Boss GT-1000 Parameter Guide
Parameter Guide
03
Contents
Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Basic Procedure for Eect Editing . . . . . . . . . . . . . . . . . . . . . . . 3
Eect Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Using STOMPBOX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Editing the STOMPBOX . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Reading STOMPBOX Settings into a Patch . . . . . . . . . . 4
Writing Patch Settings into a STOMPBOX . . . . . . . . . . 4
Basic MENU Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Eect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
COMPRESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
DISTORTION 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
AIRD PREAMP 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
NOISE SUPPRESSOR 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
EQUALIZER 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
DELAY 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
MASTER DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
FX1–FX3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
AC.GUITAR SIMULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
AC RESONANCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
CLASSIC-VIBE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
COMPRESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
DEFRETTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
FEEDBACKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
HARMONIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
HUMANIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
OVERTONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
RING MOD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
RO TARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
SITAR SIM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
SLICER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
SLOW GEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
SOUND HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
S-BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
TOUCH WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
PEDAL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
DIVIDER 1–3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
MIXER 1–3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
SEND/RETURN 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
LOOPER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
MAIN SP.SIMULATOR L, MAIN SP.SIMULATOR R, SUB
SP.SIMULATOR L, SUB SP.SIMULATOR R . . . . . . . . . . . . . . . . . . 25
MASTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
CONTROL ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
CONTROL FUNCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
ASSIGN SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Virtual Expression Pedal System (Internal Pedal /
Wave Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
INPUT (Input Level) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
INPUT SENS (Input Sens) . . . . . . . . . . . . . . . . . . . . . . . . . . 34
PATCH MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
LED COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
TEMPO HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
IN/OUT SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
MAIN OUT, SUB OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
PHONES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
TOTAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
USB-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
PLAY OPTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
MIDI SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
PROGRAM MAP BANK1–BANK4 . . . . . . . . . . . . . . . . . . . 40
BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
HARDWARE SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
KNOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
AMP CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
EXP HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
GROUND LIFT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
CALIBRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
METRONOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Saving a Sound (WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Saving a Patch (PATCH WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Exchanging Patches (PATCH EXCHANGE) . . . . . . . . . . . . . . . . 47
Initializing Patches (PATCH INITIALIZE) . . . . . . . . . . . . . . . . . . 47
Inserting a Patch (PATCH INSERT) . . . . . . . . . . . . . . . . . . . . . . . 48
MEMO
This eect sound is mono.
5
5
This eect sound is output with two channels.
5
These eects 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 © 2018 ROLAND CORPORATION
2
Basic Operation
Basic Procedure for Eect Editing
The edit screens show the block conguration (eect chain) of all
eects provided by the GT-1000, as well as the output and send/
return. You can edit from this eect chain display by selecting the
block that you want to edit.
1. Press the [EFFECT] button.
The edit screen (eect chain) appears.
2. Turn knob [6] to select the block that you want to
edit.
Editing while viewing all parameters
From the edit screen, you can long-press knob [6] to see a list of
all parameters of the selected block. You can edit the parameters
from this list.
1. Turn knobs [1]–[6] to edit the value of the
parameters shown in the screen.
Use the PAGE [K] [J] buttons to switch between lists of
parameters.
Use the PAGE [K] [J]
buttons to switch
Eect Placement
By moving blocks such as eects, output, and send/return, you
can freely change the order in which the eects are placed, or
arrange them in parallel.
The selected block is enclosed by a thick frame.
* By pressing knob [6] you can turn the selected eect on/o.
Eects that are o are shown in gray.
ON OFF
3. Use knobs [1]–[5] to adjust the parameters that are
shown below the screen.
Use the PAGE [K] [J] buttons to switch between the parameters
that you want to edit. The current page is indicated in the lower
center of the screen.
* The number of parameters and pages diers depending on the
eect.
Changing the placement of eects etc.
1. Press the [EFFECT] button.
The eect chain is shown.
2. Use knob [6] to select the block that you want to
move.
3. While pressing knob [6], turn it left or right.
The selected block moves left or right.
3
Basic Operation
Using STOMPBOX
Your preferred settings for each eect can be saved as a
“STOMPBOX.” You can select these saved settings and use them to
create your sound just as though you were connecting compact
pedal eects. The STOMPBOX data is common to all patches; this
means that all patches using the same STOMPBOX can be edited
simultaneously.
1. Press the [EFFECT] button.
2. Use the [6] knob to choose the eect you’re going
to edit.
3. Use the PAGE [
page.
4. Press the [5] knob.
The STOMPBOX select window appears.
K
] [J] buttons to move to the last
Writing Patch Settings into a STOMPBOX
1. Press the [EFFECT] button.
2. Use the [6] knob to choose the eect you’re going
to save.
3. Use the PAGE [
page.
K
] [J] buttons to move to the last
4. Press the [5] knob.
The STOMPBOX select window appears.
5. Press the [3] knob.
6. Turn knob [1] to select the writing-destination
STOMPBOX.
7. Use knobs [3]–[6] to name the STOMPBOX.
Reference
For details on naming the STOMPBOX, refer to “Editing a
name” (p. 47).
Basic MENU Operations
Here you can make settings that are common to the entire GT-1000
(system parameters).
5. Turn knob [5] to select the STOMPBOX type.
6. Press the [5] knob.
Editing the STOMPBOX
1. Turn knobs [1]–[5] to edit the parameter value that
are shown in the screen.
Use the PAGE [K] [J] buttons to switch between lists of
parameters.
