Boss GT-1000 Parameter Guide

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Page 1

Parameter Guide

Page 2

Contents

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

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

Eect 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

Eect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 eect sound is mono.

5 5

This eect sound is output with two channels.

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.

Page 3

Basic Operation

Basic Procedure for Eect Editing

The edit screens show the block conguration (eect chain) of all eects provided by the GT-1000, as well as the output and send/ return. You can edit from this eect chain display by selecting the block that you want to edit.

1. Press the [EFFECT] button.

The edit screen (eect 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

Eect Placement

By moving blocks such as eects, output, and send/return, you can freely change the order in which the eects 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 eect on/o.

Eects 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 diers depending on the

eect.

Changing the placement of eects etc.

1. Press the [EFFECT] button.

The eect 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.

Page 4

Basic Operation

Using STOMPBOX

Your preferred settings for each eect 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 eects. 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 eect you’re going

to edit.

3. Use the PAGE [

page.

4. Press the [5] knob.

The STOMPBOX select window appears.

] [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 eect you’re going

to save.

3. Use the PAGE [

page.

] [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 eect 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.

] [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.

Page 5

Eect

COMPRESSOR

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

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect 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 ris.

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 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 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 eect 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.

Page 6

Eect

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 unied instrument, including the response and operation of the guitar amp’s circuit and the interactions between all parts that aect the sound.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect 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 aected 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 denition 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 Rectier.

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

Page 7

Eect

NOISE SUPPRESSOR 1, 2

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

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

Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise 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 specied 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 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

NSFV

EQUALIZER 1–4

Adjusts the tone.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect 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

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.

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

Adjusts the low-middle frequency range tone.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

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.

Page 8

Eect

DELAY 1–4

This is a delay with a maximum delay time of 2,000 ms. This eect is a useful way of adding depth to the sound.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect 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,

BPM `–

20.0Hz–20.0kHz FLAT

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 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 eects to richly idiosyncratic sounds.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect 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 eect in the rst portion of what you perform.

* The stereo eect is cancelled if a mono eect or AIRD PREAMP

is connected after a stereo delay eect.

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 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.

EFFECT LEVEL

INPUT

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

This is a 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 eect sound is output from the right channel.

Provides the characteristic wavering sound of the tape echo.

This produces an eect 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 dierent 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,

BPM `–

“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.

Page 9

Eect

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

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 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 dierent 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 specically 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 eect 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” specied for each patch. This makes it easier to achieve

eect sound settings that match the tempo of the song.

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

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

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

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the volume of the DELAY 1 (or DELAY

2).

WARP

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 eect is applied.

LEVEL 0–100 Adjusts the volume of the eect 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 eect 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 eect is applied when you turn this ON.

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

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

Page 10

Eect

CHORUS

In this eect, 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 eect on/o.

Selection for the chorus mode.

MONO This chorus eect 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 eect 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 eect sound output in the R channel.

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

the L and R channels.

Adjusts the rate of the chorus 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.

Adjusts the depth of the chorus eect.

* To use it for doubling eect, set the value

to 0.

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

Produces a typical chorus eect.

Produces a deeper sense of modulation.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the volume of the direct sound.

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

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 eect.

Adjusts the depth of the chorus eect.

* To use it for doubling eect, set

the value to 0.

Adjusts the volume of the eect sound.

Produces a typical chorus eect.

Produces a deeper sense of modulation.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the volume of the direct sound.

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

This setting is appropriate for mono output.

Produces a rich spaciousness when stereo output is used.

Page 11

Eect

FX1–FX3

With FX1, FX2 and FX3, you can select the eect to be used from the following. You can select the same eect for FX1, FX2, and FX3.

Parameter Value Explanation

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

TYPE Refer to FX1/FX2/FX3 TYPE

FX1/FX2/FX3 TYPE

This is a list of the eects that can be selected for FX1/FX2/FX3.

Eect 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 eect like the sound of a rotary speaker.

SITAR SIM This simulates the sound of the sitar.

SLICER

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

SOUND HOLD

S-BEND Applies intense bending.

TOUCH WAH

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

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

This eect 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 eect.

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

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

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

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

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

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

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

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

This eect 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 eect allows you to perform the melody in the upper registers while holding a note in the lower registers.

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

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 -50–0–+50

HIGH -50–0–+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.

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 Species the volume of the eect.

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 eect 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 eect.

Parameter Value Explanation

Selects the wah mode.

LPF

FILTER MODE

RAT E

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

EFFECT LEVEL 0–100 Adjusts the volume of the eect 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 specied 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” specied for each patch. This makes it easier to achieve

eect sound settings that match the tempo of the song.

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

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

Adjusts the center frequency of the Wah eect.

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

Page 12

Eect

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

CHORUS

In this eect, 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 eect on/o.

Selection for the chorus mode.

MONO This chorus eect 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 eect 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 eect sound output in the R channel.

This is a stereo chorus eect that adds dierent 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 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.

Adjusts the depth of the chorus eect.

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

value to 0.

Produces a typical chorus eect.

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 eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the volume of the direct sound.

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

DUAL

Parameter Value Explanation

Adjusts the rate of the chorus eect.

* 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 eect sound.

TRI

SINE

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz, FLAT

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.

Produces a typical chorus eect.

Produces a deeper sense of modulation.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the volume of the direct sound.

Setting this to 0 cuts the direct sound.

Page 13

Eect

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

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 eect, 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 eect. EFFECT LEVEL 0–100 Adjusts the tone.

BPM 40–250

CHORUS

VIBRATO

0–100, BPM Œ–

Direct sound and eect sound are mixed and output.

Only eect sound is output.

Adjusts the rate of the 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.

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

CE-1 CHORUS, CE-1 VIBRATO

Parameter Value Explanation

PREAMP SW OFF, ON

PREAMP GAIN 0–100

PREAMP LEVEL 0–100

Species 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 eect that produces a long sustain by evening out the volume level of the input signal.

Parameter Value Explanation

ON/OFF OFF, ON Turns this eect 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.

Page 14

Eect

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 eect 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

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

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

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

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

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

Adjusts the volume of the 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 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

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 eect sound settings that match the tempo of the song.

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

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

Determines the depth of the anging eect.

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

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

If this is “ON,” a more intense eect 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 diusion. The diusion 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 eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the 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

Page 15

Eect

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

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

Specify the note name of the output sound. The minus (-) and plus (+) symbols indicate sounds above or below the specied 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.

* Eective 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

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

value of the “MASTER BPM” specied for each patch. This makes it easier to achieve eect sound settings that match the tempo of the song.

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

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

Adjusts the feedback amount of the harmonist sound.

Adjusts the 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

Page 16

Eect

HUMANIZER

This can create human vowel-like sounds.

Parameter Value Explanation

This sets the mode that switches the vowels.

MODE

VOWEL 1 a, e, i, o, u Selects the rst vowel.

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

SENS *1 0–100

RAT E

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

MANUAL *2 0–100

LEVEL 0–100 Adjusts the tone.

BPM 40–250

PICKING

AUTO

0–100, BPM Œ–

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

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

Adjusts the sensitivity of the humanizer.

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

Adjusts the cycle for changing the two vowels.

