Boss GT-1 Parameter Guide

Parameter Guide / Sound List

02

Contents

Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Basic Procedure for Eect Editing . . . . . . . . . . . . . . . . . . . . . . . 3

Changing the Eect Connection Order . . . . . . . . . . . . 3

Editing from the Play Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

EASY EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

EASY SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Basic MENU Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Assigning Favorite Parameters to [1]–[3] Knobs . . . . . 5

EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

FX1/FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

COMPRESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

LIMITER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

T. WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

GRAPHIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

PARAMETRIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

TONE MODIFY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

GUITAR SIMULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

AC.GUITAR SIMULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

SLOW GEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

HARMONIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

OVERTONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

FEEDBACKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

AC. PROCESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

RO TARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

UNI-V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

SUB DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

PEDAL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

OD/DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

PREAMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

NS (NOISE SUPPRESSOR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

CTL 1, EXP SW, CTL 2, CTL 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

EXP 1, EXP 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

ASSIGN 1–6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Virtual Expression Pedal System (Internal Pedal /

Wave Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

PLAY (PLAY OPTION) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

KNOB SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

PREF (PREFERENCE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

LOOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

PDL CALIBRATION (PEDAL CALIBRATION) . . . . . . . . . . . . . . . . 25

F.RESET (FACTORY RESET) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Sound List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Preset Patch List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

MEMO

This eect sound is mono.

5
5

This eect sound is output with two channels.

5

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

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

Copyright © 2016 Roland CORPORATION

2

Basic Operation

Basic Procedure for Eect Editing

You can edit an eect by selecting it in the screen that shows the
placement of eects (the eect chain screen). It’s also possible to
edit the settings of eects and controllers that are not represented
by panel buttons.

1. Press the [MEMORY EDIT] button.

The eect chain screen appears.

* You can use the button of each eect to turn that eect on/o.

Eects that are turned on are indicated with icons. Eects that
are turned o are indicated with “5.”
To turn PDL (PEDAL FX) on/o, press the expression pedal with
PDL selected or turn the [3] knob in step 2 below.

2. Use the [1] knob to choose the eect you’re going

to edit.

Changing the Eect Connection Order

Here’s how to move the position of a selected eect in the eect
chain.

1. Press the [MEMORY EDIT] button.

The eect chain screen appears.

2. Use the [1] knob to select the eect that you want

to move.

3. Use the [2] knob to move the selected eect.

Editing from the Play Screen

You can also edit an eect from the play screen (p. 4) of the
“Owner’s Manual.”

1. Long press the button of the eect that you want

to edit.

MEMO

If you’ve selected FX1, FX2, or DLY, use the [3] knob to
choose the eect type.

3. Press the [ENTER] button to enter the EDIT screen.

4. Use the [1]–[3] knobs to edit the value of the

parameters shown in the screen.

When tabs are displayed on the screen, you can switch pages by
pressing the [ENTER] button.

5. Press the [EXIT] button a number of times to return

to the play screen.

The EDIT screen appears.

* With the edit screen displayed, pressing the eect button again

turns that eect on/o. When an eect is on, the button is lit.

2. Use the [1]–[3] knobs to edit the value of the

parameters shown in the screen.

Use the [ENTER] button to switch pages of the edit screen.

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

3

Basic Operation

EASY EDIT

You can use EASY EDIT to change the type of distortion (TONE)
for the current sound, add or modify a modulation-type eect
(VIBES), or change the reverberation (ECHO).

1. With the play screen displayed, press the [EASY

EDIT] button.

The EASY EDIT screen appears.

2. Use the [1]–[3] knobs to adjust “TONE,” “VIBES,” and

“ECHO” to your taste.

With the EASY EDIT screen displayed, you can press the [ENTER]
button to display the eect chain screen and edit the eects with
the procedure described in “Basic Procedure for Eect Editing”
(p. 3).

EASY SELECT

You can use EASY SELECT to select patches.

1. With the play screen displayed, press the [EASY

SELECT] button.

EASY SELECT screen is displayed.

SORT TYPE Search items

JAZZ/FUSION

BLUES

COUNTRY

DISCO

SOUL/FUNK

OLDIES

ROCK

ALTERNATIVE

HARD ROCK

GENRE

DRIVE

EFFECT

* You can turn only the [2] knob to select search items from all

SORT TYPE.

* You can assign USER 1–USER 3 to any desired patches. For

example, you might use these categories to collect patches that
you use in a live performance. Two categories can be assigned
to each patch. For details on how to assign a category, refer to
step 5 of “Saving a Patch” (p. 6) in the owner’s manual.

STUDIO

METAL/CORE

ACOUSTIC

R&B

POPS

LATIN

TRADITIONAL

USER 1

USER 2

USER 3

CLEAN

CRUNCH

HARD

HEAVY

ENVELOPE

TONE-MOD

PITCH

MODULATE

DELAY/REV

OTHER

2. Use the [1] knob to choose the search method

(SORT TYPE).

Value Explanation

GENRE Search by the patch category

DRIVE Search by the distortion type

EFFECT Search by the eect type

3. Use the [2] knob to choose the search item.

SORT TYPE: GENRE

SORT TYPE: DRIVE

SORT TYPE: EFFECT

4. Use the [3] knob to choose a patch from the list on

the display.

4

Basic MENU Operations

Here you can make settings that are common to the entire GT-1
(System parameters). Here you can make settings for output, USB,
as well as assign the functions of the [1]–[3] knobs, etc.

1. Press the [MENU] button.

2. Use the [1] knob to choose the item that you want

to edit.

3. Press the [ENTER] button.

4. Use the [1]–[3] knobs to edit the value of the

parameters shown in the screen.

Basic Operation

When tabs are displayed on the screen, you can switch pages by
pressing the [ENTER] button.

5. Press the [EXIT] button a number of times to return

to the play screen.

Assigning Favorite Parameters to [1]–[3] Knobs

You can assign the parameters that are controlled by parameter
knobs [1]–[3] when the play screen is displayed.

1. Press [MENU] button.

2. Use the [2] knob to choose “KNOB.”

3. Use the [1]–[3] knobs to specify the parameters to

be controlled by each knob.

About the play screen display

You can use the [ENTER] button to choose how the play
screen is displayed.

About the icon indications

4. Press the [EXIT] button a number of times to return

to the play screen.

For details on the parameters that can be assigned, refer to “KNOB
SETTING” (p. 23).

Icon Explanation

Shown if the looper is on.

Shown if OD SOLO is on.

Shown if PrA SOLO is on.

5

EFFECT

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.

Parameter Value Explanation

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

TYPE Refer to FX1/FX2 TYPE

FX1/FX2 TYPE

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

Eect Name Explanation

This is an eect that produces a long sustain by evening

COMPRESSOR

LIMITER

T. WAH

GRAPHIC EQ

PARA.EQ
(PARAMETRIC EQ)

TONE MODIFY This changes the tone of the connected guitar.

GUITAR SIM (GUITAR
SIMULATOR)

AC.GTR SIM (AC.
GUITAR SIMULATOR)

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

OCTAVE

PITCH SHIFTER

HARMONIST

OVERTONE

FEEDBACKER Generates feedback performance.

AC.PROC.
(AC.PROCESSOR)

PHASER

FLANGER

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

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

UNI-V

VIBRATO

CHORUS

SUB DELAY

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.

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

This adjusts the tone as a equalizer. You can adjust the
tone character in seven bands.

Adjusts the tonal quality. You can adjust the tone
character in four bands.

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 eect simulates the tonal character of an acoustic
guitar.

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

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

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

This eect uses MDP (Multi-Dimensional Processing)
technology to add new harmonics to the sound,
producing resonance and richness that was not present in
the original sound.

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.

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.

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

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

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

COMPRESSOR

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.

Parameter Value Explanation

Selects the compressor type.

BOSS This models a BOSS CS-3.

HI-BAND

LIGHT This is a compressor with a light eect.

TYPE

SUSTAIN 0–100

ATTAC K 0–100 Adjusts the attack time.

LEVEL 0–100 Adjusts the volume.

TONE -50–+50 Adjusts the tone.

D-COMP This models a MXR DynaComp.

ORANGE

FAT

MILD

STEREO This selects a stereo compressor.

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

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.

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.

Parameter Value Explanation

Selects the limiter type.

TYPE

THRESHOLD 0–100

RATIO 1:1–INF:1

LEVEL 0–100 Adjusts the volume.

ATTAC K 0–100 Adjusts the attack time.

RELEASE 0–100 Adjusts the release time.

BOSS This selects a stereo limiter.

RACK 160D This models a dbx 160X.

VTG RACK U 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.

6

EFFECT

T. WAH

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

Parameter Value Explanation

Selects the wah mode.

MODE

POLARITY

SENS 0–100

FREQ 0–100 Adjusts the center frequency of the Wah eect.

PEAK 0–100

LEVEL 0–100 Adjusts the volume of the eect sound.

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.

Low pass lter. This creates a wah eect over a wide
frequency range.

Band pass lter. This creates a wah eect in a narrow
frequency range.

Adjusts the sensitivity at which the lter will change
in the direction determined by the polarity setting.

Higher values will result in a stronger response. With
a setting of 0, the strength of picking will have no
eect.

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

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

GRAPHIC EQ

Parameter Value Explanation

HM Q (HIGH-MID Q) 0.5–16

HM GAIN
(HIGH-MID GAIN)

-20–+20 dB

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.