Reading STOMPBOX Settings into a Patch
1. Press the [EFFECT] button.
2. Use the [6] knob to choose the eect you’re going
to edit.
3. Use the PAGE [
page.
4. Press the [5] knob.
The STOMPBOX select window appears.
5. Turn knob [5] to select the STOMPBOX type.
6. Press the [4] knob.
The contents of the STOMPBOX are recalled into the patch.
You can edit the patch without modifying the contents of the
STOMPBOX.
K
] [J] buttons to move to the last
1. Press the [MENU] button.
2. Press a knob [1]–[6] to select the item that you want
to edit.
A sub-menu appears.
You can use the PAGE [K][J] buttons to see additional items.
3. Once again press a knob [1]–[6] to select the item
that you want to edit.
4. Use knobs [1]–[6] to select parameters or edit the
values.
Use the PAGE [K] [J] buttons to switch between lists of
parameters.
4
Eect
COMPRESSOR
This is an eect that produces a long sustain by evening out the
volume level of the input signal.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
BOSS COMP
X-COMP
TYPE
SUSTAIN 0–100
ATTAC K 0–100
LEVEL 0–100 Adjusts the volume.
TONE -50–+50 Adjusts the tone.
RATIO 1:1–INF:1 Selects the compression ratio.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
D-COMP This models a MXR DynaComp.
ORANGE
STEREO COMP
DISTORTION 1, 2
This models a BOSS CS-3.
This uses MDP (Multi-Dimensional
Processing) to obtain a consistently natural
playing feel and sound that responds to the
pitch range and dynamics of your phrase.
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
This selects a stereo compressor.
Adjusts the range (time) over which lowlevel signals are boosted. Larger values will
result in longer sustain.
Adjusts the strength of the attack when
picking.
Type Explanation
FAT DS A distortion sound with thick distortion.
LEAD DS
METAL DS
OCT FUZZ A fuzz sound with rich harmonic content.
A-DIST
X-OD
X-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.
DIST This gives a basic, traditional distortion sound.
RAT This models a Proco RAT.
GUV DS This models a Marshall GUV’ NOR.
DIST+ This models the sound of the MXR DISTORTION+.
METAL ZONE
‘60S FUZZ
MUFF FUZZ This models an Electro-Harmonix Big Mu π.
Produces a distortion sound with both the smoothness of an
overdrive along with a deep distortion.
This is a distortion sound that is ideal for performances of heavy
ris.
This uses MDP technology to obtain ideal distortion in all ranges
of the guitar, from low to high.
This is an overdrive that uses MDP to obtain the distortion that’s
most appropriate in each pitch range.
This is a distortion that uses MDP to obtain the distortion that’s
most appropriate in each pitch range.
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.
This eect distorts the sound to create long sustain.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
TYPE Refer to DISTORTION 1, 2 TYPE
DRIVE 0–120 Adjusts the depth of distortion.
TONE -50–+50 Adjusts the tone.
LEVEL 0–100 Adjusts the volume of the eect sound.
Adjusts the tone for the low frequency range.
BOTTOM -50–+50
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
SOLO SW OFF, ON The tone to one suitable for solos.
SOLO LEVEL 0–100
Turning this to the left (counterclockwise)
produces a sound with the low end cut; turning it
to the right boosts the low end in the sound.
Adjusts the volume level when the SOLO SW is
ON.
DISTORTION 1, 2 TYPE
This is a list of distortion types that can be selected for
DISTORTION 1, 2
Type Explanation
MID BOOST
CLEAN BOOST
TREBLE BOOST This is a booster that has bright characteristics.
CRUNCH
NATURAL OD
WARM OD This is a warm overdrive.
This is a booster with unique characteristics in the midrange.
Making the connection before the AIRD PREAMP 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.
A lustrous crunch sound with an added element of amp
distortion.
This is an overdrive sound that provides distortion with a natural
feeling.
5
Eect
AIRD PREAMP 1, 2
This is an amp that uses BOSS’s proprietary cutting-edge AIRD
(Augmented Impulse Response Dynamics) technology to simulate
every detail of a guitar amp as a unied instrument, including
the response and operation of the guitar amp’s circuit and the
interactions between all parts that aect the sound.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
TYPE Refer to AIRD PREAMP TYPE
GAIN 0–120 Adjusts the distortion of the amp.
SAG -10–+10
RESONANCE -10–+10
LEVEL 0–100
BASS 0–100 Adjusts the tone for the low frequency range.
MIDDLE 0–100 Adjusts the tone for the middle frequency range.
TREBLE 0–100 Adjusts the tone for the high frequency range.
PRESENCE 0–100 Adjusts the tone for the ultra high frequency range.
BRIGHT OFF, ON
LOW,
GAIN SW
SOLO SW OFF, ON The tone to one suitable for solos.
SOLO LEVEL 0–100 Adjusts the volume level when the SOLO SW is ON.
MIDDLE,
HIGH
Adjusts the amount by which compression
changes in response to the power amp.
Adjusts the amount by which dynamics is aected
by the interaction between the power amp and
the speaker transformer.
Adjusts the volume of the entire preamp.
* Be careful not to raise the Level setting too high.
Turns the bright setting on/o.
* The BRIGHT setting is available only when
certain AIRD PREAMP TYPE settings are selected.
Provides for selection from three levels of
distortion: LOW, MIDDLE, and HIGH. Distortion will
successively increase for settings of LOW, MIDDLE
and HIGH.