* When set to BPM, the value of each

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

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

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

This determines the point where the two vowels are switched. When it is set to 50, VOWEL 1 and VOWEL 2 are switched in the same length of time. When it is set to lower than 50, the time for VOWEL 1 is shorter. When it is set to higher than 50, the time for VOWEL 1 is longer.

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

OCTAVE

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

Parameter Value Explanation

Adds a note one octave lower and a note two

MONO

TYPE

POLY

-2OCT *1 0–100

-1OCT *1 0–100

DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.

RANGE *2 0–100

OCTAVE LEVEL *2 0–100

*1 Setting available when TYPE is set to MONO.

*2 Setting available when TYPE is set to POLY.

octaves lower than the input.

This supports mono input.

Adds a note one octave lower than the input.

This supports polyphonic input.

Adjusts the volume of the sound two octave below.

Adjusts the volume of the sound one octaves below.

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

Adjusts the volume of the sound one octave below.

OVERTONE

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

Parameter Value Explanation

LOWER LEVEL 0–100

UPPER LEVEL 0–100

UNISON LEVEL 0–100

DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.

DETUNE 0–100

OUTPUT MODE

LOW -50–+50

HIGH -50–+50

MONO, STEREO

Adjusts the volume of the harmonic one octave below.

Adjusts the volume of the harmonic one octave above.

Adjusts the volume of added sound whose pitch is slightly shifted relative to the direct sound.

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

Selects the type of output.

Adjusts the tonal character of the low-frequency range.

Adjusts the tonal character of the high-frequency range.

*1 Setting available when MODE is set to PICKING.

*2 Setting available when MODE is set to AUTO.

Page 17

Eect

PAN

Parameter Value Explanation

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”

RAT E

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

WAVEFORM 0–100

EFFECT LEVEL 0–100 Adjusts the volume.

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

BPM 40–250

0–100, BPM Œ–

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 changes in volume level.

A higher value will steepen wave’s shape.

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

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 PHASER type.

TYPE

STAGE *1

RAT E

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

RESONANCE *1 0–100

MANUAL *1 0–100

PRIME

SCRIPT

2, 4, 8, 16, 24STAGE

0–100, BPM Œ–

An original BOSS phaser. This provides modulation that is not obtainable from previous units.

Models the MXR Phase 90 which was manufactured during the ‘70s.

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

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.

Parameter Value Explanation

WAVEFORM *1 TRI, SINE Selects the type of wave.

This sets the cycle of the step function that changes the rate and depth. When it is set to a higher value, the change will be ner. Set this to “O” when not using the Step function.

* When set to BPM, the value of each

STEP RATE *1

BI-PHASE *1 OFF, ON

SEPARATION *1

LOW DAMP *1 -100–0

HIGH DAMP *1 -100–0

LOW CUT *1

HIGH CUT *1

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

BPM 40–250

*1 Setting available when TYPE is set to PRIME.

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

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.

Species whether the two phase shift circuits are connected in series (ON) or not (OFF).

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

Adjusts the amount of feedback for the lowfrequency region.

Adjusts the amount of feedback for the high-frequency region.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the 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

Page 18

Eect

PITCH SHIFTER

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

Parameter Value Explanation

Selects the number of voices for the pitch shift sound.

1VOICE One-voice pitch-shifted sound output in

VOICE

PS1:PITCH

PS2:PITCH

DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.

PS1:MODE

PS2:MODE

PS1:FINE

PS2:FINE

PS1:PRE-DELAY

PS2:PRE-DELAY

PS1:LEVEL

PS2:LEVEL

PS1:FEEDBACK 0–100

BPM 40–250

2MONO Two-voice pitch-shifted sound (PS1, PS2)

2STEREO Two-voice pitch-shifted sound (PS1, PS2)

-24–+24

Selection for the pitch shifter mode.

FAST, MEDIUM, SLOW

MONO

-50–+50

0ms–300ms,

BPM `–

0–100 Adjusts the volume of the pitch shifter.

mono.

output in mono.

output through left and right channels.

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

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

MONO is used for inputting single notes.

* You may be unable to produce

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

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

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

* When set to BPM, the value of each

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

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

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

Adjusts the feedback amount of the pitch shift 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

RING MOD.

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.

Parameter Value Explanation

If this is ON, the oscillator frequency changes according to the pitch of the input sound,

INTELLIGENT OFF, ON

FREQUENCY 0–100

FREQ MOD RATE

FREQ MOD DEPTH

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

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

BPM 40–250

0–100, BPM Œ–

0–100

producing a pitched sound. In this case, the expected eect does not occur if the pitch of the guitar sound is not detected correctly. We recommend that you use this with singlenote playing.

Adjusts the frequency of the internal oscillator.

Adjusts the rate at which the internal oscillator is modulated.

* 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 to which the internal oscillator is modulated.

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

Page 19

Eect

ROTARY

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

Parameter Value Explanation

SPEED SELECT SLOW, FAST

SLOW RATE

FAST RATE

EFFECT LEVEL 0–100 Adjusts the volume.

RISE TIME 0–100

FALL TIME 0–100

MIC DISTANCE 0–100

ROTOR/HORN 100:0–0:100

DRIVE 0–100

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

BPM 40–250

0–100, BPM Œ–

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.”

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

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

Adjusts the distance between the horn/ rotor and the mic.

Adjusts the volume balance between the horn and rotor.

Adjusts the amount of distortion in the preamp.

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

SITAR SIM.

SLICER

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

Parameter Value Explanation

PATTERN P1–P20

RAT E

TRIGGER OFF, ON

EFFECT LEVEL

ATTAC K 0–100

DUTY 1–99

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

BPM 40–250

0–100, BPM Œ–

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

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

Adjust the rate at which the sound will be cut.

* When set to BPM, the value of each parameter

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

that match the tempo of the song.

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

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

When you switch this from OFF to ON, the rhythm pattern returns to its beginning.

5 When the patch is written, the TRIGGER

parameter is stored in the OFF state.

Adjusts the volume of the attacks for the slice pattern.

Adjusts the duration of the sound for the slice pattern.

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

This simulates the sound of the sitar.

Parameter Value Explanation

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

SENS 0–100

DEPTH 0–100 This adjusts the amount of eect applied.

TONE -50–+50

EFFECT LEVEL 0–100 Adjust the volume of the sitar sound.

RESONANCE 0–100 This adjusts the undulation of the resonance.

BUZZ 0–100

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

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

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

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

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 gear can be

SENS 0–100

RISE TIME 0–100

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

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.

Page 20

Eect

SOUND HOLD

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

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

are played simultaneously.

Parameter Value Explanation

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

TRIGGER OFF, ON

RISE TIME 0–100

EFFECT LEVEL

0–120 Adjusts the volume of the hold sound.

5 It is assumed that this parameter will be

assigned to the footswitch.

5 Patches are written with the HOLD parameter

set to O.

Adjusts how rapidly the Sound Hold sound is produced.

S-BEND

Applies intense bending.

Parameter Value Explanation

The eect is applied when you switch this from

TRIGGER OFF, ON

PITCH

RISE TIME 0–100

FALL TIME 0–100

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

OFF to ON.

When the patch is written, this parameter is stored in the OFF state.

Adjusts the amount of pitch shift in octave steps.

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

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

TREMOLO

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

Parameter Value Explanation

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

RAT E

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

WAVEFORM 0–100

EFFECT LEVEL 0–100 Adjusts the volume.