TONE MODIFY

This changes the tone of the connected guitar.

Parameter Value Explanation

Selects the type of tone modication.

FAT Fat tone with boosted mid range.

PRESENCE

TYPE

LOW -50–+50

HIGH -50–+50

LEVEL 0–100 Adjusts the volume of the eect sound.

RESONANCE 0–100

MILD Mild tone with the high end cut back.

TIGHT Tone with the low frequencies cut.

ENHANCE Tone with the high frequencies boosted.

RESO 1–3
(RESONATOR 1–3)

Bright tone with boosted high-mid
range.

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.

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

This adjusts the tone as a equalizer. You can adjust the tone
character in seven bands.

Parameter Value

100Hz

200Hz

400Hz

800Hz

1.6kHz

3.2kHz

6.4kHz

LEVEL -20–+20 dB

-20–+20 dB

PARAMETRIC EQ

Adjusts the tonal quality. You can adjust the tone character in four
bands.

Parameter Value Explanation

LOW GAIN -20–+20 dB

HIGH GAIN -20–+20 dB

LEVEL -20–+20 dB

LM FREQ (LOW-MID
FREQUENCY)

LM Q

(LOW-MID Q)

LM GAIN
(LOW-MID GAIN)

HM FREQ

(HIGH-MID
FREQUENCY)

20 Hz–10.0 kHz

0.5–16

-20–+20 dB

20 Hz–10.0 kHz

Adjusts the tone for the low frequency
range.

Adjusts the tone for the high frequency
range.

Adjusts the overall volume level of the
equalizer.

Species the center of the frequency
range that will be adjusted by the LOW­MID 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 HIGH­MID GAIN.

GUITAR SIMULATOR

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.

Parameter Value Explanation

Selects the type of the guitar simulator.

S0H

H0S

H0HALF TN
(HALF TONE)

S0HOLLOW

TYPE

H0HOLLOW

S0AC

H0AC

PIEZO0AC

LOW -50–+50 Adjusts the tone for the low frequency range.

HIGH -50–+50 Adjusts the tone for the high frequency range.

LEVEL 0–100 Adjusts the volume of the eect sound.

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 way the body sounds when TYPE
is set to S0HOLLOW, H0HOLLOW, S0AC,
H0AC, or PIEZO0AC

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

7

EFFECT

AC.GUITAR SIMULATOR

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

Parameter Value Explanation

BODY 0–100 Adjusts the body resonance.

LOW -50–+50

HIGH -50–+50

LEVEL 0–100 Species the volume of the eect.

Species the sense of volume for the low­frequency range.

Species the sense of volume for the high­frequency range.

SLOW GEAR

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

Parameter Value Explanation

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

SENS 0–100

RISE TIME 0–100

LEVEL 0–100 Adjusts the volume of the eect sound.

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.

OCTAVE

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

Parameter Value Explanation

-1 OCT 0–100

-2 OCT 0–100

D.LEVEL
(DIRECT LEVEL)

0–100 Adjusts the volume of the direct sound.

Adjusts the volume of the sound one octave
below.

Adjusts the volume of the sound two octaves
below.

PITCH SHIFTER

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

Parameter Value Explanation

PITCH -24–+24

D.LEVEL
(DIRECT LEVEL)

FINE -50–+50

PRE DELAY

E.LEVEL 0–100

FEEDBACK 0–100

0–100

0 ms–300 ms,
BPM ˜–

¸

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

Adjusts the volume of the direct
sound.

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.

* BPM (beats per minute) indicates

the number of quarter note beats
that occur each minute.

Adjusts the volume of the pitch
shifter.

Adjusts the feedback amount of the
pitch shift sound.

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.

* When you are to play the next string while a certain sound is

still playing, mute the previous sound and then play the next
one with a clear attack. 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.

Parameter Value Explanation

This determines the pitch of the sound added
to the input sound, when you are making a

HARMONY -2 oct–+2 oct

harmony.

It allows you to set it by up to 2 octaves higher
or lower than the input sound.

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

Major

KEY
(MASTER KEY)

C (Am)–B
(G#m)

Minor

Major

Minor

8

EFFECT

Parameter Value Explanation

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

PRE DELAY

FEEDBACK 0–100

E.LEVEL
(EFFECT LEVEL)

D.LEVEL
(DIRECT LEVEL)

0 ms–300 ms,
BPM ˜ –

0–100 Adjusts the volume of the harmony sound.

0–100 Adjusts the volume of the direct sound.

¸

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 harmony
sound.

OVERTONE

This eect uses MDP (Multi-Dimensional Processing) technology
to add new harmonics to the sound, producing resonance and
richness that was not present in the original sound.

Parameter Value Explanation

LOWER
(LOWER LEVEL)

UPPER
(UPPER LEVEL)

D.LEVEL
(DIRECT LEVEL)

DETUNE 0–100

TONE -50–+50 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.

FEEDBACKER

Parameter Value Explanation

PRESENCE -50–+50

LEVEL 0–100 Adjusts the volume.

Adjusts the tone for the ultra high frequency
range.

PHASER

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

Parameter Value Explanation

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

4 STAGE

TYPE

RAT E

DEPTH 0–100 Determines the depth of the phaser eect.

RESONANCE 0–100

MANUAL 0–100

LEVEL 0–100 Adjusts the volume of the phaser.

8 STAGE

12 STAGE

BiPHASE

0–100,
BPM ª –

˜

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

This is an 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 amount of resonance
(feedback). Increasing the value will
emphasize the eect, creating a more
unusual sound.

Adjusts the center frequency of the phaser
eect.

Generates feedback performance.

Parameter Value Explanation

If TRIGGER is ON, a feedback eect is applied.

TRIGGER OFF, ON

DEPTH1 0–100

This can be assigned to the [CTL1] pedal etc.,
and operated.

(Refer to“ASSIGN 1–6” (p. 17)).

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

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.

Parameter Value Explanation

Selects the modeling type.

SMALL

TYPE

BASS -50–+50 Adjusts the tone for the low frequency range.

MIDDLE -50–+50

TREBLE -50–+50

MEDIUM

BRIGHT This is a bright acoustic guitar sound.

POWER This is a powerful acoustic guitar sound.

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

This is a standard, unadorned acoustic guitar
sound.

Adjusts the tone for the middle frequency
range.

Adjusts the tone for the high frequency
range.

FLANGER

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

Parameter Value Explanation

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 BPM” specied for

RAT E

DEPTH 0–100 Determines the depth of the anging eect.

RESONANCE 0–100

MANUAL 0–100

LOW CUT

LEVEL 0–100 Adjusts the volume of the anger.

0–100,

˜

BPM ª –

FLAT,
55 Hz–800 Hz

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 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.

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.

9

EFFECT

TREMOLO

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

Parameter Value Explanation

WAVE

(WAVE SHAPE)

RAT E

DEPTH 0–100 Adjusts the depth of the eect.

LEVEL 0–100 Adjusts the volume.

0–100

0–100,
BPM ª –

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

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

Parameter Value Explanation

SPEED

(SPEED SELECT)

RATE SLOW

RATE FAST

TRANSITION
(TRANSITION TIME)

B/H BAL (BASS/
HORN BALANCE)

LEVEL 0–100 Adjusts the volume.

SLOW, FAST

0–100,
BPM ª –

0–100,
BPM ª –

0–100

100:0–0:100

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.

Adjusts the time over which the rotational
speed changes when SPEED SELECT is
switched.

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

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.

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 for

RAT E

DEPTH 0–100 Adjusts the depth of the UNI-V eect.

LEVEL 0–100 Adjusts the volume.

0–100,
BPM ª –

˜

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.

VIBRATO

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

Parameter Value Explanation

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 for

RAT E

DEPTH 0–100 Adjusts the depth of the vibrato.

TRIGGER OFF, ON

RISE TIME 0–100

LEVEL 0–100 Adjusts the volume.

0–100,
BPM ª –

˜

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.

CHORUS

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

Parameter Value Explanation

Selection for the chorus mode.

MONO

MODE

RAT E

DEPTH 0–100

E.LEVEL
(EFFECT LEVEL)

LOW CUT FLAT, 20 Hz–800 Hz

HIGH CUT

STEREO1

STEREO2

0–100,

˜

BPM ª –

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

630 Hz–12.5 kHz,
FLAT

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.

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.

10

EFFECT

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.

Parameter Value Explanation

Use this to choose the type of delay.

TYPE

TIME
(DELAY TIME)

FEEDBACK 0–100

E.LEVEL
(EFFECT LEVEL)

HIGH CUT

TAP TIME *1 0–100%

D.LEVEL
(DIRECT LEVEL)

*1 Setting available when TYPE is set to PAN.

MONO Use this to choose the type of delay.

PAN

1 ms–1000 ms,

¸

BPM ˜ –

0–120 Adjusts the volume of the delay sound.

630 Hz–12.5 kHz,
FLAT

0–100 Adjusts the volume of the direct sound.

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.

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%).

PEDAL FX

You can control the wah eect or get a pitch bend eect in
real time by adjusting the [EXP] pedal or the expression pedal
connected to the CTL 2,3/EXP 2 jack.

Parameter Value Explanation

Selects the type.

CRY WAH

VO WAH This models the sound of the VOX V846.