* The sound of each Type is created on the basis
that the Gain is set to MIDDLE. So, normally set
it to MIDDLE.
AIRD PREAMP TYPE List
Category Type Explanation
An amp with a broad frequency
range and an extremely at response.
Good for acoustic guitar.
An unembellished, clean sound that
minimizes the amp’s idiosyncrasies,
such as its trebly character and
boomy low end.
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 to the nuances of your
picking while taking advantage of
the distinctive character of a 4x12”
speaker cabinet.
An amp that delivers the distinctively
great response and tone of a vintage
Marshall, while making it even higher
gain.
A large stack sound that has been
tweaked extensively in the pursuit of
the ultimate metal sound.
Crunch sound that uses MDP to
deliver a crisp tone from all strings.
High-gain sound that uses MDP to
obtain high-gain sound with a wide
range and a great-feeling sense of
separation.
Core sound that uses MDP to
preserve the denition of the sound
even with extreme gain.
This models the sound of the Roland
JC-120.
This models a Fender Bassman 4 x
10” Combo.
Models the sound of the Channel 2
MODERN Mode on the MESA/Boogie
DUAL Rectier.
TYPE
(ADVANCED AMP)
TYPE (CLASSICS)
TRANSPARENT
NATURAL
BOUTIQUE
SUPREME
MAXIMUM
JUGGERNAUT
X-CRUNCH
X-HI GAIN
X-MODDED
JC-120
TWIN COMBO This models a Fender Twin Reverb.
DELUXE COMBO This models a Fender Deluxe Reverb.
TWEED COMBO
DIAMOND AMP This models a VOX AC30.
BRIT STACK This models a Marshall 1959.
RECTI STACK
6
Eect
NOISE SUPPRESSOR 1, 2
This eect 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 eect on the guitar sound, and
does not harm the natural character of the sound.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Adjust this parameter as appropriate for the
volume of the noise. If the noise level is high, a
higher setting is appropriate. If the noise level is
low, a lower setting is appropriate. Adjust this value
THRESHOLD 0–100
RELEASE 0–100
This controls the noise suppressor based on the volume level for
the point specied in Detect.
INPUT
NS INPUT
DETECT
FV OUT
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.
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 eects sound
(such as a delay sound) from being eradicated
by the NS, you should set DETECT to “NS INPUT.”
NSDLY
(Spatial-type eect)
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
NSFV
EQUALIZER 1–4
Adjusts the tone.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
TYPE
PARAMETRIC
Adjusts the tonal quality. You can adjust the tone character in four
bands.
Parameter Value Explanation
LOW GAIN -20–+20dB
HIGH GAIN -20–+20dB
LEVEL -20–+20dB
LOW-MID
FREQ
LOW-MID Q 0.5–16
LOW-MID
GAIN
HIGH-MID
FREQ
HIGH-MID Q 0.5–16
HIGH-MID
GAIN
LOW CUT
HIGH CUT
PARAMETRIC You can adjust the tone character in four bands.
GRAPHIC You can adjust the tone character in ten bands.
Adjusts the tone for the low frequency
range.
Adjusts the tone for the high frequency
range.
Adjusts the overall volume level of the
equalizer.
20.0Hz–16.0kHz
-20–+20dB
20.0Hz–16.0kHz
-20–+20dB
FLAT,
20.0Hz–16.0kHz
20.0Hz–16.0kHz
FLAT
Species the center of the frequency
range that will be adjusted by the LOWMID GAIN.
Adjusts the width of the area aected by
the EQ centered at the LOW-MID FREQ.
Higher values will narrow the area.
Adjusts the low-middle frequency range
tone.
Species the center of the frequency
range that will be adjusted by the HIGHMID GAIN.
Adjusts the width of the area aected by
the EQ centered at the HIGH-MID FREQ.
Higher values will narrow the area.
Adjusts the low-middle frequency range
tone.
This sets the frequency at which the low
cut lter begins to take eect. When FLAT
is selected, the low cut lter will have no
eect.
This sets the frequency at which the high
cut lter begins to take eect. When FLAT
is selected, the high cut lter will have
no eect.
GRAPHIC
Adjusts the tonal quality. You can adjust the tone character in ten
bands.
Parameter Value Explanation
LEVEL -20–+20dB
31.5Hz
63Hz
125Hz
250 Hz
500 Hz
1 kHz
2 kHz
4 kHz
8 kHz
16 kHz
-20–+20dB Adjust the volume of each frequency band.
Adjusts the overall volume level of the
equalizer.
7
Eect
DELAY 1–4
This is a delay with a maximum delay time of 2,000 ms. This eect
is a useful way of adding depth to the sound.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Adjusts the delay time.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
TIME
FEEDBACK 0–100
HIGH CUT
EFFECT LEVEL 0–120 Adjusts the volume of the delay sound.
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
BPM 40–250
1ms–2000ms,
Œ
BPM `–
20.0Hz–20.0kHz
FLAT
specied for each patch. This makes
it easier to achieve eect 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 eect.
When FLAT is selected, the high cut lter
will have no eect.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that
occur each minute
* When you have an external MIDI
device connected, the MASTER BPM
synchronizes to the external MIDI
devices tempo, making it impossible
to set the MASTER BPM. To enable
setting of the MASTER BPM, set “SYNC
CLOCK” (P.39) to “INTERNAL.”
MASTER DELAY
This produces a variety of delay sounds ranging from simple
eects to richly idiosyncratic sounds.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
This selects which type of delay.