TRIGGER OFF, ON Turns the tremolo on/o.

RISE TIME 0–100

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

BPM 40–250

0–100, BPM Œ–

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

Species the time from when trigger turns on until the specied tremolo eect is obtained.

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

VIBRATO

TOUCH 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.

LPF Low pass lter. Passes only the low-frequency region.

FILTER MODE

POLARITY

SENS 0–100

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

RESONANCE 0–100

DECAY 0–100 Adjusts the rate at which the lter is moved.

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

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

HPF

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.

High pass lter. Passes only the high-frequency region.

Band pass lter. Passes only the specied frequency region.

Species the sensitivity with which the lter moves in the direction specied 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.

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

RAT E

DEPTH 0–100 Adjusts the depth of the vibrato.

COLOR 0–100

EFFECT LEVEL

TRIGGER OFF, ON This selects on/o of the vibrato.

RISE TIME 0–100

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

BPM 40–250

0–100,

BPM Œ–

0–100 Adjusts the volume.

“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.

Higher settings produce a more complex modulation.

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

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

Page 21

REVERB

This eect adds reverberation to the sound.

Parameter Value Explanation

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

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

HALL 1

HALL 2

PLATE

ROOM1

ROOM2

TYPE

AMBIENCE

SPRING

SHIMMER

DUAL

TERA ECHO

COMMON

Parameter Value Explanation

TIME *1 0.1s–10.0s Adjusts the length (time) of reverberation.

TONE -50–0–+50 Adjusts the tonal character of the reverb.

DENSITY *1 1–10 Adjusts the density of the reverb sound.

EFFECT LEVEL 0–100 Adjusts the volume of the reverb sound.

PRE-DELAY 0ms–200ms

LOW CUT *1

HIGH CUT *1

LOW DAMP *1 -50–0–+50

HIGH DAMP *1 -50–0–+50

MOD RATE *1 0–100

MOD DEPTH *1 0–100

DUCK SENS *1 0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz, FLAT

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.

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

Simulates the reverberation of a room larger than ROOM1.

Simulates an ambience mic (o-mic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.

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

Simulates reverberation with a distinctively sparkling high-frequency range.

Allows you to use two reverbs simultaneously.

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

Adjusts the time until the reverb sound appears.

This sets the frequency at which the low cut lter begins to take eect. When FLAT is selected, the low cut lter will have no eect.

This sets the frequency at which the high cut lter begins to take eect. When FLAT is selected, the high cut lter will have no eect.

Adjusts the amount of attenuation for the low frequency region.

Adjusts the amount of attenuation for the high frequency region.

Adjusts the speed at which the reverb sound is modulated.

Adjusts the depth to which the reverb sound is modulated.

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.

Parameter Value Explanation

When the input sound is loud, this

DUCK PRE DEPTH *1

DUCK POST DEPTH *1

DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.

*1 This is not shown if T YPE is set to TERA ECHO.

0–100

automatically reduces the volume that is being input to the reverb and delay. As this setting approaches 100, the input volume reduction is applied more deeply.

When the input sound is loud, this automatically reduces the volume that is being output from the reverb and delay. As this setting approaches 100, the output volume reduction is applied more deeply.

SHIMMER

Parameter Value Explanation

PITCH 1

PITCH 2

LEVEL 1

LEVEL 2

-24–+24 Adjusts the amount of pitch shift.

0–100 Adjusts the volume of the pitch shifter.

DUAL

Parameter Value Explanation

TYPE1

TYPE2

TIME1

TIME2

TONE 1

TONE 2

EFFECT LEVEL 1

EFFECT LEVEL 2

DENSITY1

DENSITY2

PRE-DELAY 1

PRE-DELAY 2

LOW CUT 1

LOW CUT 2

HIGH CUT 1

HIGH CUT 2

HALL, PLATE, ROOM

0.1–10.0s

-50–+50 Adjusts the tonal character of the reverb.

0–100 Adjusts the volume of the reverb sound.

1–10 Adjusts the density of the reverb sound.

0ms–200ms

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz, FLAT

This selects the reverb type.

Adjusts the length (time) of reverberation.

Adjusts the time until the reverb sound appears.

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.

Eect

Page 22

Eect

TERA ECHO

Parameter Value Explanation

Selects the mode of the eect sound.

MONO The L and R channels will both output the same

MODE

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

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

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

TONE -50–+50 Adjusts the tone.

DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.

TRIGGER OFF, ON

STEREO 1 The R channel outputs the direct sound, and the

STEREO2 The eect is applied separately to the L and R

sound.

L channel outputs the eect sound.

channels.

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

5 Patches are written with the parameter set

to O.

PEDAL FX

You can control the wah eect or get a pitch bend eect in real time by adjusting the GT-1000’s expression pedal or the expression pedal connected to the CTL 4, 5/EXP 2 jack or CTL 6, 7/ EXP 3 jack.

Parameter Value Explanation

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

This lets you use the pedal to get a pitch bend

PEDAL BEND

TYPE

WAH

PEDAL BEND

Parameter Value Explanation

PITCH -24–+24

PEDAL POSITION

EFFECT LEVEL

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

0–100

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

eect.

* Because of the need to analyze the pitch,

chords (two or more sounds played simultaneously) cannot be played.

You can control the wah eect in real time by adjusting the GT-1000’s expression pedal or the expression pedal connected to the CTL 4, 5/EXP 2 jack or CTL 6, 7/EXP 3 jack.

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 expression pedal or similar controller.

WAH

Parameter Value Explanation

Selects the type of wah.

CRY WAH

VO WAH This models the sound of the VOX V846.

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

WAH TYPE

PEDAL POSITION

PEDAL MIN 0–100

PEDAL MAX 0–100

EFFECT LEVEL

DIRECT MIX 0–100 Adjusts the volume of the direct sound.

LIGHT WAH

7STRING WAH

RESO WAH

0–100

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

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.

Adjusts the position of the wah pedal.

* This parameter is used after it’s been

assigned to an expression 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.

FOOT VOLUME

This is a volume control eect.

Normally, this is controlled with the GT-1000’s expression pedal or the expression pedal connected to the CTL 4, 5/EXP 2 jack or CTL 6, 7/EXP 3 jack.

Parameter Value Explanation

VOLUME MIN 0–100

VOLUME MAX

VOLUME CURVE

0–100

SLOW1, SLOW2, NORMAL, FAST

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

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

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

Volume

FAST

NORMAL

SLOW 2

SLOW 1

PEDAL POSITION

When the pedal is fully raised

0–100 Adjusts the volume.

When the pedal is fully advanced

Page 23

Eect

DIVIDER 1–3

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

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

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

DIVIDER 1 DIVIDER 3 DIVIDER 2

MIXER 3

Parameter Value Explanation

MODE

CH SELECT *1 A, B Selects the channel to use.

A:DYNAMIC *2

B:DYNAMIC *2

A:DYNA SENS *2

B:DYNA SENS *2

A:FILTER *2

B:FILTER *2

A:CUTOFF FREQ *2

B:CUTOFF FREQ *2

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

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

OFF DYNAMIC will not be used.

POLAR+

POLAR-

0–100 Species the picking sensitivity.

OFF The lter will not be used.