FAT WAH This is a wah sound featuring a bold tone.

LIGHT WAH

7STR WAH

TYPE

(7STRING WAH)

RESO WAH

PEDAL BND

CRY WAH–RESO WAH

Parameter Value Explanation

PDL POS
(PEDAL POSITION)

PDL MIN (PEDAL MIN) 0–100

PDL MAX (PEDAL MAX) 0–100

LEVEL 0–100 Adjusts the volume of the eect sound.

0–100

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

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.

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.

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.

PEDAL BEND

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

sounds played simultaneously) cannot be played.

Parameter Value Explanation

PITCH -24–+24

PDL POS
(PEDAL POSITION)

LEVEL 0–100 Adjusts the volume of the pitch bend sound.

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.

11

EFFECT

OD/DS

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

Parameter Value Explanation

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

TYPE Refer to OD/DS TYPE

DRIVE 0–120 Adjusts the depth of distortion.

TONE -50–+50 Adjusts the tone.

E.LEVEL
(EFFECT LEVEL)

BOTTOM -50–+50

D.LEVEL
(DIRECT LEVEL)

OD/DS TYPE

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

Type Explanation

MID BOOST

CLEAN BST
(CLEAN BOOST)

TREBLE BST
(TREBLE BOOST)

CRUNCH

NATURAL OD

WARM OD This is a warm overdrive.

FAT DS A distortion sound with thick distortion.

LEAD DS

METAL DS

OCT FUZZ A fuzz sound with rich harmonic content.

A-DIST

BLUES OD

OD-1

T-SCREAM This models an Ibanez TS-808.

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

DISTORTION This gives a basic, traditional distortion sound.

RAT This models a Proco RAT.

GUV DS This models a Marshall GUV’ NOR.

DST+ This models a MXR DISTORTION+.

METAL ZONE

60S FUZZ

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

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.

0–100 Adjusts the volume of the direct sound.

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.

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.

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

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 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.

PREAMP

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

Parameter Value Explanation

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

TYPE Refer to PREAMP TYPE

GAIN 0–120 Adjusts the distortion of the amp.

Adjusts the volume of the entire

LEVEL 0–100

BASS 0–100

MIDDLE 0–100

TREBLE 0–100

PRESENCE 0–100

BRIGHT OFF, ON

Select the speaker type.

OFF This turns o the speaker simulator.

ORIGIN (ORIGINAL)

1x8”

1x10”

SP TYPE *1

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

1x12”

2x12”

4x10”

4x12”

8x12”

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.

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.

12

PREAMP TYPE list

Type Explanation

NATRL CLN
(NATURAL CLEAN)

FUL RANGE
(FULL RANGE)

CB CRUNCH
(COMBO CRUNCH)

ST CRUNCH
(STACK CRUNCH)

HiGAIN STK
(HiGAIN STACK)

POWER DRV
(POWER DRIVE)

XTREM LD
(EXTREM LEAD)

CORE MTL
(CORE METAL)

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

PR CRUNCH
(PRO CRUNCH)

TWEED This models a Fender Bassman 4 x 10” Combo.

DxCRUNCH
(DELUXE CRUNCH)

VO DRIVE

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

MATCH DRV
(MATCH DRIVE)

BG LEAD

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

MS1959 I

MS1959 I+II

R-FIER VTG
(R-FIER VINTAGE)

R-FIER MDN
(R-FIER MODERN)

T-AMP LD
(T-AMP LEAD)

SLDN

5150 DRV
(5150 DRIVE)

BGNR UB

ORNG ROCK

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

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

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

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

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

A straight drive sound that works well in a broad range of
situations, from backing to lead. A sound like this cannot
be obtained from any existing combo amp or stack amp.

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

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

This models a Fender Pro Reverb.

This models a Fender Deluxe Reverb.

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

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

This models the sound input to left input on a Matchless
D/C-30.
A simulation of the 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 the sound input to Input I on a Marshall

1959.

This is a trebly sound suited to hard rock.

The sound of connecting inputs I and II of the guitar
amp in parallel, creating a sound with a stronger low end
than I.

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 heavy distortion sound that models the high­gain channel of a Bogner Uberschall.

This models the dirty channel of an ORANGE
ROCKERVERB.

EFFECT

13

EFFECT

NS (NOISE SUPPRESSOR)

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.

Parameter Value Explanation

Adjust this parameter as appropriate for the
volume of the noise. If the noise level is high, a
higher setting is appropriate. If the noise level
is low, a lower setting is appropriate. Adjust this

THRESHOLD O, 1–100

RELEASE 0–100

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

INPUT

NS INPUT

DETECT

FV OUT

value until the decay of the guitar sound is as
natural as possible.

* High settings for the threshold parameter may

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

* If this is turned “O,” NS is o (bypassed).

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

Input volume from input jack.

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

NSDLY

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

FOOT VOLUME

This is a volume control eect.

Normally, this is controlled with the EXP Pedal or the [EXP] pedal
connected to the CTL 2, 3/EXP2 jack.

Parameter Value Explanation

MIN 0–100

MAX 0–100

LEVEL 0–100 Adjusts the volume.

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

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

DELAY

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

Parameter Value Explanation

DELAY
ON/OFF

TYPE

NSFV

Common to STANDARD–MODULATE

Parameter Value Explanation

TIME
(DELAY TIME)

FEEDBACK 0–100

HIGH CUT

E.LEVEL
(EFFECT LEVEL)

OFF, ON Turns this eect on/o.

This selects which type of delay.

* The stereo eect is cancelled if a monaural eect or COSM amp is

connected after a stereo delay eect.

STANDARD

PAN

REVERSE

ANALOG This gives a mild analog delay sound. The delay

TAPE

MODULATE

TERA ECHO

1 ms–2000 ms,
BPM ˜ –

630 Hz–12.5 kHz,
FLAT

0–120 Adjusts the volume of the delay sound.

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.

EectLev

INPUT

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

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 2000 ms.

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

This eect uses MDP (Multi-Dimensional
Processing) technology to create a unique
ambience and a spaciousness that changes
according to your picking dynamics.

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.

This sets the amount of delay sound
returned to the input. 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.

DELAY

Feedback

Tap Time
OUTPUT L

Dly Time
OUTPUT R

14

PAN

Parameter Value Explanation

Adjusts the delay time of the left channel

TAP TIME 0–100%

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

EFFECT

MODULATE

Parameter Value Explanation

MOD RATE 0–100

MOD DEPTH 0–100

Adjusts the modulation rate of the delay
sound.

Adjusts the modulation depth of the delay
sound.

TERA ECHO

Parameter Value Explanation

TIME 0–100 Adjusts the length of the eect sound.

FEEDBACK 0–100 Adjusts the decay of the eect sound.

E.LEVEL
(EFFECT LEVEL)

TONE -50–+50 Adjusts the tone.

D.LEVEL
(DIRECT LEVEL)

HOLD OFF, ON

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

0–100 Adjusts the volume of the direct sound.

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

* Patches are written with the HOLD

parameter set to O.

REVERB

This eect adds reverberation to the sound.

Parameter Value Explanation

REVERB ON/
OFF

TYPE

OFF, ON Turns this eect on/o.

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

Simulates an ambience mic (o-mic,
placed at a distance from the sound

AMBIENCE

ROOM

HALL 1

HALL 2

PLATE

SPRING

MODULATE

DELAY

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.

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

Common to AMBIENCE–MODULATE

Parameter Value Explanation

TIME
(REVERB TIME)

E.LEVEL
(EFFECT LEVEL)

LOW CUT FLAT, 20 Hz–800 Hz

HIGH CUT

SPRING

(SPRING SENS)

(TYPE = SPRING
only)

0.1 s–10.0 s Adjusts the length (time) of reverberation.

0–100 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.

630 Hz–12.5 kHz,
FLAT

0–100

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

15

EFFECT

DELAY

Parameter Value Explanation

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

TIME
(DELAY TIME)

E.LEVEL
(EFFECT LEVEL)

FEEDBACK 0–100

HIGH CUT

D.LEVEL
(DIRECT LEVEL)

1 ms–650 ms,
BPM ˜ –

0–120 Adjusts the volume of the delay sound.

630 Hz–12.5 kHz,
FLAT

0–100 Adjusts the volume of the direct sound.

¸

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 sets the amount of delay sound
returned to the input. 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.

MASTER SETTING

These settings are applied to the overall patch.

MASTER SETTING

Parameter Value Explanation

PATCH LVL
(PATCH LEVEL)

BPM
(MASTER BPM)

KEY
(MASTER KEY)

MASTER EQ

0–200 Adjusts the volume of the patch.

Adjusts the BPM value for each patch.

40–250

C (Am)–B
(G#m)

* BPM (beats per minute) indicates the

number of quarter note beats that occur
each minute.

This sets the key for the FX HARMONIST.

Major

Minor

Major

Minor

Parameter Value Explanation

LOW GAIN
(MASTER LOW GAIN)

MID GAIN
(MASTER MID GAIN)

HIGH GAIN (MASTER
HIGH GAIN)

MID FREQ (MASTER
MID FREQUENCY)

MID Q
(MASTER MID Q)

-20–+20 dB

-20–+20 dB

-20–+20 dB

20.0 Hz–10.0 kHz

0.5–16

Adjusts the tone for the low frequency
range.

Adjusts the tone for the middle
frequency range.