* If you switch patches with the Type set to DUAL and then begin
to play immediately after the patches change, you may be
unable to attain the intended eect in the rst portion of what
you perform.
* The stereo eect is cancelled if a mono eect or AIRD PREAMP
is connected after a stereo delay eect.
TYPE
MONO
PAN
STEREO 1
STEREO2
ANALOG This gives a mild analog delay sound. The delay
ANALOG ST
TAPE
REVERSE
SHIMMER
This is a simple mono delay.
This delay is specically for stereo output. This
allows you to obtain the tap delay eect that
divides the delay time, then deliver them to L and
R channels.
EFFECT LEVEL
INPUT
The direct sound is output from the left channel,
and the eect sound is output from the right
channel.
This is a stereo-in/out delay.
time can be set within the range of 12 to 1,200 ms.
This gives a mild analog delay sound. The delay
time can be set within the range of 12 to 1,200 ms.
The direct sound is output from the left channel,
and the eect sound is output from the right
channel.
Provides the characteristic wavering sound of the
tape echo.
This produces an eect where the sound is played
back in reverse.
Delay with pitch-shifted sound mixed in.
DELAY
FEEDBACK
TAP TIME
OUTPUT R
TIME
OUTPUT L
DUAL A delay comprising two dierent delays
WARP
TWIST
connected either in series or in parallel.
Produces a dream-like sound.
Produces an aggressive sense of rotation. Using
this in conjunction with distortion will produce an
even wilder sense of rotation.
COMMON
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
TIME
FEEDBACK 0–100
1ms–2000ms,
Œ
BPM `–
8
“MASTER BPM” specied for each patch.
This makes it easier to achieve eect 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.
Eect
Parameter Value Explanation
HIGH CUT
EFFECT LEVEL 0–120 Adjusts the volume of the delay sound.
MOD RATE 0–100 Adjusts the modulation rate of the delay sound.
MOD DEPTH 0–100
DUCK SENS 0–100
DUCK PRE
DEPTH
DUCK POST
DEPTH
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
BPM 40–250
* The COMMON parameters are not shown if T YPE is set to WARP or TWIST.
20.0Hz–
20.0kHz
FLAT
0–100
0–100
This sets the frequency at which the high cut
lter begins to take eect. When FLAT is selected,
the high cut lter will have no eect.
Adjusts the modulation depth of the delay
sound.
Adjusts the sensitivity at which the volume is
automatically adjusted according to the input.
Higher values allow the adjustment to occur in
response to lower volumes.
The volume being “input” to the delay is
automatically reduced when the input sound is
loud. The amount of reduction increases as this
setting approaches 100.
The volume being “output” to the delay is
automatically reduced when the input sound is
loud. The amount of reduction increases as this
setting approaches 100.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number
of quarter note beats that occur each minute
* When you have an external MIDI device
connected, the MASTER BPM synchronizes to
the external MIDI devices tempo, making it
impossible to set the MASTER BPM. To enable
setting of the MASTER BPM, set “SYNC CLOCK”
( P.39) to “INTERNAL.”
PAN
Parameter Value Explanation
Adjusts the delay time of the right channel delay.
TAP TIME 0–100%
This setting adjusts the R channel delay time
relative to the L channel delay time (considered
as 100%).
TAPE
Parameter Value Explanation
HEAD
1, 1+2, 1+3,
2+3, 1+2+3
Selects the playback head(s) to use. Playback
heads 2/3 provide delay times that are two
times or three times as long as playback head 1.
DUAL
Parameter Value Explanation
This is a delay comprising two dierent delays
SERIES
connected in series.
D1 D2
This is a delay comprising two delays
connected in parallel.
MODE
D1 TYPE
D2 TYPE
D1 TIME
D2 TIME
D1 FEEDBACK
D2 FEEDBACK
D1 HIGH CUT
D2 HIGH CUT
D1 EFFECT LEVEL
D2 EFFECT LEVEL
PARALLEL
This delay lets you specify the L and R
channels independently.
L/R
MONO This is a simple mono delay.
This delay is specically for stereo output. This
PAN
ANALOG This gives a mild analog delay sound.
TAPE
1ms–2000ms,
BPM `–
0–100
20.0Hz–
20.0kHz,
FLAT
0–120
allows you to obtain the tap delay eect that
divides the delay time, then deliver them to L
and R channels.
This setting provides the characteristic
wavering sound of the tape echo.
Adjusts the delay time.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied for
each patch. This makes it easier to achieve
Œ
eect sound settings that match the
tempo of the song.
* If, due to the tempo, the time is longer
than the range of allowable settings, it is
then synchronized to a period either 1/2 or
1/4 of that time.
Adjusts the amount of feedback of the DELAY
1 (or DELAY 2). A higher value will increase the
number of the delay repeats.
This sets the frequency at which the high
cut lter begins to take eect. When FLAT is
selected, the high cut lter will have no eect.
Adjusts the volume of the DELAY 1 (or DELAY
2).
WARP
D1
D2
D1
D2
L
R
SHIMMER
Parameter Value Explanation
PITCH -24–+24
PITCH BAL 0–100
PITCH
FEEDBACK
0–100
Lets you freely specify the amount of pitch shift
for the delay.
Adjusts the balance between the pitch-shifted
sound that is input to the delay and the direct
sound.
Adjusts the amount of feedback for the delay that
is applied to the direct sound.
Parameter Value Explanation
TRIGGER OFF, ON If this is ON, the WARP eect is applied.
