume level by 20
units.

Decreases the patch volume level by 10
units.

Decreases the patch volume level by 20
units.

Switches to the next higher patch number.

Switches to the next lowers patch number.

Switches FAVORITE in the order of
A"B"C"D"A...

Switches FAVORITE in the order of
D"C"B"A"D...

*1 The function will activate as soon as you press the pedal, regardless

of whether the SOURCE MODE parameter is MOMENT or TOGGLE.

*2 To switch patches, use MENU"SYSTEM"PREFERENCE to specify

CTL1/2 as SYSTEM, or set CTL1/2’s FUNC to NUMBER INC/DEC for all
of the patches that you want to switch.

25

MENU

Knob

[2] MIN

[3] MAX

[4]

Parameter

MODE

(SOURCE
MODE)

Value Explanation

OFF, ON

(or STOP, START,
PLAY)

OFF, ON

(or STOP, START,
PLAY)

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

MOMENT

TOGGLE

This sets the value for times when the
switch is O.

This sets the value for times when the
switch is On.

The normal state is O (minimum value),
with the switch On (maximum value)
only while the footswitch is depressed.

The setting is toggled On (maximum
value) or O (minimum value) with each
press of the footswitch.

Specifying the External Pedal Function for Each Patch (Assign)

Here’s how the function of an external pedal (footswitch, expression
pedal) connected to the CTL/EXP jack can be specied for each
patch. For each patch, you can make eight dierent assignments
(assign number 1–8) that specify which pedal controls which
parameter.

* Select each individual parameter to specify which pedal will

control each parameter.

1. Choose [MENU]"”CTL/EXP”"”ASSIGN C (COMMON)” or

”ASSIGN 1–8.”

2. Set the parameter values with knobs [1]–[4].

EXP

Here’s how to assign the parameters that will be controlled by an
expression pedal (such as the separately available EV-5) connected
to the CTL/EXP jack.

Knob Parameter Value Explanation

OFF No assignment.

FV

(FOOT VOLUME)

PB

(PEDAL BEND)

[1] FUNC

MIN

[3]

(PATCH LEVEL
MIN) *2

MAX

[4]

(PATCH LEVEL
MAX) *2

This is shown only if PERFORMANCE (p. 35) is set to SYSTEM.

*2 Shown only if PATCH LEVEL is selected in FUNC.

WAH Wah will be assigned.

PB/FV

WAH/FV

PAT LV

(PATCH LEVEL) *1

0–200 Species the minimum value.

0–200 Species the maximum value.

Foot volume will be assigned.

Pedal bend will be assigned.

Pedal bend and foot volume
will be assigned.

Wah and foot volume will be
assigned.

Patch level will be assigned.

ASSIGN COMMON

Knob Parameter Value Explanation

[1]

SENS

(INPUT SENS)

0–100

This adjusts the input sensitivity when INPUT
LEVEL is selected for SOURCE.

ASSIGN 1–8

Knob Parameter Value Explanation

[1] ASSIGN OFF, ON Turns the ASSIGN 1–8 on/o.

Assigns the external footswitch
(FS-5U, FS-6; available separately)
connected to the CTL/EXP jack.

Assigns the external footswitch
(FS-5U, FS-6; available separately)
connected to the CTL/EXP jack.

Assigns the external footswitch
(FS-5U, FS-6; available separately)
connected to the CTL/EXP jack.

Refer to “Virtual expression pedal
system (Internal Pedal / Wave
Pedal)” (p. 31)

Refer to “Virtual expression pedal
system (Internal Pedal / Wave
Pedal)” (p. 31)

The assigned target parameter
will change according to the input
level.

Control Change messages from an
external MIDI device.

Control Change messages from an
external MIDI device.

The normal state is O (minimum
value), with the switch On
(maximum value) only while the
footswitch is depressed.

The setting is toggled On
(maximum value) or O
(minimum value) with each press
of the footswitch.

[2] SOURCE

MODE

[3]

(SOURCE MODE)

Page 2

CATEGORY

[1]

(TARGET
CATEGORY)

[2] TARGET

MIN

[3]

(TARGET MIN)

MAX

[4]

(TARGET MAX)

EXP PDL

(EXP PEDAL)

CTL1 PDL

(CTL1 PEDAL)

CTL2 PDL

(CTL2 PEDAL)

INT PDL

(INTERNAL
PEDAL)

WAV PDL

(WAVE PEDAL)

INPUT

(INPUT LEVEL)

CC#1–#31

CC#64–#95

MOMENT

TOGGLE

This selects the parameter to be changed.

Refer to TARGET list

This sets the minimum value for the range in which
the parameter can change. The value diers depend­ing on the parameter assigned for TARGET parameter.

This sets the maximum value for the range in
which the parameter can change. The value diers
depending on the parameter assigned for TARGET
parameter.

26

Knob Parameter Value Explanation

Page 3

ACT.LO

[1]

(ACT RANGE LO)

ACT.HI

[2]

(ACT RANGE HI)

WAV.RT

[3]

(WAVE RATE)

*1

WAV.FM

[4]

(WAVE FORM)

*1

Page 4

TRIGGER

(INT PEDAL

[1]

TRIGGER)

*2

TIME

[2]

(INT PEDAL TIME)*20–100

0–126

1–127

0–100,

–

BPM

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.

SAW

TRI

SINE

PAT CNG

(PATCH CHANGE)

EXP LO

EXP MID

EXP HI

CTL1 PDL

CTL2 PDL

CC#1–#31

CC#64–#95

You can set the controllable range
for target parameters within the
source’s operational range. Target
parameters are controlled within
the range set with ACT LO and
ACT HI. You should normally set
ACT LO to 0 and ACT HI to 127.

This determines the time spend
for one cycle of the assumed EXP
Pedal.

This is activated when a patch is
selected.

This is activated when an external
expression pedal connected to
the CTL/EXP jack is set to the

minimum position.

This is activated when the
external expression pedal
connected to the CTL/EXP jack
is moved through the middle
position.

This is activated when the
external expression pedal
connected to the CTL/EXP jack is

set to the maximum position.

This is activated when an external
footswitch connected to the CTL/
EXP jack is operated.

This is activated when an external
footswitch connected to the CTL/
EXP jack is operated.

This is activated when a control
change is received.

This is activated when a control
change is received.

This species the time over which
the internal pedal will move from
the toe-raised position to the
toe-down position.

MENU

LINEAR

CURVE

(INT PEDAL

[3]

CURVE)

*2

*1 The WAVE RT and WAVE FM parameters are enabled when the Source parameter

is set to WAVE PDL.

*2 The TRIGGER, TIME, and CURVE parameters are enabled when the SOURCE

parameter is set to INT PEDAL.

SLOW

(SLOW RISE)

FAST

(FAST RISE)

27

MENU

TARGET list

CATEGORY TARGET

ON/OFF

TYPE

COMP

OD/DS

PREAMP

SUSTAIN

ATTACK

TONE

LEVEL

ON/OFF

TYPE

DRIVE

BOTTOM

TONE

SOL SW

(SOLO SW)

SOL LV

(SOLO LEVEL)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

C-TYPE (CUSTOM
TYPE)

C-BTM (CUSTOM
BOTTOM)

C-TOP

(CUSTOM TOP)

C-LOW (CUSTOM
LOW)

C-HIGH (CUSTOM
HIGH)

C-CHAR (CUSTOM
CHAR)

ON/OFF

CATEGORY TARGET

TYPE

GAIN

T-COMP

BASS

MIDDLE

TREBLE

PRES (PRESENCE)

LEVEL

BRIGHT

GAIN SW

SOL SW

(SOLO SW)

SOL LV

(SOLO LEVEL)

SP TYPE

MIC TYP

(MIC TYPE)

MIC DIST

(MIC DISTANCE)

MIC POS

(MIC POSITION)

PRAMP
A/B(PREAMP

A/B)

EQ

MIC LVL

(MIC LEVEL)

DIR MIX

(DIRECT MIX)

C-TYPE (CUSTOM
TYPE)

C-BTM (CUSTOM
BOTTOM)

C-EDG (CUSTOM
EDGE)

C-LOW (CUSTOM
LOW)

C-HIGH (CUSTOM
HIGH)

C-CHAR (CUSTOM
CHAR)

SP SIZE (CUSTOM
SPEAKER SIZE)

SP LO

(CUSTOM COLOR
LOW)

SP HI

(CUSTOM COLOR
HIGH)

SP NUM (CUSTOM
SPEAKER NUMBER)

SP CABI (CUSTOM
CABINET)

ON/OFF

LO CUT

(LOW CUT)

LO GAIN

(LOW GAIN)

LM FREQ (LOW-MID
FREQUENCY)

LM Q

(LOW-MID Q)

LM GAIN

(LOW-MID GAIN)

HM FREQ (HIGH-MID
FREQUENCY)

HM Q

(HIGH-MID Q)

HM GAIN

(HIGH-MID GAIN)

HI GAIN

(HIGH GAIN)

HI CUT (HIGH CUT)

LEVEL

CATEGORY TARGET

FX1/FX2

1/2 T.WAH

(FX1/FX2 T.WAH)

1 A.WAH/

2 A.WAH

(FX1 AUTO WAH/

FX2 AUTO WAH)

1/2 S.WAH

(FX1/FX2 SUB WAH)

1/2 A.CMP

(FX1/FX2 ADV
COMP)

1/2 LIMTR

(FX1/FX2 LIMITER)

1/2 OD/DS

(FX1/FX2 OD/DS)

1/2 GEQ

(FX1/FX2 GEQ)

ON/OFF

TYPE

MODE

POLARTY
(POLARITY)

SENS

FREQ

PEAK

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

MODE

FREQ

PEAK

RATE

DEPTH

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

TYPE

PDL POS

(PEDAL POSITION)

PDL MIN

(PEDAL MIN)

PDL MAX

(PEDAL MAX)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

TYPE

SUSTAIN

ATTACK

TONE

LEVEL

TYPE

ATTACK

THRES
(THRESHOLD)

RATIO

RELEASE

LEVEL

TYPE

DRIVE

BOTTOM

TONE

SOL SW

(SOLO SW)

SOL LV

(SOLO LEVEL)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

31 Hz

62 Hz

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

8 kHz

16 kHz

LEVEL

CATEGORY TARGET

LO CUT

(LOW CUT)

LO GAIN

(LOW GAIN)

LM FREQ (LOW-MID
FREQUENCY)

LM Q

(LOW-MID Q)

LM GAIN

1/2 PEQ

(FX1/FX2 PEQ)

1/2 TonMD

(FX1/FX2

TONE MODIFY)

1/2 GtrSM

(FX1/FX2 GUITAR
SIM)

1/2 A.SIM

(FX1/FX2 AC.
GUITAR SIM)

1/2 SlGER

(FX1/FX2 SLOW
GEAR)

1/2 DEFRT

(FX1/FX2 DEFRET­TER)

1/2 WvSYN

(FX1/FX2 WAVE
SYNTH)

(LOW-MID GAIN)

HM FREQ (HIGH-MID
FREQUENCY)

HM Q

(HIGH-MID Q)

HM GAIN (HIGH-MID
GAIN)

HI CUT

(HIGH CUT)

HI GAIN

(HIGH GAIN)

LEVEL

TYPE

RESO

LOW

HIGH

LEVEL

TYPE

LOW

HIGH

BODY

LEVEL

BODY

LOW

HIGH

LEVEL

SENS

RISE TM

(RISE TIME)

LEVEL

TONE

SENS

ATTACK

DEPTH

RESO

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

WAVE

CUTOFF

RESO (RESONANCE)

FLT SNS

(FILTER SENS)

FLT DCY

(FILTER DECAY )

FLT DPT

(FILTER DEPTH)

SYN LVL

(SYNTH LEVEL)