Adjusts the tone for the high
frequency range.

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.

16

Controllers

CTL 1, EXP SW, CTL 2, CTL 3, DOWN, UP

Here’s how to assign the parameters that will be controlled by the
CTL 1, EXP SW, CTL 2, CTL 3, DOWN, and UP pedals.

Parameter

FUNC

Value Explanation

OFF No assignment.

OD SOLO Switches the OD/DS SOLO on and o.

PrA SOLO Switches the Preamp SOLO on and o.

FX1 Switches the FX1 on and o.

OD/DS Switches the OD/DS on and o.

PREAMP Switches the PREAMP/SPEAKER on and o.

FX2 Switches the FX2 on and o.

DELAY Switches the DELAY on and o.

REVERB Switches the REVERB on and o.

PEDAL FX Switches the Pedal FX on and o.

TUNER Switches the TUNER/BYPASS on and o.

BPM TAP *1 *2 Used for tap input of the MASTER BPM.

DELAY TAP *1 *2 Used for tap input of the delay time.

LEVEL +10 *1 Increases the patch volume level by 10 units.

LEVEL +20 *1 Increases the patch volume level by 20 units.

LEVEL -10 *1 Decreases the patch volume level by 10 units.

LEVEL -20 *1 Decreases the patch volume level by 20 units.

NUMBER +1 *1 Switches to the next patch number.

NUMBER -1 *1 Switches to the previous patch number.

LED ON/OFF *3 Lights/extinguishes the pedal’s LED indicator.

*1 The function will activate as soon as you press the pedal,
regardless of whether the SOURCE MODE parameter is MOMENT
or TOGGLE.

*2 Cannot be selected for EXP SW.

*3 Can be selected only for DOWN or UP.

Parameter

MODE
(SOURCE MODE)

SOLO LEVEL 0–100

Value Explanation

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

* Shown only when certain parameters are selected.

MOMENT

TOGGLE

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

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

Adjusts the volume when OD SOLO or PrA SOLO
are on.

* Shown only if OD SOLO or PrA SOLO are

selected.

EXP 1, EXP 2

Here’s how to assign the parameters that will be controlled by the
GT-1’s [EXP] pedal, and by an expression pedal (such as the EV-5;
sold separately) connected to the CTL 2, 3/EXP2 jack.

Parameter Value Explanation

OFF No assignment.

FUNCTION

FOOT VOL (FOOT VOLUME)

PEDAL FX PEDAL FX will be assigned.

PDL FX/FV (PEDAL FX/FOOT
VOLUME)

* Only FOOT VOLUME can be assigned to EXP2 (external

expression pedal). If you want to assign a function other than
FOOT VOLUME, use Assign.

Foot volume will be
assigned.

PEDAL FX and foot volume
will be assigned.

ASSIGN 1–6

For each parameter, you can specify, in detail, which controller
will control which parameter. You can create eight sets of such
assignments.

If you want to light the [CTL1] switch’s LED indicator while the
ASSIGN 1–6 function is assigned to the [CTL1] switch, set the CTL1
pedal FUNC (p. 17) to “LED ON/OFF.”

Parameter Value Explanation

OFF/ON OFF, ON Turns the ASSIGN 1–6 on/o.

Species the controller (source).

EXP 1 Assigns the GT-1’s [EXP] pedal.

CTL 1 Assigns the [CTL1] switch.

EXP 2

SOURCE

MODE

TARGET
CATEGRY

TARGET

TARGET MIN

TARGET MAX

TRIGGER *1

TIME *1 0–100

CURVE *1

CTL2

CTL3

INT PEDAL

WAVE PEDAL

MOMENT

TOGGLE

This selects the parameter to be changed.

Refer to TARGET list (p. 19).

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.

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

PAT CNG This is activated when a patch is selected.

EXP1 LO

EXP1 MID

EXP1 HI

EXP1 SW

CTL1 PDL

EXP2 PDL

CTL2PDL

CTL3PDL

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

LINEAR

SLOW

FAST

Assigns the external expression pedal (such as
the EV-5; sold separately) connected to the CTL
2, 3/EXP2 jack.

Assigns the external footswitch (FS-5U, FS-6,
FS-7; sold separately) connected to the CTL 2,
3/EXP2 jack.

Refer to “ Virtual Expression Pedal System
(Internal Pedal / Wave Pedal)” (p. 21)

Refer to “ Virtual Expression Pedal System
(Internal Pedal / Wave Pedal)” (p. 21)

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.

This is activated when the GT-1’s [EXP] pedal is
set to the minimum position.

This is activated when the GT-1’s [EXP] pedal is
moved through the middle position.

This is activated when the GT-1’s [EXP] pedal is
set to the maximum position.

This is activated when the EXP pedal switch is
operated.

This is activated when the [CTL1] switch is
operated.

This is activated when an external expression
pedal connected to the CTL 2, 3/EXP2 jack is
operated.

This is activated when an external footswitch
connected to the CTL 2, 3/EXP2 jack is
operated.

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

17

Controllers

Parameter Value Explanation

0–100,
BPM ª –

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

WAVE RATE
*2

WAVEFORM
*2

*1 The INT PDL TRIGGER, INT PDL TIME, and INT PDL CURVE parameters are

*2 The WAVE RATE and WAVEFORM parameters are enabled when the

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.

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

SAW

TRI

SINE

enabled when the SOURCE parameter is set to INT PEDAL.

SOURCE parameter is set to WAVE PEDAL.

This determines the time spend for one cycle of

˜

the assumed EXP Pedal.