LEVEL 0–100 Adjusts the volume of the eect sound.
TWIST
Parameter Value Explanation
RISE0FALL
MODE
RISE0FADE
TRIGGER OFF, ON
RISE TIME 0–100
FALL TIME 0–100
LEVEL 0–100 Adjusts the volume of the eect sound.
Rotation stops when you switch TRIGGER from
ON to OFF.
When you switch TRIGGER from ON to OFF, fadeout occurs while continuing the rotation.
The TWIST eect is applied when you turn this
ON.
This parameter adjusts the amount of time it is to
take for the eect to transition to the maximum.
This parameter adjusts the amount of time it is to
take for the eect to transition to the original.
9
Eect
CHORUS
In this eect, a slightly detuned sound is added to the original
sound to add depth and breadth.
COMMON
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Selection for the chorus mode.
MONO This chorus eect outputs the same sound
STEREO 1
TYPE
STEREO2
DUAL This lets you apply chorus independently to
RAT E
DEPTH 0–100
PRE-DELAY 0.0ms–40.0ms
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
WAVEFORM
LOW CUT
HIGH CUT
DIRECT LEVEL 0–100
0–100,
`
BPM Œ–
TRI
SINE
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
from both L channel and R channel.
This stereo chorus uses spatial synthesis,
with the direct sound output in the L
channel and the eect sound output in the
R channel.
This is a stereo chorus eect that adds
dierent chorus sounds to L channel and R
channel.
the L and R channels.
Adjusts the rate of the chorus eect.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied for
each patch. This makes it easier to achieve
eect 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 eect.
* To use it for doubling eect, set the value
to 0.
Adjusts the time needed for the eect sound
to be output after the direct sound has been
output. By setting a longer pre delay time,
you can obtain an eect that sounds like
more than one sound is being played at the
same time (doubling eect).
Produces a typical chorus eect.
Produces a deeper sense of modulation.
This sets the frequency at which the low
cut lter begins to take eect. When FLAT is
selected, the low cut lter will have no eect.
This sets the frequency at which the high
cut lter begins to take eect. When FLAT
is selected, the high cut lter will have no
eect.
Adjusts the volume of the direct sound.
Setting this to 0 cuts the direct sound.
Parameter Value Explanation
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that occur
each minute
BPM 40–250
* When you have an external MIDI
device connected, the MASTER BPM
synchronizes to the external MIDI devices
tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (P.39) to
“INTERNAL.”
DUAL
Parameter Value Explanation
RAT E
RATE 2
DEPTH
DEPTH 2
PRE-DELAY 1
PRE-DELAY 2
EFFECT LEVEL 1
EFFECT LEVEL 2
WAVEFORM
WAVEFORM 2
LOW CUT 1
LOW CUT 2
HIGH CUT 1
HIGH CUT 2
DIRECT LEVEL 0–100
BPM 40–250
OUTPUT MODE
0–100,
`
BPM Œ–
0–100
0.0ms–40.0ms
0–100
TRI
SINE
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
MONO
STEREO
Adjusts the rate of the chorus eect.
Adjusts the depth of the chorus
eect.
* To use it for doubling eect, set
the value to 0.
Adjusts the time needed for the
eect sound to be output after the
direct sound has been output. By
setting a longer pre delay time, you
can obtain an eect that sounds like
more than one sound is being played
at the same time (doubling eect).
Adjusts the volume of the eect
sound.
Produces a typical chorus eect.
Produces a deeper sense of
modulation.
This sets the frequency at which the
low cut lter begins to take eect.
When FLAT is selected, the low cut
lter will have no eect.
This sets the frequency at which the
high cut lter begins to take eect.
When FLAT is selected, the high cut
lter will have no eect.
Adjusts the volume of the direct
sound.
Setting this to 0 cuts the direct
sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates
the number of quarter note beats
that occur each minute
* When you have an external MIDI
device connected, the MASTER
BPM synchronizes to the external
MIDI devices tempo, making it
impossible to set the MASTER
BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK”
( P.39) to “INTERNAL.”
This setting is appropriate for mono
output.
Produces a rich spaciousness when
stereo output is used.
10
Eect
FX1–FX3
With FX1, FX2 and FX3, you can select the eect to be used from
the following. You can select the same eect for FX1, FX2, and FX3.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
TYPE Refer to FX1/FX2/FX3 TYPE
FX1/FX2/FX3 TYPE
This is a list of the eects that can be selected for FX1/FX2/FX3.
Eect Name Explanation
AC GUITAR SIM
AC RESONANCE
AUTO WAH
CHORUS
CLASSIC-VIBE
COMPRESSOR
DEFRETTER This simulates a fretless guitar.
FEEDBACKER Generates feedback performance.
FLANGER
HARMONIST
HUMANIZER This can create human vowel-like sounds.
OCTAVE
OVERTONE
PAN
PHASER
PITCH SHIFTER
RING MOD
ROTARY This produces an eect like the sound of a rotary speaker.
SITAR SIM This simulates the sound of the sitar.
SLICER
SLOW GEAR This produces a volume-swell eect (“violin-like” sound).
SOUND HOLD
S-BEND Applies intense bending.
TOUCH WAH
TREMOLO Tremolo is an eect that creates a cyclic change in volume.
VIBRATO This eect creates vibrato by slightly modulating the pitch.
This eect simulates the tonal character of an acoustic
guitar.
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.
This changes the ltering over a periodic cycle, providing an
automatic wah eect.