DIR MIX

(DIRECT MIX)

28

MENU

CATEGORY TARGET

TONE

SENS

DEPTH

1/2 StrSM

(FX1/FX2 SITAR
SIM)

1/2 OCTAV

(FX1/FX2 OCTAVE)

1/2 PSHFT

(FX1/FX2

PITCH SHIFTER)

1/2 HARM

(FX1/FX2

HARMONIST)

1/2 S.HLD

(FX1/FX2 SOUND
HOLD)

1/2 AcPRO

(FX1/FX2
AC.PROCESSOR)

RESO

BUZZ

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

RANGE

OCT LVL (OCTAVE
LEVEL)

DIR MIX

(DIRECT MIX)

VOICE

1 MODE

1 PITCH

1 FINE

(PITCH FINE)

1 PrDLY

(PRE DELAY)

1 LEVEL

2 MODE

2 PITCH

2 FINE

(PITCH FINE)

2 PrDLY

(PRE DELAY)

2 LEVEL

1 F.BAK (FEEDBACK)

DIR MIX

(DIRECT MIX)

VOICE

1 HRMNY
(HARMONY)

1 PrDLY

(PRE DELAY)

1 LEVEL

2 HRMNY
(HARMONY)

2 PrDLY

(PRE DELAY)

2 LEVEL

1 F.BAK (FEEDBACK)

DIR MIX

(DIRECT MIX)

HOLD

RISE TM

(RISE TIME)

E.LVL

(EFFECT LEVEL)

TYPE

BASS

MIDDLE

MID FRQ (MIDDLE
FREQUENCY)

TREBLE

PRES (PRESENCE)

LEVEL

CATEGORY TARGET

TYPE

RATE

DEPTH

MANUAL

1/2 PHASR

(FX1/FX2 PHASER)

1/2 FLNGR

(FX1/FX2 FLANGER)

1/2 TREML

(FX1/FX2 TREMOLO)

1/2 ROTY1

(FX1/FX2 ROTARY 1)

1/2 ROTY2

(FX1/FX2 ROTARY 2)

1/2 UNIV

(FX1/FX2

UNIV)

1/2 PAN

(FX1/FX2

PAN)

RESO (RESONANCE)

STEP RT

(STEP RATE)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

RATE

DEPTH

MANUAL

RESO (RESONANCE)

SEPARAT (SEPARA­TION)

LOW CUT

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

WAVE

(WAVE SHAPE)

RATE

DEPTH

LEVEL

SPEED

(SPEED SELECT)

RAT SLW

(RATE SLOW)

RAT FST

(RATE FAST)

RISE TM

(RISE TIME)

FALL TM

(FALL TIME)

DEPTH

LEVEL

SPEED

(SPEED SELECT)

RAT SLW

(RATE SLOW)

RAT FS

(RATE FAST)

DEPTH

RISE TM

(RISE TIME)

FALL TM

(FALL TIME)

BAL

(BASS/HORN MIX)

LEVEL

DIR MIX

(DIRECT MIX)

RATE

DEPTH

LEVEL

TYPE

WAVE

(WAVE SHAPE)

RATE

DEPTH

POS (POSITION)

LEVEL

CATEGORY TARGET

PAT TERN

RATE

TRG SNS (TRIGGER

1/2 SLICR

(FX1/FX2 SLICER)

1/2 VIBRT

(FX1/FX2 VIBRATO)

1/2 RNGMD

(FX1/FX2 RING
MOD)

1/2 HUMAN

(FX1/FX2 HUMAN­IZER)

1/2 2X2CH

(FX1/FX2 2X2
CHORUS)

1/2 SubDL

(FX1/FX2 SUB
DELAY)

2 O.TONE

(FX2 OVERTONE)

SENS)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

RATE

DEPTH

TRIGGER

RISE TM

(RISE TIME)

LEVEL

MODE

FREQ (FREQUENCY)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

MODE

VOWEL 1

VOWEL 2

SENS

RATE

DEPTH

MANUAL

LEVEL

XOVER (CROSSOVER
FREQUENCY)

LO RATE

(LOW RATE)

LO DEPT

(LOW DEPTH)

LO PrD (LOW PRE
DELAY)

LO LEVL

(LOW EFFECT LEVEL)

HI RATE

(HIGH RATE)

HI DEPT

(HIGH DEPTH)

HI PrD

(HIGH PRE DELAY)

HI LEVL

(HIGH LEVEL)

DIR MIX

(DIRECT MIX)

TYPE

DLY TIM

(DELAY TIME)

F.BACK (FEEDBACK)

HI CUT

MODEMODE (HIGH
CUT)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

TAP TIM

(TAP TIME)

UPPR LV

(UPPER LEVEL)

LOWR LV (LOWER
LEVEL)

DIR MIX

(DIRECT MIX)

DETUNE

TONE

CATEGORY TARGET

MODE

TIME (S.TIME)

F.BACK (FEEDBACK)

2 T.ECHO

(FX2 TERA ECHO)

DELAY

DELAY

D1

DELAY

D2

DELY MD

(DELAY MOD)

CHORUS

E.LVL

(EFFECT LEVEL)

TONE

DIR MIX

(DIRECT MIX)

HOLD

ON/OFF

TYPE

DLY TIM

(DELAY TIME)

F.BACK (FEEDBACK)

HI CUT

MODEMODE (HIGH
CUT)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

TAPTIME

(PAN TAP TIME)

TIME

F.BACK (FEEDBACK)

HI CUT

MODEMODE (HIGH
CUT)

LEVEL

TIME

F.BACK (FEEDBACK)

HI CUT

MODEMODE (HIGH
CUT)

LEVEL

MOD RAT (MODULA­TION RATE)

MOD DPT
(MODULATION
DEPTH)

ON/OFF

MODE

RATE

DEPTH

PRE DLY

(PRE DELAY)

LO CUT

(LOW CUT)

HI CUT

MODEMODE (HIGH
CUT)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

29

MENU

CATEGORY TARGET

ON/OFF

TYPE

REV TIM

(REVERB TIME)

PRE DLY

(PRE DELAY)

LO CUT

(LOW CUT)

REVERB

PDL FX

(PEDAL FX)

PDL P.B.

(PEDAL PITCH
BEND)

PDL WAH

(PEDAL WAH)

FOT VOL

(FOOT VOLUME)

DIVIDER

MIXER

HI CUT

MODEMODE (HIGH
CUT)

DENSITY

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

SPRING

(SPRING SENS)

ON/OFF

PITCH

PDL POS

(PEDAL POSITION)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

TYPE

PDL POS

(PEDAL POSITION)

PDL MIN

(PEDAL MIN)

PDL MAX

(PEDAL MAX)

E.LVL

(EFFECT LEVEL)

DIR MIX

(DIRECT MIX)

VOL CRV (VOLUME
CURVE)

VOL MIN (VOLUME
MIN)

VOL MAX (VOLUME
MAX)

LEVEL

MODE

CH SEL (CHANNEL
SELECT)

ChA DYN

(Ch.A DYNAMIC)

ChA SNS

(Ch.A DYNAMIC
SENS)

ChA FLT

(Ch.A FILTER)

ChA COF

(Ch.A CUTOFF
FREQUENCY)

ChB DYN

(Ch.B DYNAMIC)

ChB SNS

(Ch.B DYNAMIC
SENS)

ChB FLT

(Ch.B FILTER)

ChB COF
(ChB CUTOFF
FREQUENCY)

MODE

Ch BAL

(ChA/B BALANCE)

SPREAD

30

CATEGORY TARGET

ON/OFF

THRES

NS1

NS2

ACCEL

S-BEND

(ACCEL S-BEND)

LASER

(ACCEL LASER
BEAM)

RING

(ACCEL RING MOD)

TWIST

(ACCEL TWIST)

WARP

(ACCEL WARP)

F.BACK

(ACCEL FEED­BACKER)

MASTER

(THRESHOLD)

RELEASE

DETECT

ON/OFF

THRES
(THRESHOLD)

RELEASE

DETECT

ON/OFF

TYPE

PITCH

RISE TM

(RISE TIME)

FALL TM

(FALL TIME)

RATE

DEPTH

RISE TM

(RISE TIME)

FALL TM

(FALL TIME)

FREQ (FREQUENCY)

RISE TM

(RISE TIME)

FALL TM

(FALL TIME)

RNG LVL

(RING LEVEL)

OCT LVL (OCTAVE
LEVEL)

DIR MIX

(DIRECT MIX)

LEVEL

RISE TM

(RISE TIME)

FALL TM

(FALL TIME)

LEVEL

RISE TM

(RISE TIME)

FALL TM

(FALL TIME)

MODE

DEPTH

RISE TM

(RISE TIME)

OCT R.TM (OCTAVE
RISE TIME)

FB LVL (FEEDBACK
LEVEL)

OCT FB (OCTAVE
FEEDBACK LEVEL)

VIB RAT (VIBRATO
RATE)

VIB DPT (VIBRATO
DEPTH)

PAT LVL

(PATCH LEVEL)

LO

(MASTER LOW GAIN)

MID F (MASTER MID
FREQUENCY)

MID Q

(MASTER MID Q)

MID

(MASTER MID GAIN)

HI

(MASTER HI GAIN)

CATEGORY TARGET

MstBPM (MASTER

BMP.KEY

TUNER

TAP

MIDI

PATCH

BPM)

MstKEY

(MASTER KEY)

TUNER

(TUNER SW)

BPM TAP

DLY TAP

(DELAY TAP)

ST/STP

(START/STOP)

PLY/STP

(MMC PLAY/STOP)

LVL +10

(LEVEL +10)

LVL +20

(LEVEL +20)

LVL -10

(LEVEL -10)

LVL -20

(LEVEL -20)

NUM INC (NUMBER
INC)

NUM DEC (NUMBER
DEC)

FAV INC (FAVORITE
INC)

FAV DEC (FAVORITE
DEC)

MENU

Virtual expression pedal system (Internal Pedal / Wave Pedal)

By assigning a desired parameter to the virtual expression pedal,
you can produce an eect as though you were operating a physical
expression pedal to change the volume or tone quality in real time.

The virtual expression pedal system provides the following two
types of functions, and you can use the SOURCE setting for ASSIGN
1–8 to choose the desired type.

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

ASSIGN parameter MODE to “MOMENT.”

Internal pedal

If SOURCE is set to “INT PDL,” the virtual expression pedal will begin
operating when started by the specied trigger (INT PDL TRIGGER),
modifying the parameter specied by TARGET.

The value changes in a curve

When the trigger occurs

Wave pedal

If SOURCE is set to “WAVE PEDAL,” the virtual expression pedal will
cyclically modify the parameter specied by TARGET in a xed wave
form.

About the Range of a Target’s Change

The value of the parameter selected as the target changes
within the range dened by “Min” and “Max,” as set on the
GT-001.

When using an external footswitch, or other controller that
acts as an on/o switch, “Min” is selected with O (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/o type, the median value of the received data is
used as the dividing line in determining whether to switch it
on or o.

When using the footswitch:

MAX

MIN

Allowable

Parameter

Settings Range

OFF ON

When using the expression pedal:

MAX

Always changes in a xed curve regardless of the actual pedal

Input level

Input level

The parameter set as the target changes in response to the input
level.

MEMO

If you want to adjust the input sensitivity, set the SENS.

MIN

Allowable

Parameter

Settings Range

When the pedal is
fully raised

When controlling the On/O target with the expression pedal:

Value

ON

OFF

0 127
When the pedal is
fully raised

* 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.