LPF

HPF

100Hz, 125Hz, 160Hz, 200Hz, 250Hz, 315Hz, 400Hz, 500Hz, 630Hz, 800Hz,

1.00kHz,

1.25kHz,

1.60kHz,

2.00kHz,

2.50kHz,

3.15kHz,

4.00kHz

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

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

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

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

Cuto frequency

MIXER 2

MIXER 1

Exchanging the preamp settings between channels

Here’s how to exchange the preamp settings between channels A and B.

1. Press the [EFFECT] button.

2. Turn knob [6] to select the DIVIDER that you want

to edit.

3. Press the [3] knob.

MIXER 1–3

Parameter Value Explanation

STEREO

MODE

PAN L/R

A/B BALANCE 100:0–0:100

SPREAD 0–100

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

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

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

* This is shown only if DIVIDER MODE is set

to “DUAL.”

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

* This is shown only if DIVIDER MODE is set

to “DUAL.”

*1 Setting available when MODE is set to SINGLE.

*2 Setting available when MODE is set to DUAL.

Page 24

Eect

SEND/RETURN 1, 2

You can connect an external eects processor between the SEND jack and RETURN jack, and use it as one of the GT-1000’s eects processors.

The sound that is input to SEND/RETURN within the eect chain will be output to the SEND jack. The sound that is input via the RETURN jack will be input to SEND/RETURN within the eect chain.

Parameter Value Explanation

ON/OFF OFF, ON Turns the SEND/RETURN on/o.

STEREO LINK OFF, ON

NORMAL

If this is on, you can use the two sets of SEND and RETURN jacks to connect a stereo eect unit.

The input to SEND/RETURN within the eect chain will be output to the SEND jack, and the input from the RETURN jack will be output following SEND/RETURN.

Use this setting if you want to connect an external eects processor in series within the GT-1000’s eect chain.

Parameter Value Explanation

Adjusts the phase between the GT-1000’s internal processing and an external eect unit

ADJUST 0–100

connected to the SEND/RETURN jacks.

You can adjust this if the MODE parameter is set to NORMAL or DIRECT MIX.

LOOPER

Parameter Value Explanation

PLAY LEVEL 0–100 Species the loop playback level.

MODE

SEND LEVEL 0–200

RETURN LEVEL

DIRECT MIX

BRANCH OUT

0–200

SEND RETURN

The input to SEND/RETURN within the eect chain will be output to the SEND jack, and the input from the RETURN jack and the input to SEND/RETURN (the direct sound) will be mixed and output following SEND/RETURN.

Use this when you want to mix the GT-1000’s eects sounds together with the sound with the external eects device applied to it.

SEND RETURN

The input to SEND/RETURN within the eect chain will be output to the SEND jack. The input from the RETURN jack will be ignored.

For example, by placing SEND/RETURN in the GT-1000’s eect chain in front of reverb or delay, this allows you to use the SEND jack as a dry out.

SEND

Adjusts the volume of the output to the external eects device.

Adjusts the volume of the input from the external eects device.

* You can adjust this if the MODE parameter is

set to NORMAL or DIRECT MIX.

Page 25

Eect

MAIN SP.SIMULATOR L, MAIN SP.SIMULATOR R, SUB SP.SIMULATOR L, SUB SP.SIMULATOR R

Parameter Value Explanation

STEREO LINK OFF, ON

Select the speaker type.

OFF This turns o the speaker simulator.

ORIGINAL

1x8”

1x10”

1x12”

L:SP TYPE

R:SP TYPE *1

L:MIC TYPE

R:MIC TYPE *2

L:MIC DISTANCE

R:MIC DISTANCE *2

L:MIC POSITION

R:MIC POSITION *2

L:MIC LEVEL

R:MIC LEVEL *2

L:DIRECT MIX

R:DIRECT MIX *2

2x12”

4x10”

4x12”

8x12”

USER1–4

This setting selects the simulated mic type.

DYN57

DYN421

CND451

CND87

FLAT

SHORT, MEDIUM, LONG

This simulates the mic position.

CENTER

1cm-10cm

0–100 Adjusts the volume of the mic.

0–100 Adjusts the volume of the direct sound.

If this is OFF, L and R can be independently positioned in the chain; if this is ON, they are positioned as a set (stereo).

This is the built-in speaker of the amp you selected with AIRD 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.

You can create an original SP TYPE by using a dedicated tool to load IR (Impulse Response) data into the GT-1000.

Download the dedicated tool from the BOSS website.

http://www.boss.info/support/

This is the sound of the SHURE SM-57. General dynamic mic used for instruments and vocals. Optimal for use in miking guitar amps.

This is the sound of the SENNHEISER MD-421. Dynamic mic with extended low end.

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

This is the sound of the NEUMANN U87. Condenser mic with at response.

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

Simulates the distance between the mic and speaker.

The distance from the speakers is farther in the order of SHORT<MEDIUM<LONG.

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

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

MASTER

These settings are applied to the overall patch.

Parameter Value Explanation

PATCH LEVEL 0–200 Adjusts the volume of the patch.

BPM 40–250

KEY

AMP CTL1

AMP CTL2

C (Am)– B (G#m)

By connecting your guitar amp’s channel switching jack to the GT-1000’s AMP CONTROL jack, you can then use Amp Control to switch the amp channel. This combining of the GT-1000 and the amp channels allows you to get an even wider variety of distortion sounds.

Since the Amp Control setting is handled as one of the eects parameters saved to each individual patch, it allows you to switch guitar amp channels with each patch.

OFF

Adjusts the BPM value for each patch.

* 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

Guitar Amplier

(Channel switching jack)

GT-1000

(AMP CONTROL jack)

Guitar Amplier

(Channel switching jack)

*1 This is shown only if OUTPUT SELECT is set to “RECORDING.”

*2 This is shown only if OUTPUT SELECT is set to “LINE/PHONES.”

CARRYOVER OFF, ON

GT-1000

(AMP CONTROL jack)

You can specify whether the eect sound is carried-over when you switch patches.

Page 26

When using an external expression pedal or other controller that generates a consecutive change in the value, the value of the setting changes accordingly, within the range set by the minimum and maximum values. Also, when the target is of an on/o type, the median value of the received data is used as the dividing line in determining whether to switch it on or o.

When using the footswitch:

MAX

MIN

Allowable Parameter

Settings Range

OFF ON

When using the expression pedal:

MAX

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

INPUT (Input Level)

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

MEMO

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

INPUT SENS (Input Sens)

Parameter Value Explanation

INPUT SENS 0–100

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

MIN

Allowable Parameter

Settings Range

0 127 When the pedal is fully raised

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

Value

OFF

0 127 When the pedal is fully raised

When the pedal is fully advanced

When the pedal is advanced halfway

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 “minimum” is set to a higher value than the

“maximum,” the change in the parameter is reversed.

* The values of settings can change if the target is changed

after the “minimum” and “maximum” settings have been made. If you’ve changed the target, be sure to recheck the “minimum” and “maximum” settings.

Page 35

About the Range of a Controller’s Change

This sets the operational range within which the value of the setting changes when an expression pedal or other controller that changes the value consecutively is used as the source. If the controller is moved outside the operational range, the value does not change, it stops at “minimum” or “maximum.”