In this eect, a slightly detuned sound is added to the
original sound to add depth and breadth.
Although this resembles a phaser eect, it also provides a
unique undulation that you can’t get with a regular phaser.
This is an eect that produces a long sustain by evening
out the volume level of the input signal. You can also use it
as a limiter to suppress only the sound peaks and prevent
distortion.
The anging eect gives a twisting, jet-airplane-like
character to the sound.
Harmonist is an eect 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 adds a note one octave lower and a note two octaves
lower, creating a richer sound.
This eect uses MDP technology to add new harmonics to
the sound, producing resonance and richness that was not
present in the original sound.
With the volume level of the left and right sides alternately
changing, when playing sound in stereo, you can get an
eect that makes the guitar sound appear to y back and
forth between the speakers.
By adding varied-phase portions to the direct sound, the
phaser eect gives a whooshing, swirling character to the
sound.
This eect changes the pitch of the original sound (up or
down) within a range of two octaves.
This creates a bell-like sound by ring-modulating the guitar
sound with the signal from the internal oscillator. The sound
can be unmusical and lack distinctive pitches.
This consecutively interrupts the sound to create the
impression that a rhythm backing phrase is being played.
You can have sound played on the guitar be held
continuously. This eect allows you to perform the melody
in the upper registers while holding a note in the lower
registers.
You can produce a wah eect with the lter changing in
response to the guitar level.
AC.GUITAR SIMULATOR
This eect simulates the tonal character of an acoustic guitar.
Parameter Value Explanation
BODY 0–100 Adjusts the body resonance.
LOW -50–0–+50
HIGH -50–0–+50
LEVEL 0–100 Species the volume of the eect.
Species the sense of volume for the lowfrequency range.
Species the sense of volume for the highfrequency range.
AC RESONANCE
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
NATURAL A natural and uncolored sound.
TYPE
RESONANCE 0–100
TONE -50-+50 Adjusts the tone.
LEVEL 0–100 Species the volume of the eect.
WIDE
BRIGHT
Mellow sound that emphasizes the body
resonance
Brilliant sound with an extended highfrequency range
Use this knob to adjust the balance between
the body resonance eect of the acoustic
guitar and the direct sound of the pickup.
AUTO WAH
This changes the ltering over a periodic cycle, providing an
automatic wah eect.
Parameter Value Explanation
Selects the wah mode.
LPF
FILTER MODE
RAT E
DEPTH 0–100 Adjusts the depth of the eect.
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
FREQUENCY 0–100
RESONANCE 0–100
WAVEFORM TRI, SINE Selects a wave type.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
HPF
BPF
0–100,
BPM Œ–
Low pass lter. Passes only the low-frequency
region.
High pass lter. Passes only the highfrequency region.
Band pass lter. Passes only the specied
frequency region.
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” specied for
each patch. This makes it easier to achieve
`
eect sound settings that match the
tempo of the song.
* If, due to the tempo, the time is longer
than the range of allowable settings, it is
then synchronized to a period either 1/2
or 1/4 of that time.
Adjusts the center frequency of the Wah
eect.
Adjusts the way in which the wah eect
applies to the area around the center
frequency.
11
Eect
Parameter Value Explanation
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that occur
each minute
BPM 40–250
* When you have an external MIDI
device connected, the MASTER BPM
synchronizes to the external MIDI devices
tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (P.39) to
“INTERNAL.”
CHORUS
In this eect, a slightly detuned sound is added to the original
sound to add depth and breadth.
COMMON
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Selection for the chorus mode.
MONO This chorus eect outputs the same sound
STEREO 1
STEREO2
TYPE
DUAL This lets you apply chorus independently to
PRIME
CE-1 CHORUS
CE-1 VIBRATO
RAT E
DEPTH 0–100
PRE-DELAY *1 0.0ms–40.0ms
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
WAVEFORM *1
0–100,
BPM Œ–
TRI
SINE
`
from both L channel and R channel.
This stereo chorus uses spatial synthesis,
with the direct sound output in the L
channel and the eect sound output in the
R channel.
This is a stereo chorus eect that adds
dierent chorus sounds to L channel and
R channel.
the L and R channels.
This is BOSS’s proprietary chorus sound. It
provides spaciousness and depth that were
not previously obtainable.
The chorus sound of the CE-1.
The vibrato sound of the CE-1.
Adjusts the rate of the chorus eect.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied
for each patch. This makes it easier to
achieve eect 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 eect.
* To use it for doubling eect, set the
value to 0.
Adjusts the time needed for the eect
sound to be output after the direct sound
has been output. By setting a longer pre
delay time, you can obtain an eect that
sounds like more than one sound is being
played at the same time (doubling eect).
Produces a typical chorus eect.
Produces a deeper sense of modulation.
Parameter Value Explanation
LOW CUT *1
HIGH CUT *1
DIRECT LEVEL 0–100
BPM 40–250
*1 Not shown if TYPE is set to CE-1 CHORUS or CE-1 VIBRATO.
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
This sets the frequency at which the low
cut lter begins to take eect. When FLAT
is selected, the low cut lter will have no
eect.
This sets the frequency at which the high
cut lter begins to take eect. When FLAT
is selected, the high cut lter will have no
eect.
Adjusts the volume of the direct sound.
Setting this to 0 cuts the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that occur
each minute
* When you have an external MIDI
device connected, the MASTER BPM
synchronizes to the external MIDI
devices tempo, making it impossible to
set the MASTER BPM. To enable setting
of the MASTER BPM, set “SYNC CLOCK”
( P.39) to “INTERNAL.”