0 127

When the pedal
is advanced
halfway

When the pedal is
fully advanced

When the pedal
is fully advanced

Degree to
Which Expres­sion Pedal Is
Depressed

31

MENU

About the Range of a Controller’s Change

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 LO: 40, ACT HI: 80

MAX

MIN

Allowable

Parameter

Settings Range

0 127

40 80

When the
pedal is fully
raised

Value

ACT
RANGE
LO

ACT
RANGE
HI

Degree to
Which Expres­sion Pedal Is
Depressed

When the
pedal is fully
advanced

ON

Degree to

OFF

0 127
When the
pedal is fully
raised

40 8060
ACT
RANGE
LO

Center
Value

ACT
RANGE
HI

Which Expres­sion Pedal Is
Depressed

When the
pedal is fully
advanced

* When using a footswitch or other on/o switching controller

as the source, leave these at “ACT LO: 0” and “ACT HI: 127.” With
certain settings, the value may not change.

32

MENU

SYSTEM

Settings that are shared by the entire GT-001 are called “system
settings.”

MEMO

For details on how to make settings, refer to “Editing: Editing the
Eects” (p. 7) in the owner’s manual.

OUTPUT SELECT

Specify the device (amp) that’s connected to the OUTPUT jacks.

Parameter Value Explanation

JC-120

SMALL AMP

COMBO AMP

STACK AMP

SELECT

JC-120 RETURN

COMBO RETURN

STACK RETURN

LINE/PHONES

INPUT

Here you can make settings related to input.

On the GT-001 you can use either the guitar input or the mic input. You can’t use both
simultaneously.

Choose this setting if the GT-001 is connected
to the guitar input of a Roland JC-120 guitar
amp.

Choose this setting if the GT-001 is connected
to a small guitar amp.

Choose this setting if the GT-001 is connected
to the guitar input of a combo-type guitar
amp (i.e., a single unit that contains the amp
and speaker) other than the JC-120.

For some types of guitar amps, the “JC-120”
setting might produce better results.

Choose this setting if the GT-001 is connected
to the guitar input of a stack-type guitar amp
(i.e., one in which the amp and speaker are
separate units).

Choose this setting if the GT-001 is connected
to the RETURN jack of the JC-120.

Choose this setting if the GT-001 is connected
to the RETURN jack of a combo-type guitar
amp.

Choose this setting if the GT-001 is connected
to the RETURN jack of a combo-type guitar
amp. You should also choose the “STACK
RETURN” setting if you’re using a guitar
power amp together with a speaker cabinet.

Choose this setting if you’re using
headphones, or if the GT-001 is connected to
a keyboard amp, mixer, or digital recorder.

KNOB SETTING

Here you can assign the desired parameters to knobs [1]–[4] in the
Play Screen.

* The settings you make here are only for the knobs in the Play

Screen.

1. Choose [MENU]"”SYSTEM”"”KNOB.”

2. Set the parameter values with knobs [1]–[4].

Knob Parameter Value

OFF, PATCH, CmpSUS (COMP SUSTAIN), CmpATK (COMP
ATTACK), CmpLEV (COMP LEVEL), OD DRV (OD/DS DRIVE),
OD TNE (OD/DS TONE), OD ELV (OD/DS EFFECT LEVEL),

[1]

KNOB 1

[2] KNOB 2

[3] KNOB 3

[4] KNOB 4

OD SLV (OD/DS SOLO LEVEL), A: TYPE (PREAMP A TYPE),
A: GAIN (PREAMP A GAIN), A: LEV (PREAMP A LEVEL), A:
BASS (PREAMP A BASS), A: MID (PREAMP A MID), A: TRB
(PREAMP A TREBLE), A: PRES (PREAMP A PRESENCE), A: SLV
(PREAMP A SOLO LEVEL), A: MLV (PREAMP A MIC LEVEL),
B: TYPE (PREAMP B TYPE), B: GAIN (PREAMP B GAIN),
B: LEV (PREAMP B LEVEL), B: BASS (PREAMP B BASS), B:
MID (PREAMP B MID), B: TRB (PREAMP B TREBLE), B: PRES
(PREAMP B PRESENCE), B: SLV (PREAMP B SOLO LEVEL),
B: MLV (PREAMP B MIC LEVEL), EQ LC (EQ LOW CUT), EQ
LOW (EQ LOW GAIN), EQ LMD (EQ LOW-MID GAIN), EQ
HMD (EQ HIGH-MID GAIN), EQ HI (EQ HIGH GAIN), EQ
HC (EQ HIGH CUT), DlyTIM (DELAY TIME), DlyFBK (DELAY
FEEDBACK), DlyHC (DELAY HI CUT), DlyELV (DELAY EFFECT
LEVEL), D1 TIM (D1 TIME), D1 FBK (D1 FEEDBACK), D1 HC
(D1 HIGH CUT), D1 LEV (D1 EFFECT LEVEL), D2 TIM (D2
TIME), D2 FBK (D2 FEEDBACK), D2 HC (D2 HIGH CUT),
D2 LEV (D2 EFFECT LEVEL), ChoRAT (CHORUS RATE),
ChoDPT (CHORUS DEPTH), ChoDLY (CHORUS PRE DELAY),
ChoLEV (CHORUS EFFECT LEVEL), RevTIM (REVERB TIME),
RevHC (REVERB HIGH CUT), RevELV (REVERB EFFECT
LEVEL), MT LOW (MASTER LOW GAIN), MT MID (MASTER
MID GAIN), MT HI (MASTER HIGH GAIN), PAT LV (PATCH
LEVEL), WahLEV (PEDAL WAH LEVEL), PB LEV (PEDAL
PITCH BEND LEVEL), CH A/B (DIVIDER CH SELECT), NS1THR
(NS1 THRESHOLD), NS1REL (NS1 RELEASE), NS2THR (NS2
THRESHOLD), NS2REL (NS2 RELEASE), GB LOW (GLOBAL
EQ LOW), GB MID (GLOBAL EQ MID), GB HI (GLOBAL EQ
HIGH), USB LV (USB MIX LEVEL), ACC SW (ACCEL SWITCH),
OD SL (OD/DS SOLO), A/B SL (PREAMP A/B SOLO), A&B SL
(PREAMP A&B SOLO), CmP SW (COMP SWITCH), OD/DS,
PREAMP, EQ, FX1, FX2, REVERB, PEDL FX (PEDAL FX)

Knob Parameter Value Explanation

Page 1

Species which signal will be received: GUITAR IN or

MIC IN.

GUITAR

MIC

MUTE, -19

dB–+20

dB

MUTE, 0

dB–+20

dB

OFF, ON

The input from GUITAR IN is sent through
the eect.

The input from MIC IN is sent through the
eect.

Adjusts the guitar input level. The input is
muted if you select MUTE.

Adjusts the mic input level. The input is
muted if you select MUTE.

While watching the level meter shown in
the same screen, set the level so that it does
not exceed the second line from the top.

Species whether phantom power is
supplied. You must turn this OFF if you’re
using a mic that does not support phantom
power.

[1]

Page 2

[1]

[2]

[4]

SELECT

(INPUT
SELECT)

GT.LVL

(GUITAR
LEVEL)

MIC.LVL

(MIC LEVEL)

PHANTM

(PHANTOM)

* The sound might be interrupted when you adjust MIC LEVEL or

PHANTOM.

33

MENU

USB

Here you can make USB-related settings for when the GT-001 is
connected to a computer via USB.

USB audio ow

GT-001 provides two USB audio outputs: “PRIMARY” and
“SECONDARY.”

PRIMARY outputs the eect sound, and the return from the
computer is mixed with your guitar performance at the nal
stage.

Regardless of the settings of the GT-001 itself, SECONDARY
always outputs the dry sound, and the return from the
computer is always returned to the beginning of the eect
chain.

With GT-001, both PRIMARY and SECONDARY are being
output to the computer; this means that by using two guitar
tracks on your computer, you can record the dry sound and
eect sound simultaneously.

If you’re not happy with the eect sound from PRIMARY, you
can play back the simultaneously-recorded dry sound from
SECONDARY, and send it through the eect chain of GT-001
to modify the sound to your liking.

USB PRIMARY

GT-001

USB OUT OUTPUT

USB PRIMARY

Knob Parameter Value Explanation

Page 1

MIX.LVL

[1]

(MIX LEVEL)

EFX.OUT

(EFFECT

[2]

OUTPUT
LEVEL)

LOOP

[3]

(LOOP BACK)

[4] DIR. MONITOR

0–200%

0–200%

OFF, ON

Switches the output of the GT-001 sound to the OUTPUT
and PHONES jacks.

* This setting cannot be saved. It is set to ON when the

power is turned on.

OFF

ON

Adjusts the level of the audio input from the
computer. At this time, the audio input from
the computer is mixed at the nal stage of
the GT-001.

Adjusts the level of the output to the
computer.

If this is ON, the sound from the computer is
mixed with the eect sound of the GT-001
and sent to the computer.

Set this to O if transmitting audio data
internally through a computer (Thru).

No sound is heard at this time unless the
setting for the computer is Thru.

The GT-001 sound is output. Set this to ON
when using the GT-001 as a standalone
device, without connecting to a computer
(only USB input sound will be output if this
is set to O).

USB SECONDARY

USB IN

INPUT

GT-001

USB IN

INPUT

OUTPUT

Level

Eect Chain

USB OUT

TO

EFX

Eect Chain

DRY OUT

OUTPUT

MIX

LVL

USB SECONDARY

Knob Parameter Value Explanation

Page 2

[1]

[3]

TO.EFX

(TO EFFECT LEVEL)

DRY.OUT

(DRY GUITAR
OUTPUT LEVEL)

-20–+20 dB

0–200%

Adjusts the input level from the
computer to the GT-001’s eects.

Outputs the unmodied sound (dry
sound) of the guitar that is being input
to the GT-001.

GLOBAL EQ

This adjusts the tone of the OUTPUT regardless of the equalizer on/
o settings of individual patches.

Knob Parameter Value Explanation

Page 1

LOW

[1]

(LOW GAIN)

MID

[2]

(MID GAIN)

MID.FREQ

[3]

(MID FREQUENCY)

[4] MID.Q 0.5–16

Page 2

[1] HIGH (HIGH GAIN) -20–+20 dB

-20–+20 dB

-20–+20 dB

20.0 Hz–10.0
kHz

Adjusts the low frequency
range tone.

Adjusts the middle frequency
range tone.

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

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

Adjusts the high frequency
range tone.

34

MENU

TOTAL

These parameters control the threshold level of the noise
suppressor used by each patch, the overall reverb level, and the
overall output. They do not aect the settings of each patch.

Knob Parameter Value Explanation

Control the threshold level of the
noise suppressor used by each patch.

NS.THRS

[1]

(NS THRESH­OLD)

[2] REVERB 0–200%

-20–+20 dB

This does not aect the settings of
each patch. They do not aect the
settings of each patch.

* If you want to use the settings

specied for each patch, set this
to 0 dB.

Adjusts the reverb level specied for
each patch.

It is useful to adjust the reverb level
appropriately for the space in which
you’re performing. This does not
aect the settings of each patch.

* If you want to use the settings

specied for each patch, set this
to 100%.

PLAY OPTION

Here you can specify what happens when you operate an external
expression pedal while performing, and specify the range of
patches that can be selected.

PREFERENCE

Here you can specify whether settings for the type of connected
amp and preamp, control pedal, expression pedal, etc. will be
independent for each patch, or whether the same settings will be
shared by all patches.

Knob Parameter Value Explanation

Page 1

OUTPUT

[1]

(OUTPUT
SELECT)

[2] PREAMP PATCH, SYSTEM 1–3

Page 2

[1] CTL1 PATCH, SYSTEM

[2] CTL2 PATCH, SYSTEM

[3] EXP PATCH, SYSTEM

PATCH, SYSTEM

If this is set to PATCH, dierent
settings can be made indepen­dently for each patch. If this is set to
SYSTEM, the same settings will be
shared by all patches.