18

TARGET list

Controllers

CATEGORY TARGET

FX1

1 COMP

1 LIMITER

1 T.WAH

1 GEQ

1 PEQ

1 ToneMOD

1 GtrSIM

1 AcG.SIM

1 SlwGEAR

1 OCTAVE

ON/OFF

TYPE

TYPE

SUSTAIN

ATTAC K

TONE

LEVEL

TYPE

ATTAC K

THRESHOLD

RATIO

RELEASE

LEVEL

MODE

POLARITY

SENS

FREQ

PEAK

LEVEL

100Hz

200Hz

400Hz

800Hz

1.6kHz

3.2kHz

6.4kHz

LEVEL

LOW GAIN

LM FREQ

LM Q

LM GAIN

HM FREQ

HM Q

HM GAIN

HIGH GAIN

LEVEL

TYPE

RESONANCE

LOW

HIGH

LEVEL

TYPE

LOW

HIGH

BODY

LEVEL

BODY

LOW

HIGH

LEVEL

SENS

RISE TIME

LEVEL

-2 OCT

-1 OCT

D.LEVEL

CATEGORY TARGET

PITCH

FINE

1 P.SHIFT

1 HARMONY

1 OvrTONE

1 FEEDBCKR

1 AcPROC

1 PHASER

1 FLANGER

1 TREMOLO

1 ROTARY

1 UNI-V

1 VIBRATO

1 CHORUS

PRE DELAY

E.LEVEL

FEEDBACK

D.LEVEL

HARMONY

PRE DELAY

E.LEVEL

FEEDBACK

D.LEVEL

LOWER

UPPER

D.LEVEL

DETUNE

TONE

DEPTH

TRIGGER

TYPE

BASS

MIDDLE

TREBLE

PRESENCE

LEVEL

TYPE

RAT E

DEPTH

MANUAL

RESONANCE

LEVEL

RAT E

DEPTH

MANUAL

RESONANCE

LOW CUT

LEVEL

WAVE

RAT E

DEPTH

LEVEL

SPEED

RATE SLOW

RATE FAST

TRANSITION

B/H BAL

LEVEL

RAT E

DEPTH

LEVEL

RAT E

DEPTH

TRIGGER

RISE TIME

LEVEL

RAT E

DEPTH

E.LEVEL

MODE

LOW CUT

HIGH CUT

CATEGORY TARGET

TYPE

TIME

FEEDBACK

1 SubDELAY

OD/DS

PREAMP

FX2

2 COMP

2 LIMITER

2 T.WAH

2 GEQ

2 PEQ

HIGH CUT

E.LEVEL

D.LEVEL

TAP TIME

ON/OFF

TYPE

DRIVE

BOTTOM

TONE

E.LEVEL

D.LEVEL

ON/OFF

TYPE

GAIN

LEVEL

BASS

MIDDLE

TREBLE

PRESENCE

BRIGHT

SP TYPE

ON/OFF

TYPE

TYPE

SUSTAIN

ATTAC K

TONE

LEVEL

TYPE

ATTAC K

THRESHOLD

RATIO

RELEASE

LEVEL

MODE

POLARITY

SENS

FREQ

PEAK

LEVEL

100Hz

200Hz

400Hz

800Hz

1.6kHz

3.2kHz

6.4kHz

LEVEL

LOW GAIN

LM FREQ

LM Q

LM GAIN

HM FREQ

HM Q

HM GAIN

HIGH GAIN

LEVEL

CATEGORY TARGET

TYPE

RESONANCE

2 ToneMOD

2 GtrSIM

2 AcG.SIM

2 SlwGEAR

2 OCTAVE

2 P.SHIFT

2 HARMONY

2 OvrTONE

2 FEEDBCKR

2 AcPROC

2 PHASER

2 FLANGER

LOW

HIGH

LEVEL

TYPE

LOW

HIGH

BODY

LEVEL

BODY

LOW

HIGH

LEVEL

SENS

RISE TIME

LEVEL

-2 OCT

-1 OCT

D.LEVEL

PITCH

FINE

PRE DELAY

E.LEVEL

FEEDBACK

D.LEVEL

HARMONY

PRE DELAY

E.LEVEL

FEEDBACK

D.LEVEL

–-

LOWER

UPPER

D.LEVEL

DETUNE

TONE

DEPTH

TRIGGER

TYPE

BASS

MIDDLE

TREBLE

PRESENCE

LEVEL

TYPE

RAT E

DEPTH

MANUAL

RESONANCE

LEVEL

RAT E

DEPTH

MANUAL

RESONANCE

LOW CUT

LEVEL

19

Controllers

CATEGORY TARGET

WAVE

2 TREMOLO

2 ROTARY

2 UNI-V

2 VIBRATO

2 CHORUS

2 SubDELAY

DELAY

REVERB

FOOT VOL LEVEL

RAT E

DEPTH

LEVEL

SPEED

RATE SLOW

RATE FAST

TRANSITION

B/H BAL

LEVEL

RAT E

DEPTH

LEVEL

RAT E

DEPTH

TRIGGER

RISE TIME

LEVEL

RAT E

DEPTH

E.LEVEL

MODE

LOW CUT

HIGH CUT

TYPE

TIME

FEEDBACK

HIGH CUT

E.LEVEL

D.LEVEL

TAP TIME

ON/OFF

TYPE

TIME

FEEDBACK

HIGH CUT

E.LEVEL

TAP TIME

MOD RATE

MOD DEPTH

TE TIME

TE FEEDBK

TE TONE

TE E.LEVEL

TE D.LEVEL

TE HOLD

ON/OFF

TYPE

TIME

LOW CUT

HIGH CUT

E.LEVEL

SPRING

DLY TIME

DLY FB

DLY HI CUT

DLY E.LEVEL

DLY D.LEVEL

CATEGORY TARGET

ON/OFF

TYPE

WAH LEVEL

WAHPDMIN

PEDAL FX

MASTER

BPM/KEY

TUNER TUNER SW

PATC H

WAHPDMAX

WAHPDPOS

PB LEVEL

PB PITCH

PB PD POS

PATCH LVL

LOW GAIN

MID FREQ

MID Q

MID GAIN

HIGH GAIN

BPM

KEY

LEVEL +10

LEVEL +20

LEVEL -10

LEVEL -20

20

Controllers

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 1–6 to choose the desired type.

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

ASSIGN parameter SOURCE MODE to “MOMENT.”

Internal pedal

If SOURCE is set to “INT PEDAL,” the virtual expression pedal will
begin operating when started by the specied trigger (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-1.

When using an external footswitch, or other controller that
acts as an on/o switch, “MIN” is selected with O, and “MAX”
is selected with On.

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

MIN

Allowable

Parameter

Settings Range

0 127
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

When the pedal
is advanced
halfway

When the
pedal is fully
advanced

Degree to which
expression pedal is
depressed

When the pedal is
fully advanced

* The range that can be selected changes according to the

target setting.

* When the “MIN” 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 “MIN” and “MAX” settings have been made. If
you’ve changed the target, be sure to recheck the “MIN”
and “MAX” settings.

21

MENU

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

Choose this setting if the GT-1 is connected
to the guitar input of a Roland JC-120 guitar
amp.

Choose this setting if the GT-1 is connected
to a small guitar amp.

Choose this setting if the GT-1 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-1 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-1 is connected
to the RETURN jack of the JC-120.

Choose this setting if the GT-1 is connected
to the RETURN jack of a combo-type guitar
amp.

Choose this setting if the GT-1 is connected
to the RETURN jack of a stack-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-1 is connected to a
keyboard amp, mixer, or digital recorder.

DISPLAY

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

Parameter Value Explanation

CONTRAST 1–16 Higher values increase the brightness.

PLAY (PLAY OPTION)

Here you can specify how the pedals will work during
performance.

Parameter Value Explanation

The operational status of the EXP

OFF

EXP1 HLD (EXP 1 PEDAL
HOLD),
EXP2 HLD (EXP 2 PEDAL
HOLD)

KNOB LOCK OFF, ON

DWN+UP

UP+CTL1

PEDAL LIGHT OFF, ON

ON

OFF,

TUNER,

LOOP,

MEM+1,

MEM-1

1/2 PEDAL's FUNCTION (p. 17) is
not carried over when patches are
switched.

If the EXP 1/2 PEDAL’s FUNC (p. 17)
are the same between 2 patches, the
operational status is carried over when
patches are switched.

For example, if EXP 1/2 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.

Species whether knob operations
will be disabled. If this is ON, knob
operations will be disabled.

Species the function when the
[I] and [H] switches are pressed
simultaneously.

Species the function when the [H]
and [CTL1] switches are pressed
simultaneously.

Species whether the [I], [H], and
[CTL1] switches are lit or unlit.

22

KNOB SETTING

Here you can assign the desired parameters to knobs [1]–[3] in the play screen.

* The settings you make here are only for the knobs in the play screen.

Parameter

KNOB 1–KNOB 3

The parameter names displayed in the play screen are abbreviated. For details about the parameter names, refer to the chart shown below.