DUAL
Parameter Value Explanation
Adjusts the rate of the chorus eect.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
RAT E
RATE 2
DEPTH
DEPTH 2
PRE-DELAY 1
PRE-DELAY 2
EFFECT LEVEL 1
EFFECT LEVEL 2
WAVEFORM
WAVEFORM 2
LOW CUT 1
LOW CUT 2
HIGH CUT 1
HIGH CUT 2
DIRECT LEVEL 0–100
0–100,
BPM Œ–
0–100
0.0ms–40.0ms
0–100 Adjusts the volume of the eect sound.
TRI
SINE
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
`
specied for each patch. This makes
it easier to achieve eect 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 eect.
* To use it for doubling eect, set the
value to 0.
Adjusts the time needed for the eect
sound to be output after the direct
sound has been output. By setting a
longer pre delay time, you can obtain an
eect that sounds like more than one
sound is being played at the same time
(doubling eect).
Produces a typical chorus eect.
Produces a deeper sense of modulation.
This sets the frequency at which the low
cut lter begins to take eect. When
FLAT is selected, the low cut lter will
have no eect.
This sets the frequency at which the
high cut lter begins to take eect.
When FLAT is selected, the high cut lter
will have no eect.
Adjusts the volume of the direct sound.
Setting this to 0 cuts the direct sound.
12
Eect
Parameter Value Explanation
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that
occur each minute
BPM 40–250
MONO
OUTPUT MODE
STEREO
* When you have an external MIDI
device connected, the MASTER BPM
synchronizes to the external MIDI
devices tempo, making it impossible
to set the MASTER BPM. To enable
setting of the MASTER BPM, set “SYNC
CLOCK” (P.39) to “INTERNAL.”
This setting is appropriate for mono
output.
Produces a rich spaciousness when
stereo output is used.
PRIME
Parameter Value Explanation
SWEETNESS 0–100
BELL 0–100
MONO
OUTPUT MODE
STEREO
Higher values produce a more
enveloping sound.
Higher values produce a more brilliant
sound.
This setting is appropriate for mono
output.
Produces a rich spaciousness when
stereo output is used.
CLASSIC-VIBE
Although this resembles a phaser eect, it also provides a unique
undulation that you can’t get with a regular phaser.
Parameter Value Explanation
MODE
RAT E
DEPTH 0–100 Adjusts the depth of the eect.
EFFECT LEVEL 0–100 Adjusts the tone.
BPM 40–250
CHORUS
VIBRATO
0–100,
BPM Œ–
Direct sound and eect sound are mixed and
output.
Only eect sound is output.
Adjusts the rate of the eect.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied for
each patch. This makes it easier to achieve
`
eect 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 BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that occur
each minute
* When you have an external MIDI device
connected, the MASTER BPM synchronizes
to the external MIDI devices tempo,
making it impossible to set the MASTER
BPM. To enable setting of the MASTER BPM,
set “SYNC CLOCK” (P.39) to “INTERNAL.”
CE-1 CHORUS, CE-1 VIBRATO
Parameter Value Explanation
PREAMP SW OFF, ON
PREAMP GAIN 0–100
PREAMP LEVEL 0–100
Species whether the CE-1’s preamp is
simulated (ON) or not simulated (OFF).
Adjusts the gain of the preamp. Higher
settings will produce distortion.
Adjusts the volume of the preamp.
COMPRESSOR
This is an eect that produces a long sustain by evening out the
volume level of the input signal.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
BOSS COMP
X-COMP
TYPE
SUSTAIN 0–100
ATTAC K 0–100
LEVEL 0–100 Adjusts the volume.
TONE -50–+50 Adjusts the tone.
RATIO 1:1–INF:1 Selects the compression ratio.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
D-COMP
ORANGE This is modeled on the sound of the Dan
STEREO COMP
This models a BOSS CS-3.
This uses MDP to provide a consistently
natural playing feel and sound that responds
to the pitch range and dynamics of your
phrases.
This models a MXR DynaComp.
Armstrong ORANGE SQUEEZER.
This selects a stereo compressor.
Adjusts the range (time) over which lowlevel signals are boosted. Larger values will
result in longer sustain.
Adjusts the strength of the attack when
picking.
13
Eect
DEFRETTER
This simulates a fretless guitar.
Parameter Value Explanation
SENS 0–100
DEPTH 0–100 This controls the rate of the harmonics.
TONE -50–+50
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
ATTAC K 0–100 Adjusts the attack of the picking sound.
RESONANCE 0–100
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
This controls the input sensitivity of the
defretter.
Adjusts the amount of blurring between the
notes.
Adds a characteristically resonant quality to the
sound.
FEEDBACKER
Generates feedback performance.
* Note that the notes you want to apply feedback to must be
played singly and cleanly.
Parameter Value Explanation
NORMAL
MODE
OSC
TRIGGER OFF, ON Feedback is applied if this is turned ON.
DEPTH *1 0–100
RISE TIME *2 0–100
OCT RISE TIME
*2
FEEDBACK *2 0–100 Adjusts the volume of the feedback sound.
OCT
FEEDBACK*2
VIB RATE *2 0–100
VIB DEPTH *2 0–100
*1 MODE=NORMAL only
*2 MODE=OSC only
0–100
0–100
Analyzes the pitch of the guitar sound being
input, and then creates a feedback sound.