(Example) With ACT LOW: 40, ACT HIGH: 80

MAX

MIN

Allowable Parameter

Settings Range

0 127

40 80

When the pedal is fully raised

Value

OFF

0 127 When the pedal is fully raised

ACT LOW ACT HIGH When the

40 8060

Center Value

ACT LOW ACT HIGH

* When using a footswitch or other on/o switching

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

Degree to Which Expression Pedal Is Depressed

pedal is fully advanced

Degree to Which Expression Pedal Is Depressed

When the pedal is fully advanced

Parameter Value Explanation

CC1#

CC2#

CC1 VALUE

CC2 VALUE

OFF, 0–127

0–127 Species the value of the control change.

Species whether a control change is transmitted when you switch patches.

If this is OFF, no control change is transmitted.

LED COLOR

You can specify the color of the LED for each footswitch.

[BANKI], [BANKH], [1]–[5] switch, CTL1–3, EXP1 SW

Value Explanation

OFF

RED

BLUE

LIGHT BLUE

ORANGE

GREEN

YELLOW

WHITE

PURPLE

PINK

CYA N

AUTO

AUTO RED

AUTO BLUE

AUTO LIGHT BLUE

AUTO ORANGE

AUTO GREEN

AUTO YELLOW

AUTO WHITE

AUTO PURPLE

AUTO PINK

AUTO CYAN

The LED is not lit.

Specify the color of LED illumination.

The illumination behavior and color that are appropriate for the footswitch function will be specied.

If “ON” is set to AUTO, the OFF setting is ignored.

The illumination behavior that is appropriate for the footswitch function will be specied. You can specify the color.

If “ON” is set to AUTO, the OFF setting is ignored.

PATCH MIDI

When you change patches, a program number and bank select messages are transmitted to an external MIDI device.

PATCH MIDI 1, 2, 3, 4

Parameter Value Explanation

Species the transmit channel for MIDI

CH OFF, 1–16

PC# OFF, 1–128

BANK MSB

BANK LSB

OFF, 0–127

messages.

If this is OFF, no MIDI message is transmitted.

Species whether a program number is transmitted when you switch patches.

If this is OFF, no program number is transmitted.

Species whether bank select messages are transmitted when you switch patches.

* It is not possible to transmit only BANK

LSB.

* Not transmitted if PC# is OFF.

* It is not possible to transmit only bank

select. Bank select is always transmitted in conjunction with program numbers.

TEMPO HOLD

Parameter Value Explanation

TEMPO HOLD OFF, ON

Species whether the tempo (BPM) changes or is maintained when you switch patches.

Page 36

IN/OUT SETTING

INPUT

Adjust the input level according to the output level of the guitar that you’ve connected.

Parameter Value Explanation

INPUT LEVEL -20–+20dB Adjusts the guitar input level.

MAIN OUT, SUB OUT

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

OUTPUT SELECT

Parameter

AIRD OUTPUT SELECT

Value Explanation

Choose this setting if you’re using headphones, or if the

LINE/PHONES

RECORDING

JC-120 RETURN

JC-120 INPUT

Blues Cube Tour410 RETURN

Blues Cube Tour410 INPUT

Blues Cube Artist212 RETURN

Blues Cube Artist212 INPUT

WAZA Amp 412 RETURN

WAZA Amp 412 INPUT

WAZA Amp 212 RETURN

WAZA Amp 212 INPUT

KATANA-100/212 RETURN

KATANA-100/212 INPUT

GT-1000 is connected to a keyboard amp, mixer, or digital recorder.

The speaker type for the preamp is xed (original).

Choose this setting if you’re using headphones, or if the GT-1000 is connected to a keyboard amp, mixer, or digital recorder.

This setting lets you freely select the speaker type.

Choose this setting if the GT-1000 is connected to the RETURN jack of the Roland JC-120 guitar amp.

Choose this setting if the GT-1000 is connected to the guitar input of a JC-120 guitar amp.

Choose this setting if the GT-1000 is connected to the RETURN jack of the Roland Blues Cube Tour guitar amp.

This assumes that the connected speaker cabinet is the Blues Cube Cabinet 410.

Choose this setting if the GT-1000 is connected to the guitar input of a Roland Blues Cube Tour guitar amp.

This assumes that the connected speaker cabinet is the Blues Cube Cabinet 410.

Choose this setting if the GT-1000 is connected to the RETURN jack of the Roland Blues Cube Artist212 guitar amp.

Choose this setting if the GT-1000 is connected to the guitar input of a Roland Blues Cube Artist212 guitar amp.

Choose this setting if the GT-1000 is connected to the RETURN jack of the BOSS WAZA Amp Head guitar amp.

This assumes that the connected speaker cabinet is the WAZA Amp Cabinet 412.

Choose this setting if the GT-1000 is connected to the guitar input of a BOSS WAZA Amp Head guitar amp.

This assumes that the connected speaker cabinet is the WAZA Amp Cabinet 412.

Choose this setting if the GT-1000 is connected to the RETURN jack of the BOSS WAZA Amp Head guitar amp.

This assumes that the connected speaker cabinet is the WAZA Amp Cabinet 212.

Choose this setting if the GT-1000 is connected to the guitar input of a BOSS WAZA Amp Head guitar amp.

This assumes that the connected speaker cabinet is the WAZA Amp Cabinet 412.

Choose this setting if the GT-1000 is connected to the RETURN jack of the KATANA-100/212 guitar amp.

Choose this setting if the GT-1000 is connected to the guitar input of a KATANA-100/212 guitar amp.

Value Explanation

KATANA-100 RETURN

KATANA-100 INPUT

TUBE COMBO 212 RETURN

TUBE COMBO 212 INPUT

TUBE COMBO 112 RETURN

TUBE COMBO 112 INPUT

TUBE STACK 412 RETURN

TUBE STACK 412 INPUT

USER1, USER2

Choose this setting if the GT-1000 is connected to the RETURN jack of the KATANA-100 guitar amp.

Choose this setting if the GT-1000 is connected to the guitar input of a KATANA-100 guitar amp.

This setting is for cases other than the above when connecting to the RETURN of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with two 12” speakers.

This setting is for cases other than the above when connecting to the INPUT of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with two 12” speakers.

This setting is for cases other than the above when connecting to the RETURN of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with one 12” speaker.

This setting is for cases other than the above when connecting to the INPUT of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with one 12” speaker.

This setting is for cases other than the above when connecting to the RETURN of a vacuum tube stack guitar amp (in which the amp and speakers are separate units).

This assumes that the connected speaker cabinet is equipped with four 12” speakers.

This setting is for cases other than the above when connecting to the INPUT of a vacuum tube stack guitar amp (in which the amp and speaker are separate units).

This assumes that the connected speaker cabinet is equipped with four 12” speakers.

You can use a dedicated tool to download settings from the Boss website and add them to USER1 and USER2.

Download the dedicated tool from the BOSS website.

http://www.boss.info/support/

GLOBAL EQ

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

Parameter Value Explanation

STEREO LINK OFF, ON

L LOW GAIN

R LOW GAIN

L MID GAIN

R MID GAIN

L MID FREQ

R MID FREQ

L MID Q

R MID Q

L HIGH GAIN

R HIGH GAIN

L LOW CUT

R LOW CUT

L HIGH CUT

R HIGH CUT

LEVEL -20–+20dB Adjusts the output level.

* If the STEREO LINK is ON, the L settings are also applied to R.