* Here, even if a CTL/EXP pedal that

has been set to SYSTEM is set to
ASSIGN SOURCE (p. 26), that setting
will be ignored.

LCD

Here you can adjust the brightness of the characters in the display.

Knob Parameter Value Explanation

CONTRST

[1]

(CONTRAST)

1–16 Higher values increase the brightness.

Knob Parameter Value Explanation

The operational status of the
EXP PEDAL’s FUNC (p. 26) is not
carried over when patches are
switched.

If the EXP PEDAL’s FUNC (p.

26) are the same between 2
patches, the operational status
is carried over when patches
are switched.

For example, if EXP PEDAL
FUNC is set to FOOT VOLUME
in both patches, the one before
and the one after the change,
the volume corresponding
to the position the pedal is in
(angle) at the time of the patch
change will be maintained
after the patch change. On the
other hand, if the patch being
changed to is set to WAH, the
volume will be in accordance
with the value set within the
patch, and you’ll obtain a wah
eect that is in accordance
with a value that reects the
current position (angle) of the
pedal.

Sets the lower limit for the
patches.

Sets the upper limit for the
patches.

[1]

[3]

[4]

EXP.HLD

(EXP PEDAL HOLD)

PatMIN

(PATCH EXTENT
MIN)

PatMAX

(PATCH EXTENT
MAX)

OFF

ON

U001–U200,

P001–P200

U001–U200,

P001–P200

G.2MIDI (GUITAR TO MIDI)

This converts the guitar input to a MIDI signal that can be output
from the USB port.

This allows you to create MIDI tracks on your DAW, or to use
Guitar Friend Jam (www.roland.com/FriendJam/Guitar/) to make
connections with guitarists around the world.

* The input supports only monophonic playing (single notes). The

pitch will not be correctly detected if you play multiple notes
simultaneously.

Knob Parameter Value Explanation

Page 1

GTR.MIDI

[1]

(GUITAR TO MIDI)

[2] MODE

B.RANGE

[3]

(BEND RANGE)

B.THIN

[4]

(BEND THIN)

OFF

ON

MULTI

SINGLE

1–24

OFF Bend data is thinned for transmission.

ON Bend data is thinned for transmission.

The input signal is not converted to
MIDI.

The input signal is converted to MIDI,
and sent from the USB port.

The guitar notes are divided into six
channels for transmission, according to
their pitch range. The six channels (one
for each string) starting with the TX CH
you specify in “MIDI SETTING” (p. 36)are
used as the transmission channels.

Example:

If the TX CH is 1, the transmission
channels will be ch.1–ch.6.

* If the TX CH is set to 12 or following,

the notes for channels beyond 16 are
not transmitted.

All guitar notes are transmitted on
a single MIDI channel. The TX CH
specied in “MIDI SETTING” is used as
the transmission channel.

Species the bend range in semitone
units.

35

MENU

Knob Parameter Value Explanation

Page 2

Selects the response to your picking dynamics. By
changing this setting appropriately for your guitar
playing style or the sound that you’re controlling,
you can make the sound respond more naturally
to the dynamics of your playing.

FEEL1 is the setting that gives you the
broadest expressive range of volume
change in response to your picking
dynamics. As the number increases,
it becomes easier to produce a loud
volume even for softly-picked notes.
This allows you to perform with a
consistent volume even when tapping
or when your picking is inconsistent.

This mode produces a xed volume
regardless of your picking dynamics.

Softly-picked notes are suppressed. This
lets you suppress unwanted notes that
might otherwise be sounded when your
nger accidentally contacts a string.

Conventional pitch bend data is
transmitted. The pitch changes
smoothly in response to string bending
and vibrato.

When the pitch is changed, the
currently-sounding note is not stopped,
but only pitch bend data is transmitted.
This allows you to produce smooth slurs
as when playing a recorder.

When the pitch is changed, the note is
retriggered at the new pitch, so that the
pitch changes only in semitone steps.
This means that a new attack is heard
each time the pitch changes. If the
string vibration has diminished since
you plucked the string, the retriggered
notes gradually diminish to reect this.

As with TYPE2, the note is retriggered at
the new pitch, so that the pitch changes
only in semitone steps. However, the
retriggered note does not reect any
decrease in the string vibration; the
retriggered note has the same level as
the initially-played note.

[1]

[2]

PLY.FEL

(PLAY FEEL)

CHROMA

(CHOROMATIC)

FEEL1–4

NO
DYNA

STRUM

When you smoothly change the pitch of a guitar
note, for example by bending a string, this setting
lets you quantize the pitch change of the transmit­ted MIDI messages to semitone steps.

OFF

TYPE1

TYPE2

TYPE3

MIDI SETTING

Here you can make MIDI-related settings for the GT-001.

Knob Parameter Value Explanation

Page 1

[1]

[2]

[3]

RX.CH(RECEIVE
CHANNEL)

OMNI

(OMNI MODE)

TX.CH

(TRANSMIT
CHANNEL)

This sets the MIDI channel used for receiving MIDI

messages.

Ch. 1– Ch. 16 Species the receive channel.

This makes the settings for the channels used for MIDI

information.

OFF

ON

This sets the MIDI channel used for transmitting MIDI

messages.

Ch. 1– Ch. 16. Species the transmit channel.

RX

Information is received on the
channel specied by the RX.CH
setting.

Messages are received on all
channels, regardless of the MIDI
channel settings.

Transmits on the same channel
as the RX CH.

Knob Parameter Value Explanation

DEV.ID

[4]

(DEVICE ID)

Page 2

SYNC

[1]

(SYNC CLOCK)

[3] PC.OUT

MAP.SEL

(PROGRAM

[4]

CHANGE MAP
SELECT)

Page 3

C1.OUT

[1]

(CTL1 OUT)

C2.OUT

[2]

(CTL2 OUT)

[3] EXP OUT

This sets the MIDI Device ID used for transmitting and
receiving Exclusive messages.

1–32 Sets the MIDI Device ID.

This setting determines the basis used for synchroniz­ing the timing for eect modulation rates and other
time-based parameters.

* When you have an external MIDI device connected

via USB, 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.

Operations are synchronized
to the MIDI Clock received via

AUTO

INTERNAL

This setting determines whether or not Program
Change messages are output when patches are
switched on the GT-001.

* On the GT-001, Bank Select messages are output

simultaneously with Program Change messages.

OFF

ON

This setting determines whether patches are switched
according to the Program Change Map settings, or to
the default settings.

FIX

PROG

This sets the controller number when operation data
from the footswitch connected to the CTL/EXP jack is
output as Control Change messages.

OFF

CC#1–CC#31,
CC#64–CC#95

OFF

CC#1–CC#31,
CC#64–CC#95

This sets the controller number when operation data
from the expression pedal connected to the CTL/EXP
jack is output as Control Change messages.

OFF

CC#1–CC#31,
CC#64–CC#95

MIDI. However, operations are
automatically synchronized to
the GT-001’s internal Clock if the
GT-001 is unable to receive the
external Clock.

Operations are synchronized to
the GT-001’s internal Clock.

Program Change messages are
not output, even when patches
are switched.

Program Change messages are
simultaneously output when
patches are switched.

This deactivates the Program
Change Map.

Switches to the patches accord­ing to the default settings.

This activates the Program
Change Map.

Switches to the patches accord­ing to the Program Change Map.

Control Change messages are
not output.

This sets the controller number
when CTL 1 pedal operation
data is output as Control Change
messages.

Control Change messages are
not output.

This sets the controller number
when CTL 2 pedal operation
data is output as Control Change
messages.

Control Change messages are
not output.

This sets the controller number
when [EXP] pedal operation
data is output as Control Change
messages.

36

MENU

P.MAP (MIDI-PROGRAM CHG 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 GT-001 and the patches to be switched to in the “Program
Change Map.”

Knob Parameter Value Explanation

Page 1 (BANK#0)

[1] PC#

[4] PATCH

Page 2 (BANK#2)

[1] PC#

[4] PATCH

Page 3 (BANK#2)

[1] PC#

[4] PATCH

Page 4 (BANK#3)

[1] PC#

[4] PATCH

BANK#0

PC#1–PC#128

U001–U200

P001–P200

BANK#1

PC#1–PC#128

U001–U200

P001–P200

BANK#2

PC#1–PC#128

U001–U200

P001–P200

BANK#3

PC#1–PC#128

U001–U200,

P001–P200

Specify the program change
number that you want to assign.

This sets the patch number (U001
through P200) for the correspond­ing Program Change number.

Specify the program change
number that you want to assign.

This sets the patch number (U001
through P200) for the correspond­ing Program Change number.

Specify the program change
number that you want to assign.

This sets the patch number (U001
through P200) for the correspond­ing Program Change number.

Specify the program change
number that you want to assign.

This sets the patch number (U001
through P200) for the correspond­ing Program Change number.

AUTO OFF

The GT-001 can turn o its power automatically. The power will
turn o automatically when 10 hours have passed since you last
played or operated the unit. The display will show a message
approximately 15 minutes before the power turns o.

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

* When the power is turned o, any settings you were editing will

be lost. You must save settings that you want to keep.

Knob Parameter Value Explanation

OFF The power will not turn o automatically.

[1] AUTO OFF

ON

The power will automatically turn o when
10 hours have passed since you last played or
operated the GT-001.

FACTORY RESET

Initializes the GT-001 to its factory-set condition. Refer to “Restoring
the Factory Settings.

Knob Parameter Value Explanation

SYSTEM System parameter settings

[1] FROM

[4] TO

QUICK Settings for User Quick Setting

U001–P200

SYSTEM System parameter settings

QUICK Settings for User Quick Setting

U001–P200

Settings for Patch Numbers
U001−U200

Settings for Patch Numbers
U001−U200

MIDI BULK DUMP

You can use Exclusive messages to provide another GT-001 with
identical settings, and save eect settings on a MIDI sequencer or
other device.

Knob Parameter Value Explanation

SYSTEM System parameter settings

QUICK Settings for User Quick Setting

[1] FROM

[4] TO

U001–
P200

TEMP

SYSTEM System parameter settings

QUICK Settings for User Quick Setting

U001–
P200

TEMP

Settings for Patch Numbers U001−U200

Settings for the patch that is currently
selected

Settings for Patch Numbers U001−U200

Settings for the patch that is currently
selected

37

MENU

DAW CTL (DAW Control)

You can use the panel [A]–[D] buttons and value knob to control
the following items on DAW software that supports Mackie Control
Universal, such as Logic or Sonar.

Value knob

[A] –[D] buttons

GT-001
Controller

[A] button Switches click on/o. Switches Loop on/o.

[B] button Stops recording or playback.

[C] button Starts playback.

[D] button Starts recording on record-enabled tracks.

Value knob Moves the current value (POSITION).

For details on how to make settings in your DAW software, refer to
the owner’s manual of your software.

* The GT-001 does not support the HUI mode of Mackie Control

Logic Sonar

Universal.

38

Other Settings

TUNER/METRONOME

Press the [TUNER] button to use the tuner and metronome
functions. Turn the value knob to switch between tuner and
metronome.

TUNER

Here you can make settings for the TUNER mode.

Knob Parameter Value Explanation

Page 1

[1] PITCH 435 Hz–445 Hz Species the reference pitch.

Sound will not be output while
tuning.

While tuning, the sound of the guitar
being input to the GT-001 will be
output without change. All eects
will be o.

Allows you to tune while hearing the
current eect sound.

[4] OUTPUT

MUTE

BYPASS

THRU

METRONOME

Here you can make settings for the METRONOME mode.

Knob Parameter Value Explanation

[1] TEMPO 40–250 Species the tempo of the metronome.

1/1–8/1,

[2] BEAT

[3] ON/OFF OFF, ON Turns the metronome on/o.