MENU

Value Display

OFF OFF

PATC H PATC H

FX1:COMP TYPE 1CmpTYP

FX1:COMP SUSTAIN 1CmpSUS

FX1:COMP ATTACK 1CmpATK

FX1:COMP TONE 1CmpTON

FX1:COMP LEVEL 1CmpLVL

FX1:LIMITER TYPE 1LmtTYP

FX1:LIMITER ATTACK 1LmtATK

FX1:LIMITER THRESHOLD 1LmtTHR

FX1:LIMITER RATIO 1LmtRAT

FX1:LIMITER RELEASE 1LmtREL

FX1:LIMITER LEVEL 1LmtLVL

FX1:T.WAH MODE 1TwhMOD

FX1:T.WAH POLARITY 1TwhPOL

FX1:T.WAH SENS 1TwhSNS

FX1:T.WAH FREQ 1TwhFRQ

FX1:T.WAH PEAK 1TwhPEK

FX1:T.WAH LEVEL 1TwhLVL

FX1:GEQ 100Hz 1GEq100

FX1:GEQ 200Hz 1GEq200

FX1:GEQ 400Hz 1GEq400

FX1:GEQ 800Hz 1GEq800

FX1:GEQ 1.6kHz 1GEq1.6k

FX1:GEQ 3.2kHz 1GEq3.2k

FX1:GEQ 6.4kHz 1GEq6.4k

FX1:GEQ LEVEL 1GEqLVL

FX1:PEQ LOW GAIN 1PEqLoG

FX1:PEQ LOW-MID FREQ 1PEqLmF

FX1:PEQ LOW-MID Q 1PEqLmQ

FX1:PEQ LOW-MID GAIN 1PEqLmG

FX1:PEQ HIGH-MID FREQ 1PEqHmF

FX1:PEQ HIGH-MID Q 1PEqHmQ

FX1:PEQ HIGH-MID GAIN 1PEqHmG

FX1:PEQ HIGH GAIN 1PEqHiG

FX1:PEQ LEVEL 1PEqLVL

FX1:TONE MOD TYPE 1TmodTYP

FX1:TONE MOD RESONANCE 1TmodRES

FX1:TONE MOD LOW 1TmodLO

FX1:TONE MOD HIGH 1TmodHI

FX1:TONE MOD LEVEL 1TmodLVL

FX1:GUITAR SIM TYPE 1GSimTYP

FX1:GUITAR SIM LOW 1GSimLO

FX1:GUITAR SIM HIGH 1GSimHI

FX1:GUITAR SIM LEVEL 1GSimLVL

FX1:GUITAR SIM BODY 1GSimBDY

FX1:A.GUITAR SIM HIGH 1ASimHI

FX1:A.GUITAR SIM BODY 1ASimBDY

FX1:A.GUITAR SIM LOW 1ASimLO

FX1:A.GUITAR SIM LEVEL 1ASimLVL

FX1:SLOW GEAR SENS 1SgSNS

FX1:SLOW GEAR RISE TIME 1SgRIS

Value Display

FX1:SLOW GEAR LEVEL 1SgLVL

FX1:OCTAVE -2OCT 1Oct-2

FX1:OCTAVE -1OCT 1Oct-1

FX1:OCTAVE DIRECT 1OctDLV

FX1:PITCH SHIFT PITCH 1PsPITCH

FX1:PITCH SHIFT FINE 1PsFINE

FX1:PITCH SHIFT PRE-DELAY 1PsPDLY

FX1:PITCH SHIFT E.LEVEL 1PsELV

FX1:PITCH SHIFT FEEDBACK 1PsFBK

FX1:PITCH SHIFT D.LEVEL 1PsDLV

FX1:HARMONIST HARMONY 1HrmHARM

FX1:HARMONIST PRE-DELAY 1HrmPDLY

FX1:HARMONIST E.LEVEL 1HrmELV

FX1:HARMONIST FEEDBACK 1HrmFBK

FX1:HARMONIST D.LEVEL 1HrmDLV

FX1:OVERTONE DETUNE 1OvtnDTN

FX1:OVERTONE TONE 1OvtnTON

FX1:OVERTONE UPPER 1OvtnUPR

FX1:OVERTONE LOWER 1OvtnLWR

FX1:OVERTONE D.LEVEL 1OvtnDLV

FX1:FEEDBACKER DEPTH 1FbkDPT

FX1:FEEDBACKER TRIGGER 1FbkTRG

FX1:AC.PROCESSOR TYPE 1AcpTYP

FX1:AC.PROCESSOR BASS 1AcpBAS

FX1:AC.PROCESSOR MIDDLE 1AcpMID

FX1:AC.PROCESSOR TREBLE 1AcpTRBL

FX1:AC.PROCESSOR PRESENCE 1AcpPRES

FX1:AC.PROCESSOR LEVEL 1AcpLVL

FX1:PHASER TYPE 1 PhTYP

FX1:PHASER RATE 1PhRAT

FX1:PHASER DEPTH 1PhDPT

FX1:PHASER MANUAL 1PhMAN

FX1:PHASER RESONANCE 1PhRES

FX1:PHASER LEVEL 1PhLVL

FX1:FLANGER RATE 1FlgRAT

FX1:FLANGER DEPTH 1FlgDPT

FX1:FLANGER MANUAL 1FlgMAN

FX1:FLANGER RESONANCE 1FlgRES

FX1:FLANGER LOW CUT 1FlgLoC

FX1:FLANGER LEVEL 1FlgLVL

FX1:TREMOLO WAVE 1TrmWAV

FX1:TREMOLO RATE 1TrmRAT

FX1:TREMOLO DEPTH 1TrmDPT

FX1:TREMOLO LEVEL 1TrmLVL

FX1:ROTARY BALANCE 1RotBAL

FX1:ROTARY SPEED 1RotSPD

FX1:ROTARY RATE SLOW 1RotSLW

FX1:ROTARY RATE FAST 1RotFST

FX1:ROTARY TRANSITION 1RotTRA

FX1:ROTARY LEVEL 1RotLVL

FX1:UNI-V RATE 1UnvRAT

FX1:UNI-V DEPTH 1UnvDPT

Value Display

FX1:UNI-V LEVEL 1UnvLVL

FX1:VIBRATO RATE 1VibRAT

FX1:VIBRATE DEPTH 1VibDPT

FX1:VIBRATO TRIGGER 1VibTRG

FX1:VIBRATE RISE TIME 1VibRIS

FX1:VIBRATO LEVEL 1VibLVL

FX1:CHORUS MODE 1ChoMOD

FX1:CHORUS RATE 1ChoRAT

FX1:CHORUS DEPTH 1ChoDPT

FX1:CHORUS LOW CUT 1ChoLoC

FX1:CHORUS HIGH CUT 1ChoHiC

FX1:CHORUS E.LEVEL 1ChoELV

FX1:SUB DELAY TYPE 1DlyTYP

FX1:SUB DELAY TIME 1DlyTIM

FX1:SUB DELAY FEEDBACK 1DlyFBK

FX1:SUB DELAY HIGH CUT 1DlyHiC

FX1:SUB DELAY E.LEVEL 1DlyELV

FX1:SUB DELAY D.LEVEL 1DlyDLV

FX1:SUB DELAY TAP TIME 1DlyTAP

OD/DS:TYPE OD:TYPE

OD/DS:DRIVE OD:DRIVE

OD/DS:BOTTOM OD:BOTM

OD/DS:TONE OD:TONE

OD/DS:E.LEVEL OD:ELV

OD/DS:D.LEVEL OD:DLV

PREAMP:TYPE PrA:TYPE

PREAMP:GAIN PrA:GAIN

PREAMP:BASS PrA:BASS

PREAMP:MIDDLE PrA:MID

PREAMP:TREBLE PrA:TRBL

PREAMP:PRESENCE PrA:PRES

PREAMP:LEVEL PrA:LEVEL

PREAMP:BRIGHT PrA:BRT

PREAMP:SP.TYPE PrA:SP

NS:THRESHOLD NS:THRES

NS:RELEASE NS:RELEAS

FX2:COMP TYPE 2CmpTYP

FX2:COMP SUSTAIN 2CmpSUS

FX2:COMP ATTACK 2CmpATK

FX2:COMP TONE 2CmpTON

FX2:COMP LEVEL 2CmpLVL

FX2:LIMITER TYPE 2LmtTYP

FX2:LIMITER ATTACK 2LmtATK

FX2:LIMITER THRESHOLD 2LmtTHR

FX2:LIMITER RATIO 2LmtRAT

FX2:LIMITER RELEASE 2LmtREL

FX2:LIMITER LEVEL 2LmtLVL

FX2:T.WAH MODE 2TwhMOD

FX2:T.WAH POLARITY 2TwhPOL

FX2:T.WAH SENS 2TwhSNS

FX2:T.WAH FREQ 2TwhFRQ

FX2:T.WAH PEAK 2TwhPEK

23

MENU

Value Display

FX2:T.WAH LEVEL 2TwhLVL

FX2:GEQ 100Hz 2GEq100

FX2:GEQ 200Hz 2GEq200

FX2:GEQ 400Hz 2GEq400

FX2:GEQ 800Hz 2GEq800

FX2:GEQ 1.6kHz 2GEq1.6k

FX2:GEQ 3.2kHz 2GEq3.2k

FX2:GEQ 6.4kHz 2GEq6.4k

FX2:GEQ LEVEL 2GEqLVL

FX2:PEQ LOW GAIN 2PEqLoG

FX2:PEQ LOW-MID FREQ 2PEqLmF

FX2:PEQ LOW-MID Q 2PEqLmQ

FX2:PEQ LOW-MID GAIN 2PEqLmG

FX2:PEQ HIGH-MID FREQ 2PEqHmF

FX2:PEQ HIGH-MID Q 2PEqHmQ

FX2:PEQ HIGH-MID GAIN 2PEqHmG

FX2:PEQ HIGH GAIN 2PEqHiG

FX2:PEQ LEVEL 2PEqLVL

FX2:TONE MOD TYPE 2TmodTYP

FX2:TONE MOD RESONANCE 2TmodRES

FX2:TONE MOD LOW 2TmodLO

FX2:TONE MOD HIGH 2TmodHI

FX2:TONE MOD LEVEL 2TmodLVL

FX2:GUITAR SIM TYPE 2GSimTYP

FX2:GUITAR SIM LOW 2GSimLO

FX2:GUITAR SIM HIGH 2GSimHI

FX2:GUITAR SIM LEVEL 2GSimLVL

FX2:GUITAR SIM BODY 2GSimBDY

FX2:A.GUITAR SIM HIGH 2ASimHI

FX2:A.GUITAR SIM BODY 2ASimBDY

FX2:A.GUITAR SIM LOW 2ASimLO

FX2:A.GUITAR SIM LEVEL 2ASimLVL

FX2:SLOW GEAR SENS 2SgSNS

FX2:SLOW GEAR RISE TIME 2SgRIS

FX2:SLOW GEAR LEVEL 2SgLVL

FX2:OCTAVE -2OCT 2Oct-2

FX2:OCTAVE -1OCT 2Oct-1

FX2:OCTAVE DIRECT 2OctDLV

FX2:PITCH SHIFT PITCH 2PsPITCH

FX2:PITCH SHIFT FINE 2PsFINE

FX2:PITCH SHIFT PRE-DELAY 2PsPDLY

FX2:PITCH SHIFT E.LEVEL 2PsELV

FX2:PITCH SHIFT FEEDBACK 2PsFBK

FX2:PITCH SHIFT D.LEVEL 2PsDLV

FX2:HARMONIST HARMONY 2HrmHARM

FX2:HARMONIST PRE-DELAY 2HrmPDLY

FX2:HARMONIST E.LEVEL 2HrmELV

FX2:HARMONIST FEEDBACK 2HrmFBK

FX2:HARMONIST D.LEVEL 2HrmDLV

FX2:OVERTONE DETUNE 2OvtnDTN

FX2:OVERTONE TONE 2OvtnTON

FX2:OVERTONE UPPER 2OvtnUPR

FX2:OVERTONE LOWER 2OvtnLWR

FX2:OVERTONE D.LEVEL 2OvtnDLV

FX2:FEEDBACKER DEPTH 2FbkDPT

FX2:FEEDBACKER TRIGGER 2FbkTRG

FX2:AC.PROCESSOR TYPE 2AcpTYP

FX2:AC.PROCESSOR BASS 2AcpBAS

FX2:AC.PROCESSOR MIDDLE 2AcpMID

FX2:AC.PROCESSOR TREBLE 2AcpTRBL

FX2:AC.PROCESSOR PRESENCE 2AcpPRES

FX2:AC.PROCESSOR LEVEL 2AcpLVL

Value Display

FX2:PHASER TYPE 2 PhTYP

FX2:PHASER RATE 2PhRAT

FX2:PHASER DEPTH 2PhDPT

FX2:PHASER MANUAL 2PhMAN

FX2:PHASER RESONANCE 2PhRES

FX2:PHASER LEVEL 2PhLVL

FX2:FLANGER RATE 2FlgRAT

FX2:FLANGER DEPTH 2FlgDPT

FX2:FLANGER MANUAL 2FlgMAN

FX2:FLANGER RESONANCE 2FlgRES

FX2:FLANGER LOW CUT 2FlgLoC

FX2:FLANGER LEVEL 2FlgLVL

FX2:TREMOLO WAVE 2TrmWAV

FX2:TREMOLO RATE 2TrmRAT

FX2:TREMOLO DEPTH 2TrmDPT

FX2:TREMOLO LEVEL 2TrmLVL