-20–+20dB

20.0Hz–16.0kHz

0.5–16

-20–+20dB

FLAT,

20.0Hz–20.0kHz

FLAT

If this is ON, the L and R settings are made at the same time.

Adjusts the tone for the low frequency range.

Adjusts the tone for the middle frequency range.

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

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

Adjusts the tone for the high frequency range.

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.

Page 37

OUTPUT LEVEL

Parameter Value Explanation

LEVEL SELECT -10dBu, +4dBu

OUTPUT LEVEL 0–100 Adjusts the output level (SUB OUT only).

Species the output reference level as appropriate for the input level of the device connected to the OUTPUT jacks.

PHONES

This species the signal that is output from the PHONES jack.

Parameter Value Explanation

MAIN OUT The MAIN OUT signal is output to headphones.

PHONES SETTING

SUB OUT The SUB OUT signal is output to headphones.

MAIN+SUB

The MAIN OUT and SUB OUT signals are mixed and output to headphones.

TOTAL

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

Parameter Value Explanation

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

It is eective to adjust this when you

NS THRESHOLD

REVERB LEVEL 0%–200%

METRONOME OUT

-20dB–0dB– +20dB

Species the metronome’s output destination.

MAIN OUT Output from MAIN OUTPUT.

SUB OUT Output from SUB OUTPUT.

MAIN+SUB

switch to connecting a dierent guitar, or according to the amount of noise in the performance venue. This does not aect the settings of each patch.

* If you want to use the settings specied

for each patch, set this to 0 dB.

Adjusts the reverb level specied for each patch.

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

* If you want to use the settings specied

for each patch, set this to 100%.

Output from both MAIN OUTPUT and SUB OUTPUT.

USB-Related Settings

Here you can make USB-related settings for when the GT-1000 is connected to a computer via USB.

USB audio ow

GT-1000 provides three USB audio outputs: “MAIN”, “SUB“ and “DRY.”

MAIN outputs the eect sound from MAIN OUT; the return from the computer is mixed with the guitar’s performance at the nal stage of MAIN OUT.

SUB outputs the eect sound from SUB OUT; the return from the computer is mixed with the guitar’s performance at the nal stage of SUB OUT.

DRY always outputs the dry sound regardless of the GT-1000 unit’s settings; the return from the computer is always returned to the beginning of the eect chain.

Since the GT-1000 is outputting to the computer from each of MAIN, SUB, and DRY, you can provide three tracks for guitar and simultaneously record the dry sound, the eect sound from MAIN OUT, and the eect sound from SUB OUT.

If you are not satised with the eect sound from MAIN OUT or SUB OUT, you can play back the dry sound that was simultaneously recorded from DRY, and pass it through the eect chain of the GT-1000 to remake the sound.

USB MAIN

USB SUB

GT-1000

USB IN

INPUT

GT-1000

USB IN

INPUT

USB OUT

EFX OUT

Eect Chain

USB OUT

EFX OUT

Eect Chain

MAIN OUTPUT

MIX

LEVEL

SUB OUTPUT

MIX

LEVEL

USB DRY

GT-1000

USB IN

INPUT

DRY OUT

TO EFX

Eect Chain

USB OUT

MAIN OUTPUT

SUB OUTPUT

Page 38

MAIN

Parameter Value Explanation

Adjusts the level of the input sound from the

MIX LEVEL 0–200%

EFX OUT 0–200%

Selects whether the sound of the GT-1000, is output to the PHONES jack or the MAIN OUTPUT jacks.

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

powered-on.

DIR MON

OFF

computer. At this time, the input sound from the computer is mixed at the nal stage of the GT-1000’s MAIN OUT.

Adjusts the level of the sound that is output to the computer from MAIN OUT after passing through the GT-1000’s eects.

Turn this o if the audio data is being passed through within the computer.

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

The sound of the GT-1000, is output directly. Turn this on if you’re using the GT-1000, by itself without connecting to a computer. (If this is o, only the sound that is input to USB will be output.)

SUB

Parameter Value Explanation

Adjusts the level of the sound that is input from

MIX LEVEL 0–200%

EFX OUT 0–200%

Selects whether the sound of the GT-1000, is output to the PHONES jack or the SUB OUTPUT jacks.

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

powered-on.

DIR MON

OFF

the computer. In this case, the input sound from the computer is mixed at the nal stage of the GT-1000’s SUB OUT.

Adjusts the level of the sound that is output to the computer from SUB OUT after passing through the GT-1000’s eects.

Turn this o if the audio data is being passed through within the computer.

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

PLAY OPTION

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

Parameter Value Explanation

Although the indication in the display is updated to reect the change in the bank when a BANK pedal is pressed, the patch will not change until a number pedal has been pressed.

The patch switches instantly when a BANK pedal or any of the number pedals is pressed.

Sets the lower limit for the banks.

Sets the upper limit for the banks.

Mixes the L/R signals for mono operation.

The recording time is 38 seconds.

Operate in stereo.

The recording time is 19 seconds.

Operation switches in the order of record 0 play 0 overdub.

Operation switches in the order of record 0 overdub 0 play.

BANK MODE

BANK EXTENT MIN

BANK EXTENT MAX

PHRASE LOOP MODE

PHRASE LOOP REC ACTION

WAIT

IMMED

U01–U50

P01–P50,

U01–U50

P01–P50,

MONO

STEREO

Species how the looper operates when you press the pedal.

REC0PLAY0DUB

REC0DUB0PLAY

DRY

Parameter Value Explanation

OUT 0–200%

TO EFX 0–200%

The guitar sound that is input to the GT-1000, is output without change (DRY sound); it is not processed by eects.

Adjusts the input level from the computer to the GT-1000’s eects.

Page 39

MIDI

Here you can make settings for using the GT-1000 connected with an external MIDI device or with a second GT-1000 unit.

Reference

For more about MIDI, refer to “Connecting External MIDI Devices” in the owner’s manual.

MIDI SETTING

Parameter Value Explanation

This sets the MIDI channel used for receiving MIDI

RX CHANNEL

OMNI MODE

TX CHANNEL

DEVICE ID

MIDI IN THRU

USB IN THRU

messages.

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

This makes the settings for the channels used for MIDI information.

OFF

Sets the MIDI channel used for transmitting MIDI messages.

Ch. 1– Ch.

16.

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

1–32 Sets the MIDI Device ID.

This species the connector from which to output the MIDI messages that are received at the MIDI IN connector.

OFF MIDI messages are not transmitted.

MIDI OUT

USB OUT

USB/MIDI

This species the connector from which to output the MIDI messages that are received at the USB port.

OFF MIDI messages are not transmitted.

MIDI OUT

USB OUT

USB/MIDI

Information is received on the channel specied by the RX CHANNEL setting.

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

Species the transmit channel.

Transmits on the same channel as the RX CHANNEL.

Messages are transmitted from the MIDI OUT connector.

Messages are transmitted from the USB port.

Messages are transmitted from the USB port and the MIDI OUT connector.

Messages are transmitted from the MIDI OUT connector.

Messages are transmitted from the USB port.

Messages are transmitted from the USB port and the MIDI OUT connector.

Parameter Value Explanation

This setting determines the basis used for synchronizing the timing for eect modulation rates and other timebased parameters.

* When you have an external MIDI device connected,

the MASTER BPM is then synchronized to the external MIDI device’s tempo, thus disabling the MASTER BPM setting. To enable setting of the MASTER BPM, set to “INTERNAL.”