[4] LEVEL 0–100 Adjusts the volume of the metronome.

1/2–8/2,

1/4–8/4,

1/8–8/8

Selects the time signature.

39

Troubleshooting

Problem Items to check Action

Problems with the sound

Are the connection cables broken? Try another set of MIDI cables.

Is the GT-001 correctly connected to the other devices? Check connections with the other devices.

No sound / volume too low

Sound from devices connected to
the INPUT jack is not heard in the
headphones

The volume level of the instrument
connected to INPUT, AUX IN jacks are
too low

Oscillating sound occurs

No change in preamp tone even after
switching patches

Unable to change parameters with
the knobs

Other Problems

Patch does not change

Parameters specied with Assign
can’t be controlled

MIDI messages are not transmitted/
received

Is the connected amp/mixer turned o, or the volume
lowered?

Is the [OUTPUT LEVEL] knobs lowered? Adjust the OUTPUT LEVEL knobs to an appropriate position.

Is Tuner set to On?

Is each eect set correctly? Check the settings of each eect.

Is “FOOT VOLUME: LEVEL” or “MASTER: PATCH LEVEL”
specied as an assign Target (p. 26)?

Is INPUT (GUITAR/MIC) set correctly (p. 33)? Make the correct setting.

Is the “DIR.MONITOR” (p. 34) set to OFF? Set to ON.

Is INPUT (GUITAR/MIC) set correctly(p. 33)? Make the correct setting.

Could you be using a connection cable that contains
a resistor?

Is the value for any gain- or volume-related eects
parameter set too high?

Could the USB PRIMARY (p. 34) parameter “LOOP” (LOOP
BACK) be turned ON?

Could the preamp “PREFERENCE” (p. 35) be set to
“SYSTEM 1–3”?

Is “INT PEDAL” or “WAVE PEDAL” set as the ASSIGN 1–8,
SOURCE in Assign (p. 26)?

Is “INPUT LEVEL” set as the ASSIGN 1–8, SOURCE (p. 26)?

Is something other than the Play screen shown in the
display?

Could the eect be switched o?

Could the pedal function “PREFERENCE” (p. 35) be set to
“SYSTEM”?

Do the MIDI channel settings of both devices match? Make sure that the MIDI channels of both devices match (p. 36).

Do the controller number settings of both devices
match?

Is the USB cable broken? Try another USB cable.

Is the GT-001 correctly connected to the other MIDI
device?

Do the MIDI channel settings of both devices match? Make sure that the MIDI channels of both devices match (p. 36).

When you send messages from the GT-001, make
sure the GT-001 is set to the settings appropriate for
sending data.

Check the settings of your amp/mixer system.

When the OUTPUT is set to “MUTE” in the Tuner mode, even the direct
sound will not be output by setting the Tuner to “On” (p. 39).

Move the controller (pedal) to which it is assigned.

Use a connection cable that does not contain a resistor.

Lower these values.

Depending on the software settings, audio signals may end up
looping. You can use the following methods to prevent this from
happening.

• Stop playback with the software, and set Soft Thru to O.

• Switch the software’s audio input o.

If PREFERENCE: PREAMP is set to “SYSTEM 1–3,” the preamp settings
won’t change when you switch patches.

If you want to make preamp settings individually for each patch, set
the above setting to “PATCH.”

When the ASSIGN –8, SOURCE is set to “INT PDL (INT PEDAL)” or “WAVE
PDL (WAVE PEDAL)”, the eect parameter set as the Assign Target
changes automatically.

If you want to be able to change the parameters manually with the
knobs, rst switch o Assign to deactivate the Internal Pedal System.

When “INPUT LEVEL” is set for the ASSIGN 1–8, SOURCE (p. 26), the eect
parameter set as the Assign Target changes automatically according to
the level of the input from the guitar (the playing dynamics).

If you want to be able to change the parameters manually with the
knobs and dial, rst switch o Assign.

On the GT-001, patches can be selected only when the Play screen is
displayed. Press [EXIT] to return to the Play screen.

To control a parameter using the expression pedal or footswitch, make
sure the eect that contains the parameter you intend to control is
switched on.

If the preference is set to “SYSTEM,” the patch assignment will be
ignored. If you want to enable the settings of the patch, change the
preference for the corresponding parameter to “PATCH”.

Make sure that the controller number of both devices match (p. 36).

Check connections with the other MIDI device.

Check the on/o status for transmission of program change messages
(p. 36) and the settings for the controller numbers to be transmitted
(p. 36) .

40

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

1 Hi GAIN STACK

2 TERA ECHO LD

3 NATURAL CLEAN

4 POWER METAL RIFF

5 OD-1 + DIST

6 LAYER SOUND

7 FDR BLUES CRUNCH

8 OD-1 + STACK

9 ADD TRANSPARENCY

10 ORNG ROOMY LEAD

11 ROTARY CRUNCH Standard rotary sound for rock.

12 AC SIM STRAIGHT An uncolored acoustic simulator.

13 COMBO AC+DC

14 SUPER SLOW GEAR

15 SLAPBACK ECHO ’50s-style crunch and echo sound.

16 A-DIST&OVERTONE

17 FAT BLUESY LEAD

18 EG & AG MIX

19 Hi:BG LD Lo:1959

20 DIVID ORGAN TONE

21 COMBO CRUNCH

22 TOUCH & GO

23 CRUNCH LEAD

The powerful and fat sound of
a high-gain amp stack. Ideal for
backing or ris.

A sound that takes advantage of the
TERA ECHO’s distinctive reverbera­tion, and is perfect for long notes.

An all-around sound usable for
everything from solos to rhythm.
With a broad range and good
sustain from the high frequencies to
the low frequencies.

A metal sound with powerful
ultra-low range. Two types of
metal-optimized amp are used
separately for the low and high
frequency ranges.

A crisp sound suitable for lead.
Two types of distortion are used
separately for the low and high
frequency ranges.

A clean sound with chorus is mixed
with a highly processed crunch
sound.

A straightforward crunch sound.
Two types of combo amp are used
separately for the low and high
frequency ranges.

A hard rock sound with phaser and
OD-1 applied before the distortion.

Clear crunch sound that combines
the A-DIST crunch and clean.

Coarse distortion that combines
TREBLE BOOSTER and ORNG
REVERB.

A drive sound that does not impair
chords. Two types of combo amp
are used separately for the low and
high frequency ranges.

A beautiful pad-type sound that
uses Slow Gear.

A lead sound that emphasizes the
overtones of the high frequency
region.

A fat lead sound that uses A-DIST
as a booster, suitable for single-coil
pickups.

A sound that mixes electric guitar
and acoustic guitar. We recommend
setting the mixer to stereo.

With both an edgy low range as well
as good sustain in the mid and high
ranges, this sound can be used for
ring and lead without switching.

A lter is used to divide the
frequency ranges, and OVERTONE is
applied only to the low range.

The sound of a combo amp
featuring extremely direct and
sensitive touch response, with
the low-frequency range reduced
appropriately.

A crunch sound that responds
nicely to the nuances of your
picking.

A high-quality distortion sound that
instantly responds to your picking
dynamics. Great for solos.

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL CORE METAL BGNR UB A&B SOLO DELAY WAH/FV H

DUAL JC-120 JC-120 A&B SOLO

DUAL

DUAL TWEED

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL VO DRIVE

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL TWEED FULL RANGE MIXER MODE CHORUS WAH/FV S

DUAL BG LEAD MS1959 I A&B SOLO OD/DS WAH/FV H

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

HiGAIN
STACK

POWER
DRIVE

NATURAL
CLEAN

NATURAL
CLEAN

STACK
CRUNCH

NATURAL
CLEAN

ORNG RV

COMBO
CRUNCH

FULL RANGE

NATURAL
CLEAN

TWEED

NATURAL
CLEAN

DELUXE
CRUNCH

NATURAL
CLEAN

COMBO
CRUNCH

COMBO
CRUNCH

COMBO
CRUNCH

HiGAIN
STACK

NATURAL
CLEAN

COMBO
CRUNCH

TWEED A&B SOLO DELAY WAH/FV S

DELUXE
CRUNCH

MS1959 I FX1 (PHASER) DIV CH SELECT WAH/FV H

NATURAL
CLEAN

NATURAL
CLEAN

STACK
CRUNCH

NATURAL
CLEAN

MATCH
DRIVE

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

COMBO
CRUNCH

NATURAL
CLEAN

COMBO
CRUNCH

A&B SOLO DIV CH SELECT WAH/FV H

A&B SOLO DIV CH SELECT WAH/FV S

A&B SOLO DIV CH SELECT WAH/FV S/H

OD/DS SOLO, FX1
(SUB OD/DS) SOLO

A&B SOLO OD/DS WAH/FV S/H

A&B SOLO DELAY WAH/FV S

A&B SOLO DIV CH SELECT WAH/FV H

DELAY DIV CH SELECT WAH/FV S

DELAY

A&B SOLO DELAY WAH/FV S

CHORUS DIV CH SELECT WAH/FV S

REVERB DIV CH SELECT WAH/FV S

FX2 (OVERTONE) DIV CH SELECT WAH/FV S

A&B SOLO DIV CH SELECT WAH/FV S

A&B SOLO

DELAY DIV CH SELECT WAH/FV H

A&B SOLO DIV CH SELECT WAH/FV S

DELAY

FX1 (AC. GUITAR
SIM)

FX1 (ROTARY 2)
SPEED SELECT

DIV CH SELECT,
CHORUS

WAH/FV H

WAH/FV S

WAH/FV S

WAH/FV S/H

41

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

24 STACK CRUNCH

25 ORNG CRUNCH

26 SINGLE COIL ROCK

27 BLUES COMBO

28 UNMATCHED COMBO

29 BEE BEE THRILL

30* STEREO STACK

31 ATTACKY CRUNCH

32 MELLOW LEAD Bluesy sound with warm overdrive.

33 TWEED BLUES

34 1959 CRUNCH Crunch sound based on MS1959.

35 DIAMOND ECHO A clean sound with echo. DUAL

36 CRUNCH DELAY

37 MID RANGE CRUNCH

38 LIMITED CRUNCH

39 MATCH CRUNCH

40 MID BOOST COMBO

41 KING OF BLUES A sound that’s ideal for blues leads.

42 COUNTRY PICKIN' A classic country rock sound.

43 NATURAL OVER-DRV

44 BASIC BLUES

45 T-SCREAM TWEED

46 Hi GAIN + CRUNCH

47 TIGHT CRUNCH A tight combo crunch sound.

48 SQUEEZE BLUES GT

49 PLEXI RHYTHM A rhythm tone used in classic rock.

50 BLUES BUDDY

51 DIRTY OLE TWEED

52 COMP CRUNCH LEAD A lead sound suitable for jazz fusion.

53 70s SMALL AMP

Switch between stack crunch
sounds with dierent gain for
backing and solo.

The crunch sound of a UK stack
amp.

A hard crunch sound, ideal for
punchy rhythm playing. The CTL
pedal boosts the GAIN and MID.

A sustaining crunch sound that’s
suitable for blues. Two types of
combo amp are used separately for
the low and high frequency ranges.

The sound of a fat and extremely
clean combo amp.

Combo amp sound suitable for
blues leads.

The sound of two high-gain amps
set up in stereo, suitable for ring.

A crunch sound with a sense of
attack. The CTL pedal applies
mid-boost.

Classic blues sound from a tweed
amp.

American crunch sound with chorus
and delay applied. Also suitable for
country styles.

Crunch sound with a boosted
mid-range.

A crunch tone that will sound
smooth and rened when playing
chords.

Crunch sound ideal for use with the
rear single coil pickup.

The crunch sound of a mid-boosted
combo amp.

Drive sound ideal for rock’n’roll. The
CTL pedal switches to a dry sound.