FX2:ROTARY BALANCE 2RotBAL

FX2:ROTARY SPEED 2RotSPD

FX2:ROTARY RATE SLOW 2RotSLW

FX2:ROTARY RATE FAST 2RotFST

FX2:ROTARY TRANSITION 2RotTRA

FX2:ROTARY LEVEL 2RotLVL

FX2:UNI-V RATE 2UnvRAT

FX2:UNI-V DEPTH 2UnvDPT

FX2:UNI-V LEVEL 2UnvLVL

FX2:VIBRATO RATE 2VibRAT

FX2:VIBRATE DEPTH 2VibDPT

FX2:VIBRATO TRIGGER 2VibTRG

FX2:VIBRATE RISE TIME 2VibRIS

FX2:VIBRATO LEVEL 2VibLVL

FX2:CHORUS MODE 2ChoMOD

FX2:CHORUS RATE 2ChoRAT

FX2:CHORUS DEPTH 2ChoDPT

FX2:CHORUS LOW CUT 2ChoLoC

FX2:CHORUS HIGH CUT 2ChoHiC

FX2:CHORUS E.LEVEL 2ChoELV

FX2:SUB DELAY TYPE 2DlyTYP

FX2:SUB DELAY TIME 2DlyTIM

FX2:SUB DELAY FEEDBACK 2DlyFBK

FX2:SUB DELAY HIGH CUT 2DlyHiC

FX2:SUB DELAY E.LEVEL 2DlyELV

FX2:SUB DELAY D.LEVEL 2DlyDLV

FX2:SUB DELAY TAP TIME 2DlyTAP

DELAY:TYPE DL:TYPE

DELAY:TIME DL:TIME

DELAY:FEEDBACK DL:FBK

DELAY:HIGH CUT DL:HiC

DELAY:E.LEVEL DL:ELV

DELAY:TAP TIME DL:TAP

DELAY:MODULATION RATE DL:M.RAT

DELAY:MODULATION DEPTH DL:M.DPT

TERA ECHO:TIME TE:TIME

TERA ECHO:FEEDBACK TE:FBK

TERA ECHO:TONE TE:TONE

TERA ECHO:E.LEVEL TE:ELV

TERA ECHO:D.LEVEL TE:DLV

TERA ECHO:HOLD TE:HOLD

REVERB:TYPE RV:TYPE

REVERB:TIME RV:TIME

REVERB:LOW CUT RV:LoC

REVERB:HIGH CUT RV:HiC

REVERB:LEVEL RV:LEVEL

Value Display

REVERB:SPRING SENS RV:SPRNG

REVERB:DELAY TIME RV:DlTIM

REVERB:DELAY FEEDBACK RV:DlFBK

REVERB:DELAY HIGH CUT RV:DlHiC

REVERB:DELAY E.LEVEL RV:DlELV

REVERB:DELAY D.LEVEL RV:DlDLV

FOOT VOLUME:LEVEL FV:LVL

PEDAL FX:TYPE PdFX:TYPE

PEDAL FX:WAH PEDAL POS WAH:POS

PEDAL FX:WAH LEVEL WAH:LEVEL

PEDAL FX:PEDAL BEND PITCH PB:PITCH

PEDAL FX:PEDAL BEND PEDAL POS PB:POS

PEDAL FX:PEDAL BEND LEVEL PB:LEVEL

MASTER LOW GAIN LOW GAIN

MASTER MIDDLE FREQ MID FREQ

MASTER MIDDLE Q MID Q

MASTER MIDDLE GAIN MID GAIN

MASTER HIGH GAIN HI GAIN

PATCH LEVEL PATCH LVL

MASTER BPM BPM

MASTER KEY KEY

USB MIX USB:MIX

FX1 FX1

OD/DS OD/DS

PREAMP PREAMP

FX2 FX2

DELAY DELAY

REVERB REVERB

PEDAL FX PEDAL FX

OUTPUT LEVEL OUT LEVEL

24

MENU

PREF (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.

Parameter Value Explanation

EXP 1 PATCH, SYSTEM

CTL 1 PATCH, SYSTEM

EXP SW PATCH, SYSTEM

DOWN PATCH, SYSTEM

UP PATCH, SYSTEM

EXP 2 PATCH, SYSTEM

CTL 2 PATCH, SYSTEM

CTL 3 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. 17) , that setting will be
ignored.

LOOP

This species the level of loop playback.

Parameter Value Explanation

LOOP 1–120 Species the phrase playback volume.

USB

Here you can make USB-related settings for when the GT-1 is
connected to a computer via USB.

USB audio ow

GT-1 outputs the eect sound, and the return from the computer is mixed
with your guitar performance at the nal stage.

GT-1

USB IN

INPUT

Parameter Value Explanation

MIX LEVEL 0–200%

EFX OUT
(EFFECT OUT
LEVEL)

DIRECT
MONITOR

0–200%

Switches whether the sound of the GT-1 is output to the PHONES
jack or the OUTPUT jacks.

* This setting cannot be saved. It will be ON when the unit is

powered-on.

OFF

ON

USB OUT

EFFECT OUT
LEVEL

Eect Chain

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-1.

Adjusts the level at which the sound processed by
the eects of the GT-1 is output to the computer.

Turn this o if the audio data is being passed “thru”
within the computer.

In this case, you won’t hear sound unless the
computer is set to “thru.”

The sound of the GT-1 is output directly. Turn this
on if you’re using the GT-1 on its own without
connecting it to a computer. (If you turn this o,
only the sound being input via USB is output.)

OUTPUT

MIX

LEVEL

PDL CALIBRATION (PEDAL CALIBRATION)

You can readjust the expression pedal so that it will operate
optimally.

Parameter Value Explanation

THRESHOLD 1–16

Adjusts the sensitivity at which the EXP
PEDAL SW will respond.

F.RESET (FACTORY RESET)

Initializes the GT-1 to its factory-set condition.

Parameter Value Explanation

FROM

TO

SYSTEM System parameter settings

U01–U99 Settings for Patch Number U01 through U99

SYSTEM System parameter settings

U01–U99 Settings for Patch Number U01 through U99

25

Other Settings

TUNER

Editing procedure

1. Simultaneously press switches [

The tuner function will turn on.

I

] and [H].

2. Use knobs [1] and [3] to specify the settings.

Knob Parameter Value Explanation

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

MUTE Sound will not be output while tuning.

[3] OUTPUT

BYPASS

THRU

3. Simultaneously press switches [

to the play screen.

You can also return to the play screen by pressing the [EXIT]
button.

While tuning, the sound of the guitar being
input to the GT-1 will be output without
change. All eects will be o.

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

I

] and [H] to return

26

Sound List

Preset Patch List

Patch # Patch Name Explanation GENRE1 GENRE2

P01 HI GAIN STACK The powerful and fat sound of a high-gain amp stack. Ideal for backing or ris. HARD ROCK ROCK

P02 TERA ECHO LEAD

P03 NATURAL CLEAN

P04 POWER METAL RIFF A metal sound with powerful ultra-low range. METAL/CORE HARD ROCK

P05 HARMONY LD in Am Sustaining harmony tone, ideal for fusion solos. STUDIO HARD ROCK

P06 ROUND & ROUND Combines a slow-attacking crunch sound with a rotary eect. STUDIO POPS

P07 FDR BLUES CRUNCH A straightforward crunch sound. BLUES ALTERNATIVE

P08 SYNC TREMOLO The sound of a stereo tremolo eect whose depth changes. ALTERNATIVE STUDIO

P09 ADD TRANSPARENCY Clear crunch sound that combines the A-DIST crunch and clean. ROCK STUDIO

P10 ORNG ROOMY LEAD Coarse distortion that combines TREBLE BOOSTER and ORNG RV. HARD ROCK ALTERNATIVE

P11 AC SIM STRAIGHT An uncolored acoustic simulator. ACOUSTIC STUDIO

P12 ROYAL LEAD British lead tone of the ‘70s and ‘80s. HARD ROCK ALTERNATIVE

P13 SUPER SLOW GEAR A beautiful pad-type sound that uses Slow Gear. STUDIO POPS

P14 SLAPBACK ECHO ‘50s-style crunch and echo sound. COUNTRY TRADITIONAL

P15 A-DIST &OVERTONE A lead sound that emphasizes the overtones of the high frequency region. ROCK ALTERNATIVE

P16 FAT BLUESY LEAD A fat lead sound that uses A-DIST as a booster, suitable for single-coil pickups. BLUES TRADITIONAL

P17 DIVID ORGAN TONE Organ sound. ROCK STUDIO

P18 STACK CRUNCH Switch between stack crunch sounds with dierent gain for backing and solo. HARD ROCK ROCK

P19 VAN FLANGE The anger sound of ‘80s hard rock. HARD ROCK METAL/CORE

P20 SPACY LEAD Lead tone with good sustain in clear reverberation. STUDIO ALTERNATIVE

P21 1959 CRUNCH Crunch sound based on MS1959. ROCK ALTERNATIVE

P22 MID BOOST COMBO The crunch sound of a mid-boosted combo amp. ROCK TRADITIONAL