* When synchronizing performances to the MIDI Clock

signal from an external MIDI device, timing problems in the performance may occur due to errors in the MIDI Clock.

Operations are synchronized to MIDI clock messages received via MIDI or USB.

SYNC CLOCK

CLOCK OUT

MAP SELECT

NUM1 CC#

NUM2 CC#

NUM3 CC#

NUM4 CC#

NUM5 CC#

BANKDOWN CC#

BANKUP CC#

CTL1 CC#

CTL2 CC#

CTL3 CC#

CTL4 CC#

CTL5 CC#

CTL6 CC#

CTL7 CC#

EXP1 SW CC#

EXP1 CC#

EXP2 CC#

EXP3 CC#

AUTO

INTERNAL

MIDI (AUTO)

USB (AUTO)

Species whether MIDI clock will be output from the GT-1000.

OFF MIDI clock is not output.

ON MIDI clock is output.

Species whether program change messages received by the GT-1000, will switch patches according to the settings of the program change map or will switch patches according to the default settings.

FIX

PROG

Species the controller number when transmitting pedal operations as control change messages.

OFF Control Change messages are not output.

CC#1– CC#31,

CC#64– CC#95

However, operations are automatically synchronized to the GT-1000’s internal clock if the GT-1000, is unable to receive the external Clock.

Operations are synchronized to the GT-1000’s internal Clock.

Operations are synchronized to the MIDI Clock received via MIDI. However, operations are automatically synchronized to the GT-1000’s internal Clock if the GT-1000 is unable to receive the external Clock.

Operations are synchronized to the USB Clock received via USB. However, operations are automatically synchronized to the GT-1000’s internal Clock if the GT-1000 is unable to receive the external Clock.

This deactivates the Program Change Map.

Switches to the patches according to the default settings.

This activates the Program Change Map.

Switches to the patches according to the Program Change Map.

Pedal operations are transmitted using the specied controller number.

Page 40

PROGRAM MAP BANK1–BANK4

When switching patches using Program Change messages transmitted by an external MIDI device, you can freely set the correspondence between Program Change messages received by the GT-1000 and the patches to be switched to in the “Program Change Map.”

Parameter Value Explanation

PC#1–PC#128

U01-1–U50-5, P01-1– P50-5

This sets the patch number (U01-1 through P50-5) for the corresponding Program Change number.

BULK DUMP

You can use Exclusive messages to provide another GT-1000 with identical settings, and save eect settings on a MIDI sequencer or other device.

Parameter Value Explanation

SYSTEM System parameter settings

FROM

U01-1–U50-5

STOMPBOX Stomp box settings

TEMP

Settings for Patch Number U01-1 through U50-5

Settings for the patch that is currently selected

HARDWARE SETTING

KNOB

Here you can assign the desired parameters to knobs [1]–[6] in the Play Screen.

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

Screen.

Parameter

KNOB 1–KNOB 6

Value (Category) Value (Target)

ON/OFF

TYPE

SUSTAIN

COMPRESSOR

DISTORTION 1

DISTORTION 2

AIRD PREAMP 1

AIRD PREAMP 2

NS 1 (NOISE SUPPRESSOR 1)

NS 2 (NOISE SUPPRESSOR 2)

EQ 1 (EQUALIZER 1)

EQ 2 (EQUALIZER 2)

EQ 3 (EQUALIZER 3)

EQ 4 (EQUALIZER 4)

ATTAC K

RATIO

TONE

LEVEL

DIRECT MIX

ON/OFF

TYPE

DRIVE

TONE

BOTTOM

EFFECT LEVEL

DIRECT MIX

SOLO SW

SOLO LEVEL

ON/OFF

TYPE

GAIN

SAG

RESONANCE

BASS

MIDDLE

TREBLE

PRESENCE

BRIGHT

LEVEL

GAIN SW

SOLO SW

SOLO LEVEL

ON/OFF

THRESHOLD

RELEASE

DETECT

ON/OFF

TYPE

Page 41

Value (Category) Value (Target)

LOW GAIN

LOW-MID FREQ

LOW-MID Q

EQ 1: PEQ (EQUALIZER 1 PARAMETRIC)

EQ 2: PEQ (EQUALIZER 2 PARAMETRIC)

EQ 3: PEQ (EQUALIZER 3 PARAMETRIC)

EQ 4: PEQ (EQUALIZER 4 PARAMETRIC)

EQ1: GEQ (EQUALIZER 1 GRAPHIC)

EQ2: GEQ (EQUALIZER 2 GRAPHIC)

EQ3: GEQ (EQUALIZER 3 GRAPHIC)

EQ4: GEQ (EQUALIZER 4 GRAPHIC)

DELAY 1

DELAY 2

DELAY 3

DELAY 4

MASTER DELAY

M-DLY: TAPE (MASTER DELAY: TAPE) HEAD

M-DLY: SHIMMER (MASTER DELAY: SHIMMER)

LOW-MID GAIN

HIGH-MID FREQ

HIGH-MID Q

HIGH-MID GAIN

HIGH GAIN

LEVEL

LOW CUT

HIGH CUT

31.5Hz

63Hz

125Hz

250Hz

500Hz

1kHz

2kHz

4kHz

8kHz

16kHz

LEVEL

ON/OFF

TIME

FEEDBACK

HIGH CUT

EFFECT LEVEL

DIRECT LEVEL

ON/OFF

TYPE

TIME

FEEDBACK

HIGH CUT

EFFECT LEVEL

DIRECT LEVEL

MOD RATE

MOD DEPTH

DUCK SENS

DUCK PRE DPT

DUCK POST DPT

TAP TIME

TRIGGER

LEVEL

PITCH

PITCH BAL

PITCH FBK

Value (Category) Value (Target)

MODE

D1 TYPE

D1 TIME

D1 FEEDBACK

D1 HIGH CUT

M-DLY: DUAL (MASTER DELAY: DUAL)

M-DLY: T WIST (MASTER DELAY: T WIST)

CHORUS

CHORUS: DUAL

FX1

FX2

FX3

FX1: ACG SIM (AC GUITAR SIM)

FX2: ACG SIM (AC GUITAR SIM)

FX3: ACG SIM (AC GUITAR SIM)

FX1: AC RES (AC RESONANCE)

FX2: AC RES (AC RESONANCE)

FX3: AC RES (AC RESONANCE)

D1 EFCT LEVEL

D2 TYPE

D2 TIME

D2 FEEDBACK

D2 HIGH CUT

D2 EFCT LEVEL

MODE

RISE TIME

FALL TIME

ON/OFF

TYPE

RAT E

DEPTH

PRE-DELAY

WAVEFORM

EFFECT LEVEL

DIRECT LEVEL

LOW CUT

HIGH CUT

RATE 1

DEPTH 1

PRE-DELAY 1

WAVEFORM 1

EFCT LEVEL 1

LOW CUT 1

HIGH CUT 1

RATE 2

DEPTH 2

PRE-DELAY 2

WAVEFORM 2

EFCT LEVEL 2

LOW CUT 2

HIGH CUT 2

OUTPUT MODE

ON/OFF

TYPE

BODY

LOW

HIGH

LEVEL

TYPE

RESONANCE

TONE

LEVEL

Page 42

Value (Category) Value (Target)