An articial feedback sound will be created
internally. When OSC is selected, the eect is
activated after a single note is played and the
note stabilizes. A feedback eect is created when
the eect switches on; the feedback disappears
when the OSC eect switches o.
Adjusts the ease with which feedback will occur
when the FEEDBACKER is on.
This determines the time needed for the volume
of the feedback sound to reach its maximum
from the moment the eect is turned on.
This determines the time needed for the volume
of the one octave higher feedback sound to
reach its maximum from the moment the eect
is turned on.
Adjusts the volume of the one octave higher
feedback sound.
Adjusts the rate of the vibrato when the
FEEDBACKER is on.
Adjusts the depth of the vibrato when the
FEEDBACKER is on.
FLANGER
The anging eect gives a twisting, jet-airplane-like character to
the sound.
Parameter Value Explanation
This sets the rate of the anging eect.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied
RAT E
DEPTH 0–100
RESONANCE 0–100
MANUAL 0–100
TURBO OFF, ON
WAVEFORM TRI, SINE Selects the type of wave.
STEP RATE
SEPARATION
EFFECT LEVEL 0–100 Adjusts the volume of the anger.
LOW DAMP -100–0
HIGH DAMP -100–0
LOW CUT
HIGH CUT
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
BPM 40–250
0–100,
`
BPM Œ–
OFF,
0–100,
`
BPM Œ–
0, 15, 30, 45, 60,
75, 90, 105, 120,
135, 150, 165, 180
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
for each patch. This makes it easier
to achieve eect sound settings that
match the tempo of the song.
* If, due to the tempo, the time is longer
than the range of allowable settings, it
is then synchronized to a period either
1/2 or 1/4 of that time.
Determines the depth of the anging
eect.
Determines the amount of resonance
(feedback). Increasing the value will
emphasize the eect, creating a more
unusual sound.
Adjusts the center frequency at which to
apply the eect.
If this is “ON,” a more intense eect is
produced.
Adjusts the rate of the step function which
varies the rotation in a step-wise manner.
Higher settings make the change occur in
smaller steps. Turn this “OFF” if you don’t
want to use the step function.
Adjusts the diusion. The diusion
increases as the value increases.
Adjusts the amount of feedback for the
low-frequency region.
Adjusts the amount of feedback for the
high-frequency region.
This sets the frequency at which the low
cut lter begins to take eect. When FLAT
is selected, the low cut lter will have no
eect.
This sets the frequency at which the high
cut lter begins to take eect. When FLAT
is selected, the high cut lter will have no
eect.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that
occur each minute
* When you have an external MIDI
device connected, the MASTER BPM
synchronizes to the external MIDI
devices tempo, making it impossible to
set the MASTER BPM. To enable setting
of the MASTER BPM, set “SYNC CLOCK”
( P.39) to “INTERNAL.”
14
Eect
HARMONIST
Harmonist is an eect 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
Selects the number of voices for the pitch shift sound.
VOICE
HR1:HARMONY
HR2:HARMONY
1VOICE One -voice pitch-shifted sound output in
2MONO Two-voice pitch-shifted sound (HR1, HR2)
2STEREO Two-voice pitch-shifted sound (HR1, HR2)
-2oct–+2oct,
USER
mono.
output in mono.
output through left and right channels.
This determines the pitch of the sound
added to the input sound, when you are
making a harmony.
It allows you to set it by up to 2 octaves
higher or lower than the input sound. When
the scale is set to USER, this parameter sets
the user scale number to be used.
The key setting corresponds to the key of
the song (¾, ²) as follows.
Major
USER SCALE
Parameter Value
C
²
D
D
²
E
E
F
¾
F
G
²
A
A
²
B
B
Specify the note name of the output sound. The minus (-) and plus (+) symbols
indicate sounds above or below the specied original note.
Triangles next to the note names indicate octaves.
One downward-pointing triangle indicates a note one octave below the note
displayed; two triangles indicates a two-octave drop.
One upward-pointing triangle indicates a note one octave above the note displayed;
two triangles indicates a two-octave rise.
* Eective with USER selected for HARM parameter.
C– C–C– C– C
D²– D²–D²– D²– D
D– D–D– D– D
E²– E²–E²– E²– E
E– E–E– E– E
F– F–F– F– F
F¾– F¾–F¾– F¾– F
G– G–G– G– G
A²– A²–A²– A²– A
A– A–A– A– A
B²– B²–B²– B²– B
B– B–B– B– B
²
²
¾
²
²
KEY
HR1:LEVEL
HR2:LEVEL
HR1:PRE-DELAY
HR2:PRE-DELAY
HR1:FEEDBACK 0–100
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
BPM 40–250
C (Am)–
B (G#m)
0–100 Adjusts the volume of the harmony sound.
0–300ms,
BPM `–
Minor
Major
Minor
Adjusts the time from when the direct
sound is heard until the harmonist sounds
are heard. Normally you can leave this set
at 0 ms.
* When set to BPM, the value of each
parameter will be set according to the
Œ
value of the “MASTER BPM” specied
for each patch. This makes it easier to
achieve eect sound settings that match
the tempo of the song.
* If, due to the tempo, the time is longer
than the range of allowable settings, it is
then synchronized to a period either 1/2
or 1/4 of that time.
Adjusts the feedback amount of the
harmonist sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the
number of quarter note beats that occur
each minute
* When you have an external MIDI
device connected, the MASTER BPM
synchronizes to the external MIDI devices
tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (P.39) to
“INTERNAL.”
15
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