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