Crunch sound with compressor,
ideal for blues or classic rock.

Tweed amp sound notable for its
mellow tube distortion.

A sound that combines a high-gain
amp and a combo amp.

A bluesy sound with ambience
included.

Crunch rhythm sound for blues. The
CTL pedal switches to a lead sound.

The sound of a small combo amp
with a bit of overdrive. Great for
blues or funk.

The drive sound produced by a
small amp of the 70s.

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

DUAL

SINGLE:
Ch. A

DUAL

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. B

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL TWEED

SINGLE:
Ch. A

SINGLE:
Ch. A

STACK
CRUNCH

ORNG RV

STACK
CRUNCH

COMBO
CRUNCH

MATCH
DRIVE

VO LEAD

POWER
DRIVE

COMBO
CRUNCH

NATURAL
CLEAN

TWEED

MS1959 I — OD/DS, DELAY DIV CH SELECT WAH/FV H

STACK
CRUNCH

COMBO
CRUNCH

COMBO
CRUNCH

COMBO
CRUNCH

MATCH
DRIVE

COMBO
CRUNCH

DELUXE
CRUNCH

CLEAN TWIN — A&B SOLO OD/DS WAH/FV S

TWEED

COMBO
CRUNCH

TWEED — A&B SOLO

COMBO
CRUNCH

COMBO
CRUNCH

TWEED CLEAN TWIN OD/DS DIV CH SELECT WAH/FV H

PRO
CRUNCH

CLEAN TWIN CLEAN TWIN FX2 (SUB DELAY) DIV CH SELECT WAH/FV S/H

DELUXE
CRUNCH

DELUXE
CRUNCH

STACK
CRUNCH

NATURAL
CLEAN

STACK
CRUNCH

MATCH
DRIVE

COMBO
CRUNCH

COMBO
CRUNCH

EXTREME
LEAD

COMBO
CRUNCH

JC-120 A/B SOLO DIV CH SELECT WAH/FV H

NATURAL
CLEAN

STACK
CRUNCH

COMBO
CRUNCH

COMBO
CRUNCH

MATCH
DRIVE

COMBO
CRUNCH

MS1959 I DELAY DIV CH SELECT WAH/FV S/H

— A&B SOLO FX2 (SUB DELAY) WAH/FV S

COMBO
CRUNCH

COMBO
CRUNCH

EXTREME
LEAD

COMBO
CRUNCH

STACK
CRUNCH

PRO
CRUNCH

NATURAL
CLEAN

COMBO
CRUNCH

CHORUS

A&B SOLO DIV CH SELECT WAH/FV S

A&B SOLO DIV CH SELECT WAH/FV S

A&B SOLO OD/DS WAH/FV S/H

FX2 (COMP) CHORUS WAH/FV S

DELAY DIV CH SELECT WAH/FV H

A&B SOLO DELAY, OD/DS WAH/FV H

A&B SOLO OD/DS, DELAY WAH/FV H

OD/DS DIV CH SELECT WAH/FV S/H

A&B SOLO DELAY F.BACK WAH/FV S

A&B SOLO DIV CH SELECT WAH/FV S

A&B SOLO

A&B SOLO DIV CH SELECT WAH/FV H

OD/DS, EQ, DELAY DIV CH SELECT WAH/FV S

OD/DS, DELAY DIV CH SELECT WAH/FV S

A&B SOLO DIV CH SELECT WAH/FV H

A&B SOLO DELAY WAH/FV H

A&B SOLO

A&B SOLO

DELAY ACCEL (S-BEND) WAH/FV S

DELAY DIV CH SELECT WAH/FV H

A&B SOLO DIV CH SELECT WAH/FV S

DIV CH SELECT,
DELAY

DIV CH SELECT,
DELAY

FX1 (SUB OD/DS),
DELAY

DIV CH SELECT,
DELAY, CHORUS

DIV CH SELECT,
DELAY

WAH/FV H

WAH/FV S/H

WAH/FV S/H

WAH/FV H

WAH/FV H

42

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

54 COLLEGE ROCK

55 SLIDE FOR ST

56 CRNCH 4 RHYTHM

57 TUESDAYS LEAD A sound with phaser lightly applied.

58 WILD STK CRUNCH

59* DBL CRUNCH 4 HUM

60 TWIN CRUNCH Crunch sound from a Twin Reverb.

61 FULLERTN DRIVE

62 UK ComboForChord

63 AUTO ROTARY 2

64 MODERN VO DRIVE

65 POWER DRIVE

66* SYNC TREMOLO

67 POWER CHORD!

68 WALL OF DIST

69 DUAL MTL/CRUNCH

70 70s COOL STACK

71 STEREO STK DRIVE

72 AMBIENT DIRTY OD

73 BOSSToneDrv-SOLO

74 MS MULTI MIC AMB

75 FRANKLY SWEEPING

76 FAT DRY MIX MS Crisp and bold drive sound.

77 70s BRITISH ROCK

78 BARK TONE

79 1969 XPERIENCE

80 CHAINED UP

Crunch sound suitable for chordal
ris.

Ideal sound for playing slide guitar
with single coil pickups.

Crunch sound for funky rock.
Suitable for use with the rear single
coil pickup.

A wild crunch sound for chording.
Two types of amp are used
separately for the low and high
frequency ranges.

The sound of two crunch amps in a
stereo setup.

Light American crunch sound of the
late 50s.

Combo amp sound suitable for
playing chords.

Rotary crunch sound that changes
randomly.

Play chords to get sparkling crunch
sound.

A straightforward and powerful
drive sound that lets the character
of the guitar come through.

The sound of a stereo tremolo eect
whose depth changes.

A drive sound, simple yet with
presence.

Power chords produce a wall of
distortion.

A sound that combines core metal
and crunch.

The sound of a vintage stack amp
with the gain reduced. Two types of
stack amp are used separately for
the low and high frequency ranges.

Drive sound that’s ideal for hard
rock ris. Two types of stack amp
are used separately for the low and
high frequency ranges.

Drive sound with added room
ambience.

One of the rock sounds of the late
70s. The CTL pedal switches to a
sound for soloing.

On-mic and o-mic sounds are
mixed, and ambience is lightly
applied. For the o-mic sound,
RESONANCE is added in TONE
MODIFY.

The fusion rhythm tone of the 90s.
The CTL pedal boosts the gain and
volume for soloing.

An early British stack tone that’s
ideal for leads.

70s rock sound with phaser. The CTL
pedal makes the sound suitable for
leads and also turns on a delay.

Psychedelic rock sound of the
1969 Woodstock festival. Intense
distortion produced using fuzz.

A ri tone used in classic rock. The
CTL pedal adds a anger.

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

DUAL

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL MS1959 I MS1959 I DELAY FX2 ( TREMOLO) WAH/FV S

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

DUAL

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL MS1959 I MS1959 I A&B SOLO OD/DS WAH/FV S/H

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL TWEED

SINGLE:
Ch. A

COMBO
CRUNCH

TWEED TWEED DELAY DIV CH SELECT WAH/FV S

COMBO
CRUNCH

TWEED TWEED DELAY

STACK
CRUNCH

COMBO
CRUNCH

CLEAN TWIN CLEAN TWIN A&B SOLO

PRO
CRUNCH

VO LEAD

COMBO
CRUNCH

VO DRIVE VO LEAD A&B SOLO DIV CH SELECT WAH/FV S

POWER
DRIVE

HiGAIN
STACK

STACK
CRUNCH

COMBO
CRUNCH

HiGAIN
STACK

HiGAIN
STACK

STACK
CRUNCH

NATURAL
CLEAN

POWER
DRIVE

MS1959 I+II

PRO
CRUNCH

CORE METAL CORE METAL FX1 (PHASER)

5150 DRIVE 5150 DRIVE A&B SOLO

MATCH
DRIVE

MS1959 I FX1 (T. WAH) DIV CH SELECT WAH/FV S

TWEED A&B SOLO EQ WAH/FV H

ORNG RV A&B SOLO DELAY WAH/FV H

TWEED A&B SOLO CHORUS WAH/FV S

COMBO
CRUNCH

NATURAL
CLEAN

POWER
DRIVE

HiGAIN
STACK

BG DRIVE CHORUS DIV Ch SELECT WAH/FV S

CORE METAL A&B SOLO

MS1959 I A&B SOLO DELAY WAH/FV H

MS1959 I DELAY CHORUS WAH/FV H

MS1959 I REVERB DIV CH SELEC T WAH/FV H

NATURAL
CLEAN

POWER
DRIVE

STACK
CRUNCH

COMBO
CRUNCH

EXTREME
LEAD

A&B SOLO DIV CH SELECT WAH/FV S

DIV CH SELECT, FX1
(PHASER), DELAY

DIV CH SELECT,
REVERB LEVEL

A&B SOLO DIV CH SELECT WAH/FV H

DELAY DIV CH SELECT WAH/FV S

A&B SOLO

A/B SOLO

REVERB LEVEL DIV CH SELECT WAH/FV S/H

DELAY DIV CH SELECT WAH/FV H

A&B SOLO DIV CH SELECT WAH/FV H

A&B SOLO DIV CH SELECT WAH/FV H

REVERB LEVEL ACCEL (S-BEND) WAH/FV S

DIV CH SELECT,
DELAY

DIV CH SELECT,
DELAY

FX1 (PITCH SHIFTER),
OD/DS, DELAY

DIV CH SELECT,
DELAY

DIV CH SELECT, FX1
(FLANGER)

WAH/FV H

WAH/FV S

WAH/FV S/H

WAH/FV H

WAH/FV H

WAH/FV H

WAH/FV S/H

43

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

81 1984 DRIVIN'

82* ROUGH'N' DIRTY

83 CREAMY SET

84 STACK LEAD

85 GREAT ROCK

86 SLIDE FOR LP

87 FAT 60s FUZZ

88 UFOBJECT The classic sound of 70s hard rock.

89 VAN FLANGE The anger sound of 80s hard rock.

90* WALL OF FUZZTONE

91 OCTAFUZZ LEAD

92 60s FUZZ LEGEND

93 70s PUB ROCK

94* VINTAGE & MDN Thick stereo crunch sound.

95* PASADENA PLEXI

96 SHRED FZ

97 80s HARD ROCK

98 80s NEW WAVE

99 Hi GAIN LEAD

100 BG LEAD

101 HarmonyLead inAm

102 VINTAGE OVERDRV

103 TERA ECHO LEAD

104 70s US HARD ROCK

105 80s STUDIO LEAD

106 CHORUS LEAD

107 DUCKING DLY&VIB

108 COMBO LEAD

Drive sound reminiscent of 80s
hard rock.

Dirty rock sound. Ideal for backing
or ris.

A bluesy sound of the late 60s that
combines MS1959 with FUZZ.

A stack amp sound with sustained
distortion. Suitable for both backing
and soloing.

A hard rock tone used in the 80s
and 90s.

Ideal sound for playing slide guitar
with humbucking pickups.

The classic, fat fuzz sound of the
’60s.

Dierent types of fuzz are placed
in stereo.

A fuzz sound with a unique
character. Also useable even if the
volume of your guitar is lowered.

Reproduces the combination of a
late 60s fuzz and distorted amp.

Produces a sharp sound when used
with single coil pickups.

The hard rock sound of the late 70s.
Phaser and delay are applied to a fat
British overdrive.

A fuzz sound with a rich overtone
structure. Ideal for backing or for
solos.

Rock sound of the 80s using a stereo
chorus.

80s sound that combines a
doubling delay with a chorus.

The mid-boost lead sound of a stack
amp. The CTL pedal turns SOLO on.

A tube amp sound typical of the late
70s through the 80s. The CTL pedal
switches to a lead tone with chorus
applied.

Sustaining harmony tone, ideal for
fusion solos.