P23 CRUNCH 4 RHYTHM Crunch sound for funky rock. Suitable for use with the rear single coil pickup. ROCK ALTERNATIVE

P24 ROTARY Rotary crunch sound. ROCK ALTERNATIVE

P25 1969 XPERIENCE Psychedelic rock sound of the 1969 Woodstock festival. Intense distortion produced using fuzz. ROCK HARD ROCK

P26 CREAMY SET A bluesy sound of the late ‘60s that combines MS1959 with FUZZ. ROCK TRADITIONAL

P27 DEEP DELAY & VIB A sound with deep delay and vibrato. ROCK STUDIO

P28 ROBINS BRIDGE A stack preamp and the UNI-V, added REVERB and TERA ECHO create a typical ‘70s Trower sound. ROCK HARD ROCK

P29 RIPPIN’ Fantasy-like sound with deep delay. ROCK HARD ROCK

P30 OCTAFUZZ LEAD A fuzz sound with a unique character. Also useable even if the volume of your guitar is lowered. ROCK TRADITIONAL

P31 60s FUZZ LEGEND Reproduces the combination of a late ‘60s fuzz and distorted amp. ROCK TRADITIONAL

P32 5th PS & GATE ‘80s-type sound that combines a pitch a perfect fth above with gated reverb. ROCK STUDIO

P33 ROADS Sound with delay applied, ideal for leads in ‘70s rock. ROCK HARD ROCK

P34 SLOW GEAR LEAD A smooth lead sound using Slow Gear. Also eective on sound-eect phrases. ROCK ALTERNATIVE

P35 POWER DRIVE A straightforward and powerful drive sound that lets the character of the guitar come through. ALTERNATIVE HARD ROCK

P36 AMBIENT DIRTY OD Drive sound with added room ambience. ALTERNATIVE ROCK

P37 MATCH CRUNCH Crunch sound ideal for use with the rear single coil pickup. ALTERNATIVE TRADITIONAL

P38 ORNG CRUNCH The crunch sound of a UK stack amp. ALTERNATIVE R&B

P39 STEREO STACK A sound with chorus applied to a high-gain amp for stereo placement, suitable for ring. ALTERNATIVE STUDIO

P40 LA TR RIFF A pulsating tremolo sound. ALTERNATIVE ROCK

P41 COMBO AC A drive sound that does not impair chords. ALTERNATIVE ROCK

P42 TWIN CRUNCH Crunch sound from a Twin Reverb. BLUES TRADITIONAL

P43 SLIDE FOR LP Ideal sound for playing slide guitar with humbucking pickups. BLUES LATIN

P44 BASIC BLUES Crunch sound with compressor, ideal for blues or classic rock. BLUES LATIN

P45 KING OF BLUES A sound that’s ideal for blues leads. BLUES OLDIES

P46 FINGER LEAD Fat sound that still remains sensitive to the nuances of your touch. Ideal for bluesy fusion. BLUES R&B

P47 BLUES BUDDY Crunch lead sound for blues. The [CTL1] switch switches to a rhythm sound. BLUES OLDIES

P48 SQUEEZE BLUES GT A bluesy sound with ambience included. BLUES OLDIES

P49 BARK TONE ‘70s rock sound with phaser. The [CTL1] switch makes the sound between lead and rhythm. HARD ROCK METAL/CORE

P50 70s US HARD ROCK A retro hard rock sound from the ‘70s. HARD ROCK ROCK

P51 BROWN SND For ST

P52 1984 DRIVEN’ Drive sound reminiscent of ‘80s hard rock. HARD ROCK ROCK

P53 OD-1 + STACK

P54 GREAT ROCK A hard rock tone used in the ‘80s and ‘90s. HARD ROCK ROCK

P55 BGNR LEAD Lead sound using BGNR, suitable for humbucking pickups. METAL/CORE HARD ROCK

P56 MODERN METAL An extremely heavy metal sound, usable for anything from rhythm to lead. METAL/CORE ALTERNATIVE

P57 CHORUS LEAD Metal sound with chorus applied. Usable for either backing or lead. METAL/CORE HARD ROCK

P58 R-FIER LEAD Hard distortion sound, ideal for metal ris. The [CTL1] switch switches to a lead sound. METAL/CORE TRADITIONAL

P59 METAL MONEY The metal sound of the ‘90s. METAL/CORE HARD ROCK

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.

For ST 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.

A sound using an OD-1 placed before the distortion, suitable for hard rock. Step on the [CTL1]
switch to apply phaser.

ROCK HARD ROCK

STUDIO POPS

HARD ROCK ROCK

HARD ROCK POPS

27

Sound List

Patch # Patch Name Explanation GENRE1 GENRE2

P60 METAL CORN

P61 DRAGON METAL Ideal modern metal sound for humbucking pickups. METAL/CORE HARD ROCK

P62 BLADE METAL An extremely sharp metal tone. METAL/CORE HARD ROCK

P63 TRIPLE DEEP DLY Deep eect with DELAY and TERA ECHO. STUDIO POPS

P64 METAMORPHOSIS GT Uses OVERTONE to produce an organ-like sound. STUDIO ALTERNATIVE

P65 DIAMOND ECHO A crunch sound with echo. STUDIO LATIN

P66 TREMOLO MOD DELAY Combination of MOD DELAY and TREMOLO. STUDIO POPS

P67 MULTI DIMENSION Multiple eects are turned on simultaneously. Provides a mix of the direct and processed sounds. STUDIO R&B

P68 YOU TWO Simply play chords to obtain a bouncy sound. STUDIO ACOU

P69 MELLOW FELLOW A spacious clean sound. STUDIO POPS

P70 80s STUDIO LEAD A chorused sound with sustain, suitable for lead. STUDIO HARD ROCK

P71 SUPER CLEAN Transparently clean sound. Ideal for arpeggios or chording. STUDIO POPS

P72 SUPER MODULATE Clean sound with modulation applied. Also eective when used in the intro. STUDIO TRADITIONAL

P73 SLICED UP

P74 DEEP CS StCHORUS A rich sound that uses a combination of several modulation-type eects. STUDIO POPS

P75 WALL OF FUZZTONE Chorus is used to create a wall of fuzz sound. STUDIO ALTERNATIVE

P76 NY LEAD MODULATE A lead sound with a strongly modulated anger. Also usable for cool jazz fusion. STUDIO JAZZ/FUSION

P77 LEZLY HEAVEN Use the CTL1 switch to switch the rotational speed. STUDIO LATIN

P78 NOISY DUB Extreme noise sound in combination with some eects. SOUL/FUNK DISCO

P79 TIGHT CRUNCH A tight combo crunch sound. SOUL/FUNK DISCO

P80 70s FUNKY CLEAN Clean sound suitable for simple strumming. SOUL/FUNK DISCO

P81 FLAGEOLETTO

P82 TERA FUNK A clean sound with compressor added. SOUL/FUNK STUDIO

P83 FUNKY GROOVE A sound suitable for funky strumming. SOUL/FUNK DISCO

P84 TERA REV & COMP Combines a TERA ECHO set to a spring reverb type with compressed and clean sound. JAZZ/FUSION STUDIO

P85 FUSION 335 A lead tone of ‘70s fusion. The [CTL1] switch boosts the gain and volume. JAZZ/FUSION LATIN

P86 80s JAZZ FUSION A fusion lead tone using stereo chorus. JAZZ/FUSION POPS

P87 MILD JAZZ Stomp [CTL1] switch to add DELAY for a mild jazz tone. JAZZ/FUSION R&B

P88 JAZZ FIELD An aggressive jazz tone. The [CTL1] switch switches to a sound for soloing. JAZZ/FUSION OLDIES

P89 JAZZ SIMULATOR Lets you get the sound of a hollow body guitar from a solid-body guitar. JAZZ/FUSION POPS

P90 CLEAN SUSTAIN A clean sound with good sustain. The [CTL1] switch switches to a stack crunch sound. JAZZ/FUSION LATIN

P91 COMP CRUNCH LEAD A lead sound suitable for jazz fusion. JAZZ/FUSION LATIN

P92 FULLRTN DRIVE Light American crunch sound of the late ‘50s. COUNTRY OLDIES

P93 UNMATCHED COMBO The sound of a fat and extremely clean combo amp. COUNTRY OLDIES

P94 COUNTRY PICKIN’ A classic country rock sound. COUNTRY R&B

P95 TWEED CLEAN Use the [CTL1] switch to switch between a tweed amp’s clean tone and a mid-boost lead tone. COUNTRY OLDIES

P96 ClnTWIN SOUTHERN Clean sound that’s great for country rock ris. COUNTRY OLDIES

P97 SAFARI USA Tremolo sound suitable for the surf music of the ‘60s. OLDIES TRADITIONAL

P98 MELLOW LEAD Bluesy sound with warm overdrive. OLDIES TRADITIONAL

P99 RETRO TREMOLO Nice uctuation with TREMOLO. DISCO OLDIES

An ideal sound for heavy metal ring. Using the [CTL1] switch increases the volume and applies
chorus.

Created with a drastic TREMOLO eect setting, this patch utilizes a Slicer Eect. The FUZZ
overdrive helps "cut through."

A super clean sound with compression that is driven through regular delay and TERA ECHO. An
unusual reverb is created the cames the guitar sound ver "far."

METAL/CORE HARD ROCK

STUDIO ALTERNATIVE

SOUL/FUNK STUDIO

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