Vintage OD-1 sound. The CTL pedal
selects a sound appropriate for
solos.

A spacious sound that takes
advantage of A-DIST and TERA
ECHO.

A retro hard rock sound from the
70s.

A chorused sound with sustain,
suitable for lead. Two types of stack
amp are used separately for the low
and high frequency ranges.

Metal sound with chorus applied.
Usable for either backing or lead.

Delay and vibrato automatically
become deeper when you sustain
a note.

A combo amp lead sound. You can
use the ACCEL pedal for feedback
performance.

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL TWEED MS1959 I CHORUS DELAY WAH/FV S

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. B

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL ORNG RV SLDN A&B SOLO CHORUS WAH/FV S/H

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

HiGAIN
STACK

POWER
DRIVE

MS1959 I

POWER
DRIVE

MS1959 I

PRO
CRUNCH

MS1959 I+II MS1959 I+II DELAY DIV CH SELECT WAH/FV S

MS1959 I+II

R-FIER
MODERN

CLEAN TWIN

STACK
CRUNCH

DELUXE
CRUNCH

MS1959 I

STACK
CRUNCH

COMBO
CRUNCH

BG LEAD BG DRIVE A/B SOLO, DELAY DIV CH SELECT WAH/FV H

COMBO
CRUNCH

EXTREME
LEAD

BG LEAD BG LEAD DELAY DIV CH SELECT WAH/FV S/H

NATURAL
CLEAN

JC-120

NATURAL
CLEAN

STACK
CRUNCH

NATURAL
CLEAN

POWER
DRIVE

COMBO
CRUNCH

5150 DRIVE

R-FIER
VINTAGE

STACK
CRUNCH

EXTREME
LEAD

HiGAIN
STACK

PRO
CRUNCH

HiGAIN
STACK

— FX1 (FLANGER)

COMBO
CRUNCH

COMBO
CRUNCH

COMBO
CRUNCH

STACK
CRUNCH

HiGAIN
STACK

VO DRIVE DELAY DIV CH SELECT WAH/FV H

JC-120 OD/DS DIV CH SELECT WAH/FV S

POWER
DRIVE

COMBO
CRUNCH

NATURAL
CLEAN

NATURAL
CLEAN

POWER
DRIVE

NATURAL
CLEAN

NATURAL
CLEAN

COMBO
CRUNCH

ACCEL (FEED­BACKER)

A&B SOLO

OD/DS DIV CH SELECT WAH/FV H

A/B SOLO

A&B SOLO DIV CH SELECT WAH/FV S/H

A&B SOLO DIV CH SELECT WAH/FV H

A&B SOLO

A&B SOLO FX2 (UNI-V ) WAH/FV S

OD/DS DIV CH SELECT WAH/FV S

DELAY DIV CH SELECT WAH/FV S

A&B SOLO CHORUS WAH/FV H

A&B SOLO ACCEL (S-BEND) WAH/FV S/H

A&B SOLO DIV CH SELECT WAH/FV H

FX2 (HARMONIST) DIV CH SELECT WAH/FV S/H

DIV CH SELECT

FX2 (TERAECHO) OD/DS SOLO WAH/FV S

A&B SOLO

DELAY

A&B SOLO ACCEL (WARP) WAH/FV S

ACCEL (FEED­BACKER)

DIV CH SELECT WAH/FV H

ACCEL (S-BEND),
DELAY LEVEL

DIV CH SELECT,
DELAY

DIV CH SELECT,
DELAY

ACCEL (S-BEND),
DELAY

OD/DS SOLO, COMP,
DELAY

DIV CH SELECT,
DELAY

DIV CH SELECT,
OD/DS

DIV CH SELECT WAH/FV S/H

WAH/FV S/H

WAH/FV S/H

WAH/FV H

WAH/FV S/H

WAH/FV H

WAH/FV S

WAH/FV S/H

44

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

109 JAZZ FIELD

110 METAL STACK LEAD

111 BROWN SOUND 4 ST

112 OVERDRV LEAD A simple overdrive sound.

113 FINGER LEAD

114 SQUARE LEAD

115 SMOOTH LEAD

116 Hi GAIN STK LEAD

117 MID BOOST STACK

118 MATCH LEAD

119 BALLAD ECHO LEAD

120 FUSION 335

121 80s JAZZ FUSION

122 ROADS

123 FUSIONY Fusion lead tone with pan delay.

124 OUT DELAY Lead tone using a long stereo delay.

125 ROYAL LEAD British lead tone of the 70s and 80s.

126 MahoganyFlashbak

127 70s T.WAH LEAD

128 NY LEAD MODULATE

129 MID 70s S.O.S.

130 Hi GAIN LEAD 2

131 BGNR LEAD

132* ST GERMAN HIGAIN

133 MODERN METAL

134 R-FIER LEAD

135 METAL MONEY The metal sound of the 90s.

An aggressive jazz tone. The CTL
pedal switches to a sound for
soloing.

High-gain but with good consis­tency, this lead sound is suitable for
metal. Two types of high-gain amp
are used separately for the low and
high frequency ranges.

Use a Strat to reproduce the
hard rock sound of the late
’70s. Transforms the sound of a
single-coil pickup to a humbucking
pickup sound.

Fat sound that still remains sensitive
to the nuances of your touch. Ideal
for bluesy fusion.

Distortion sound with extreme
sustain. Use the CTL pedal to apply
pitch bend.

Classic lead tone for rock. Also ideal
for sweep-picking.

A sustaining lead sound. Two types
of stack amp are used separately for
the low and high frequency ranges.

The sound of a mid-boosted stack
amp. You can use the CTL pedal for
feedback performance.

An extremely smooth lead tone.
Ideal for fusion solos.

A lead sound suitable for ballads,
with distinctively ample echo. Two
types of amp are used separately for
the low and high frequency ranges.

A lead tone of 70s fusion. The CTL
pedal boosts the gain and volume.

A fusion lead tone using stereo
chorus.

Sound with delay applied, ideal for
leads in 70s rock.

A wide-ranged lead tone of the
late 70s.

A lead sound of the 70s using touch
wah.

A lead sound with a strongly
modulated anger. Also usable for
cool jazz fusion.

Enjoy sound-on-sound with a
two-beat delay.

A smooth high-gain lead sound.
Fat distortion can be obtained even
with single coil pickups.

Lead sound using BGNR UB METAL,
suitable for humbucking pickups.

A stereo high-gain amp sound using
BGNR UB METAL and T-AMP.

An extremely heavy metal sound,
usable for anything from rhythm
to lead.

Hard distortion sound, ideal for
metal ris. The CTL pedal switches
to a lead sound.

SINGLE:
Ch. A

DUAL T-AMP LEAD

SINGLE:
Ch. A

SINGLE:
Ch. B

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL BG LEAD

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. B

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL TWEED

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL BGNR UB T-AMP LEAD A&B SOLO DELAY WAH/FV H

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

BG LEAD BG LEAD CHORUS

EXTREME
LEAD

MS1959 I

NATURAL
CLEAN

STACK
CRUNCH

FULL RANGE

5150 DRIVE T-AMP LEAD A/B SOLO DIV CH SELECT WAH/FV H

POWER
DRIVE

MS1959 I

MATCH
DRIVE

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

SLDN SLDN FX2 (SUB DELAY) DIV CH SELECT WAH/FV H

R-FIER
MODERN

VO LEAD

STACK
CRUNCH

BG DRIVE JC-120 DELAY

VO LEAD

EXTREME
LEAD

BGNR UB BGNR UB A/B SOLO DIV CH SELECT WAH/FV H

EXTREME
LEAD

R-FIER
VINTAGE

CORE METAL CORE METAL A&B SOLO DIV CH SELECT WAH/FV S/H

NATURAL
CLEAN

NATURAL
CLEAN

MS1959 I DELAY OD/DS WAH/FV S/H

COMBO
CRUNCH

HiGAIN
STACK

COMBO
CRUNCH

MATCH
DRIVE

COMBO
CRUNCH

DELUXE
CRUNCH

JC-120 OD/DS DIV CH SELECT WAH/FV H

CORE METAL DELAY DIV CH SELECT WAH/FV H

COMBO
CRUNCH

COMBO
CRUNCH

EXTREME
LEAD

MS1959 I FX1 (T. WAH) DIV CH SELECT WAH/FV H

COMBO
CRUNCH

POWER
DRIVE

EXTREME
LEAD

R-FIER
VINTAGE

A&B SOLO ACCEL (S-BEND) WAH/FV H

A&B SOLO DIV CH SELECT WAH/FV S

A&B SOLO DIV CH SELECT WAH/FV H

ACCEL (S-BEND) DIV CH SELECT WAH S/H

DELAY ACCEl (S-BEND) WAH/FV H

DELAY

CHORUS DIV CH SELECT WAH/FV H

DELAY FX2 (TERAECHO) WAH/FV H

DELAY DIV CH SELECT WAH/FV H

A&B SOLO FX2 (SUB DELAY) WAH/FV S/H

DELAY DIV CH SELECT WAH/FV H

A&B SOLO ACCEL (S-BEND) WAH/FV S/H

BPM TAP DIV CH SELECT WAH/FV S

A/B SOLO DIV CH SELECT WAH/FV S/H

ACCEL (FEED­BACKER)

ACCEL (S-BEND) DIV CH SELECT WAH/FV S/H

DIV CH SELECT,
COMP, DELAY,
REVERB LEVEL

ACCEL (FEED­BACKER)

DIV CH SELECT,
OD/DS

DIV CH SELECT,
DELAY

WAH/FV H

WAH/FV S/H

WAH/FV H

WAH/FV S/H

45

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

136* STEREO HARD RIFF

137 METAL FLANGER Metal sound with anger applied.

138 LATE 80s MetalRF

139* DUAL ST Hi GAIN

140 REIGN IN THRASH

141 METAL CORN

142 BLADE METAL An extremely sharp metal tone.

143 DRAGON METAL

144 HARD ROCK FLANGE The anger sound of 80s metal.

145* STEREO RIFF

146 RECTOSARIUS A modern rock sound.

147 JP METAL UNISON

148* STEREO R-FIER

149 METAL Gt w/Bass

150 MULTIBAND COMP

151 TWEED CLEAN

152 RETRO FUNK A retro low- sound of the ’60s.

153 JAZZ SIMULATOR

154 CLEAN SUSTAIN

155 70s FUNKY CLEAN

156 BRIGHT RHYTHM

157 SUPER CLEAN

158 SAFARI USA

159 Acoustic Gt SIM

160 FunkyGT For HumB

161 BLACK PANEL

162 TERA REV & COMP

163 NORWEGIN GROOVE

A modern hard rock sound
appropriate for ring.

Slash metal sound of the 80s. The
CTL pedal switches to JC-120.

Stereo high-gain sound produced
by two amps.

Slash metal sound of the 80s. Ideal
for ring.

The ideal sound for heavy metal
ring. The CTL pedal boosts the
gain and volume.

Ideal modern metal sound for
humbucking pickups.

Stereo amp sound appropriate for
heavy ris.

Produces a unison sound with one
octave below. Ideal for ris or single
notes.

A high-gain stereo sound suitable
for low-pitched ring.

Core metal sound that adds a
suitable bass tone to your ris.

A straightforward limiter sound with
minimal sense of compression.

Use the CTL pedal to switch
between a tweed amp’s clean tone
and a mid-boost lead tone.

Lets you get the sound of a hollow
body guitar from a solid-body
guitar.

A clean sound with good sustain.
The CTL pedal switches to a stack
crunch sound.

Clean sound suitable for simple
strumming.

A bright clean sound. The CTL pedal
applies chorus.

Transparently clean sound. Ideal for
arpeggios or chording.

Tremolo sound suitable for the surf
music of the 60s.

Transforms the sound of an
electric guitar to the sound of an
acoustic guitar. The front pickup is
recommended.

Sound that won’t distort even when
playing through humbuckers. Also
suitable for clean muted chords.

Vintage clean sound. The CTL pedal
applies mid-boost.

Combines a TERA ECHO set to a
spring reverb type with compressed
and clean sound.

Sound that adds the distinctive
buzz drone of a sitar.

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. B

DUAL T-AMP LEAD

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

DUAL 5150 DRIVE

DUAL

DUAL CORE METAL — REVERB LEVEL

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

POWER
DRIVE

NATURAL
CLEAN

JC-120 CORE METAL A/B SOLO DIV CH SELECT WAH/FV H

SLDN SLDN OD/DS

R-FIER
MODERN

R-FIER
MODERN

T-AMP LEAD

5150 DRIVE

POWER
DRIVE

R-FIER
VINTAGE

R-FIER
MODERN

NATURAL
CLEAN

TWEED TWEED DELAY DIV CH SELECT WAH/FV H

CLEAN TWIN

PRO
CRUNCH

NATURAL
CLEAN

CLEAN TWIN

FULL RANGE

FULL RANGE

TWEED

FULL RANGE

NATURAL
CLEAN

CLEAN TWIN — DELAY OD/DS WAH/FV S

DELUXE
CRUNCH

FULL RANGE

EXTREME
LEAD

NATURAL
CLEAN

R-FIER
VINTAGE

CORE METAL A/B SOLO DIV CH SELEC T WAH/FV H

— DELAY OD/DS WAH/FV H

EXTREME
LEAD

R-FIER
MODERN

HiGAIN
STACK

R-FIER
MODERN

R-FIER
VINTAGE

R-FIER
VINTAGE

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

STACK
CRUNCH

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

STACK
CRUNCH

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

NATURAL
CLEAN

DELAY CHORUS WAH/FV H

A&B SOLO

A&B SOLO CHORUS WAH/FV H

OD/DS DIV CH SELECT WAH/FV H

FX1 (FLANGER) DIV CH SELECT WAH/FV S/H

OD/DS CHORUS WAH/FV H

ACCEL (S-BEND)

FX1 (OCTAVE) ACCEL (S-BEND) WAH/FV S/H

ACCEL (S-BEND) DELAY WAH/FV H

DELAY CHORUS WAH/FV S

FX1 (TONE MODIFY) DIV CH SELECT WAH/FV S

DELAY DIV CH SELECT WAH/FV H

CHORUS DIV CH SELECT WAH/FV S/H

FX1 (LIMITER) DIV CH SELECT WAH/FV S

DELAY, FX2
(PITCHSHIFTER),
REVERBLEVEL

ACCEL (S-BEND) DIV CH SELECT WAH/FV S/H

REVERB LEVEL DIV CH SELECT WAH/FV S

BODY DELAY WAH/FV H

CHORUS, COMP DIV CH SELECT WAH/FV H

TERAECHO O,
REVERB On

BUZZ TONE LEVEL

DIV CH SELECT,
DELAY

DIV CH SELECT,
DELAY

DIV CH SELECT,
DELAY

DELAY, COMP LEVEL,
PREAMP A SOLO
ACCEL (LASER
BEAM),

DIV CH SELECT WAH/FV S/H

DIV CH SELECT WAH/FV S/H

DIV CH SELECT,
DELAY, CHORUS

WAH/FV S/H

WAH/FV H

WAH/FV S/H

WAH/FV S/H

WAH/FV H

46

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

164 FUNKY GROOVE

165 DEEP CS StCHORUS

166 FUNKY DELICK

167 JAZZ CLEAN

168 CLN TwinSouthern

169* GREAT WIDE OPEN

170 THE ULTRA CLEAN

171 SUPER MODULATE

172 DEEP DEFRETTER

173 ROCKABIL50s ECHO

174 E SITAR SIMULATE

175 SLICING MIX

176 RIPPIN’

177 MultiDimensional

178* LA TR RIFF

179 AUTO RATE

180 SLOWGEAR LEAD

181 WAVE PEDAL SE

182 WAVE SYNTH

183 HUMANIZER SP

184 REVERSE HARMONY

185 GUNYA GUNYA

186 SEQ CLEAN

187 5th PS & GATE

188 D’CLEAN DIRT

A sound suitable for funky
strumming. Two types of clean amp
are used separately for the low and
high frequency ranges.

A rich sound that uses a combina­tion of several modulation-type
eects.

A sound that’s ideal for 16-beat
muted chording in funk or fusion

A clean sound suitable for orthodox
jazz. Two types of clean amp are
used separately for the low and high
frequency ranges.

Clean sound that’s great for country
rock ris.

Clean sound with stereo panning
that creates the impression of a
broad horizon.

British clean tone with chorus and
deep reverb. Appropriate for 80s
pop.

Clean sound with modulation
applied. Also eective when used
in the intro.

Produces a sound reminiscent of a
fretless guitar. Suitable for playing
single notes.

Reproduces the sound of the 50s
with a tape echo and spring reverb.

A sound reminiscent of an electric
sitar. Usable with single notes or
chords.

A sliced sound modulated by a lter
is mixed with a distorted sound.

Fantasy-like sound with deep
delay. The ACCEL pedal applies ring
modulator.

Multiple eects are turned on
simultaneously. Provides a mix of
the direct and processed sounds.

Straight sound and tremolo sound
are generated in stereo.

The force of your picking varies the
rate of the auto wah.

A smooth lead sound using Slow
Gear. Also eective on sound-eect
phrases.

A fuzz sound using octaves is
overlaid with a amboyant eect
sound.

Transforms a guitar sound into a
synth sound. Use with single notes.

A cyclically varying Humanizer can
be used as the beat.

Distorted lead sound with harmony
added by eective use of reverse
delay.

Irregularly-pitched eect sound is
added in response to the dynamics
of your touch.

Slicer and tempo delay are
synchronized, so that the settings
will follow if you simply change the
tempo.

An ’80s-type sound that combines
a pitch a perfect fth above with
gated reverb.

Sound that combines clean and
overdrive. A nice t with alternative
rock.

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL CLEAN TWIN

SINGLE:
Ch. A

DUAL TWEED VO LEAD REVERB LEVEL ACCEL (S-BEND) WAH/FV S

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

DUAL

SINGLE:
Ch. A

DUAL

NATURAL
CLEAN

NATURAL
CLEAN

DELUXE
CRUNCH

CLEAN TWIN

FULL RANGE JC-120

NATURAL
CLEAN

NATURAL
CLEAN

COMBO
CRUNCH

NATURAL
CLEAN

POWER
DRIVE

EXTREME
LEAD

NATURAL
CLEAN

COMBO
CRUNCH

COMBO
CRUNCH

NATURAL
CLEAN

EXTREME
LEAD

FULL RANGE

JC-120

EXTREME
LEAD

COMBO
CRUNCH

PRO
CRUNCH

EXTREME
LEAD

STACK
CRUNCH

JC-120 DIV CH SELECT DIVIDER MODE WAH/FV S

HiGAIN
STACK

EXTREME
LEAD

NATURAL
CLEAN

DELUXE
CRUNCH

NATURAL
CLEAN

JC-120 FX2 (SUB DELAY ) DIV CH SELECT WAH/FV S

COMBO
CRUNCH

COMBO
CRUNCH

EXTREME
LEAD

— DELAY ACCEL (RING MOD) WAH/FV H

NATURAL
CLEAN

COMBO
CRUNCH

NATURAL
CLEAN

COMBO
CRUNCH

POWER
DRIVE

COMBO
CRUNCH

NATURAL
CLEAN

EXTREME
LEAD

NATURAL
CLEAN

PRO
CRUNCH

NATURAL
CLEAN

JC-120 FX2 (PAN) ACCEL (S-BEND) WAH/FV S/H

FX2 (PAN) DIV CH SELECT WAH/FV S/H

FX1 (PHASER) DIV CH SELECT WAH/FV S/H

FX2 (OVERTONE) A&B SOLO WAH/FV S/H

DELAY DIV CH SELECT WAH/FV S

DELAY, CHORUS,
REVERB LEVEL

ACCEL (S-BEND) OD/DS WAH/FV H

A&B SOLO DIV CH SELECT WAH/FV S

DELAY DIV CH SELECT WAH/FV H

DIVIDER MODE ACCEL (S-BEND) WAH/FV S

DELAY, CHORUS ACCEL (WARP) WAH/FV S

TREMOLO RATE CHORUS WAH/FV H

FX1 (AUTO WAH) CH DIV SELECT WAH/FV S

FX1 (SLOW GEAR),
FX2 (SUB DELAY)

CHORUS DELAY PB S

FX2 (FLANGER) ACCEL (S-BEND) WAH/FV S/H

CHORUS ACCEL (S-BEND) WAH/FV S

DELAY ACCEL (S-BEND) WAH/FV H

DELAY ACCEL (S-BEND) WAH/FV S

DELAY MOD DEPTH BPM TAP WAH/FV S

FX1 (OCTAVE) DELAY WAH/FV S/H

DIV CH SELECT WAH/FV S/H

CH DIV SELECT WAH/FV S

47

Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU

189 HARMO STAY-4th=C

190 [AC] AC BODY MID

191 [AC]FOR ARPEGGIO A sound suitable for arpeggios.

192 [AC] FOR STRUM A sound suitable for playing chords.

193 [AC] FOR AC SOLO

194 [AC] AC 2X2 CHO

195 [VOCAL] POP

196 [VOCAL] BALLAD

197 [VOCAL] ROCK

198 [VOCAL] DOUBLE

199 [VOCAL]HARMONY C

200 [VOCAL] DIST

By xing a lower fourth interval, you
can maintain three-voice harmony.

Sound for an electro-acoustic guitar,
using AC.PROCESSOR.

Sound suitable for single-note
soloing.

Sound using 2X2 CHORUS for more
naturalness than conventional
chorus.

All-purpose vocal sound that can be
used for pop or any type of vocal.

Sound with deep plate reverb, ideal
for ballads.

Sound with ambience, suitable for
rock vocals.

Provides the eect of double­tracking created by recording the
same phrase sung twice.

Adds harmony at one third above
the Key=C.

Sound that adds extreme distortion
to the vocal.

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

SINGLE:
Ch. A

BGNR UB

— — DELAY

— — DELAY

— — CHORUS

— — PREAMP

— — DELAY

— — DELAY FX2 (LIMITER) PB/FV —

— — REVERB LEVEL DELAY PB/FV —

— — OD/DS REVERB, DELAY PB/FV —

— — CHORUS DIVIDER (MODE) PB/FV —

— — DELAY FX2 (HARMONIST ) PB/FV —

— — DELAY OD/DS, EQ PB/FV —

NATURAL
CLEAN

FX2 (HARMONIST) CH DIV SELECT WAH/FV H

FX1 (ACOUSTIC
PROCESSOR)

FX1 (ACOUSTIC
PROCESSOR)

FX1 (ACOUSTIC
PROCESSOR)

FX1 (ACOUSTIC
PROCESSOR)

FX1 (ACOUSTIC
PROCESSOR)

WAH/FV —

WAH/FV —

WAH/FV —

WAH/FV —

WAH/FV —

* Patches with an “*” following the patch number have their mixer mode set to PAN L/R. For other patches, the mode is set to STEREO.

* DIVIDER = Divider setting

• SINGLE: Ch. A = Divider MODE is SINGLE and CH SELECT is CH. A

• SINGLE: Ch. B = Divider MODE is SINGLE and CH SELECT is CH. B

• DUAL = Divider MODE is DUAL

* PU=Pickup

• S=This patch is good for single-coil pickups.

• H=This patch is good for humbucking pickups.

• P=This patch is good for piezo pickups.

48