FILTER MODE

RAT E

FX1: AUTO WAH

FX2: AUTO WAH

FX3: AUTO WAH

FX1: CHORUS

FX2: CHORUS

FX3: CHORUS

FX1: CHO DUAL (CHORUS DUAL)

FX2: CHO DUAL (CHORUS DUAL)

FX3: CHO DUAL (CHORUS DUAL)

FX1: CHO PRIME (CHORUS PRIME)

FX2: CHO PRIME (CHORUS PRIME)

FX3: CHO PRIME (CHORUS PRIME)

FX1: CHO CE-1 (CHORUS CE-1)

FX2: CHO CE-1 (CHORUS CE-1)

FX3: CHO CE-1 (CHORUS CE-1)

FX1: C-VIBE (CLASSIC VIBE)

FX2: C-VIBE (CLASSIC VIBE)

FX3: C-VIBE (CLASSIC VIBE)

FX1: COMP (COMPRESSOR)

FX2: COMP (COMPRESSOR)

FX3: COMP (COMPRESSOR)

FX1: DEFRETTER

FX2: DEFRETTER

FX3: DEFRETTER

DEPTH

FREQUENCY

RESONANCE

WAVEFORM

EFFECT LEVEL

DIRECT MIX

TYPE

RAT E

DEPTH

PRE-DELAY

WAVEFORM

EFFECT LEVEL

DIRECT LEVEL

LOW CUT

HIGH CUT

RATE 1

DEPTH 1

PRE-DELAY 1

WAVEFORM 1

EFCT LEVEL1

LOW CUT 1

HIGH CUT 1

RATE 2

DEPTH 2

PRE-DELAY 2

WAVEFORM 2

EFCT LEVEL2

LOW CUT 2

HIGH CUT 2

SWEETNESS

BELL

PREAMP SW

PREAMP GAIN

PREAMP LEVEL

MODE

RAT E

DEPTH

EFFECT LEVEL

TYPE

SUSTAIN

ATTAC K

RATIO

TONE

LEVEL

DIRECT MIX

SENS

DEPTH

ATTAC K

RESONANCE

TONE

EFFECT LEVEL

DIRECT MIX

Value (Category) Value (Target)

MODE

TRIGGER

DEPTH

FX1: FEEDBACKR (FEEDBACKER)

FX2: FEEDBACKR (FEEDBACKER)

FX3: FEEDBACKR (FEEDBACKER)

FX1: FLANGER

FX2: FLANGER

FX3: FLANGER

FX1: HARMONIST

FX2: HARMONIST

FX3: HARMONIST

FX1: HUMANIZER

FX2: HUMANIZER

FX3: HUMANIZER

FX1: OCTAVE

FX2: OCTAVE

FX3: OCTAVE

FX1: OVERTONE

FX2: OVERTONE

FX3: OVERTONE

RISE TIME

OCT RISE TIME

FEEDBACK

OCT FEEDBACK

VIB RATE

VIB DEPTH

RAT E

DEPTH

RESONANCE

MANUAL

LOW DAMP

HIGH DAMP

LOW CUT

HIGH CUT

TURBO

WAVEFORM

STEPRATE

SEPARATION

EFFECT LEVEL

DIRECT MIX

VOICE

HR1:HARMONY

HR1:PRE-DELAY

HR1:FEEDBACK

HR1:LEVEL

HR2:HARMONY

HR2:PRE-DELAY

HR2:LEVEL

DIRECT LEVEL

MODE

VOWEL1

VOWEL2

SENS

RAT E

DEPTH

MANUAL

LEVEL

TYPE

-2OCT

-1OCT

DIRECT LEVEL

RANGE

POLY OCT LEVL

LOWER LEVEL

UPPER LEVEL

UNISON LEVEL

DIRECT LEVEL

DETUNE

LOW

HIGH

OUTPUT MODE

Page 43

Value (Category) Value (Target)

RAT E

FX1: PAN

FX2: PAN

FX3: PAN

FX1: PHASER

FX2: PHASER

FX3: PHASER

FX1: PITCH SFT (PITCH SHIFTER)

FX2: PITCH SFT (PITCH SHIFTER)

FX3: PITCH SFT (PITCH SHIFTER)

FX1: RING MOD

FX2: RING MOD

FX3: RING MOD

FX1: ROTARY

FX2: ROTARY

FX3: ROTARY

DEPTH

WAVEFORM

EFFECT LEVEL

DIRECT MIX

TYPE

STAGE

RAT E

DEPTH

RESONANCE

MANUAL

LOW DAMP

HIGH DAMP

LOW CUT

HIGH CUT

BI-PHASE

WAVEFORM

STEP RATE

SEPARATION

EFFECT LEVEL

DIRECT MIX

VOICE

PS1:PITCH

PS1:FINE

PS1:FEEDBACK

PS1:PRE-DELAY

PS1:LEVEL

PS1:MODE

PS2:PITCH

PS2:FINE

PS2:PRE-DELAY

PS2:LEVEL

PS2:MODE

DIRECT LEVEL

INTELLIGENT

FREQUENCY

FREQ MOD RATE

FREQ MOD DPT

EFFECT LEVEL

DIRECT MIX

SPEED SELECT

SLOW RATE

FAST RATE

RISE TIME

FALL TIME

MIC DISTANCE

ROTOR/HORN

DRIVE

EFFECT LEVEL

DIRECT MIX

Value (Category) Value (Target)

SENS

DEPTH

FX1: SITAR SIM

FX2: SITAR SIM

FX3: SITAR SIM

FX1: SLICER

FX2: SLICER

FX3: SLICER

FX1: SLOW GEAR

FX2: SLOW GEAR

FX3: SLOW GEAR

FX1: SOUND HLD (SOUND HOLD)

FX2: SOUND HLD (SOUND HOLD)

FX3: SOUND HLD (SOUND HOLD)

FX1: S-BEND

FX2: S-BEND

FX3: S-BEND

FX1: TOUCH WAH

FX2: TOUCH WAH

FX3: TOUCH WAH

FX1: TREMOLO

FX2: TREMOLO

FX3: TREMOLO

FX1: VIBRATO

FX2: VIBRATO

FX3: VIBRATO

RESONANCE

BUZZ

TONE

EFFECT LEVEL

DIRECT MIX

PATTERN

RAT E

ATTAC K

DUTY

TRIGGER

EFFECT LEVEL

DIRECT MIX

SENS

RISE TIME

LEVEL

TRIGGER

RISE TIME

LEVEL

TRIGGER

PITCH

RISE TIME

FALL TIME

FILTER MODE

POLARITY

SENS

FREQUENCY

RESONANCE

DECAY

EFFECT LEVEL

DIRECT MIX

RAT E

DEPTH

WAVEFORM

TRIGGER

RISE TIME

EFFECT LEVEL

DIRECT MIX

RAT E

DEPTH

COLOR

TRIGGER

RISE TIME

EFFECT LEVEL

DIRECT MIX

Page 44

Value (Category) Value (Target)

ON/OFF

TYPE

TIME

DENSITY

PRE-DELAY

TONE

EFFECT LEVEL

DIRECT LEVEL

REVERB

REV SHIMMER (REVERB: SHIMMER)

REV DUAL (REVERB: DUAL)

REV TERA ECHO (REVERB: TERA ECHO)

PEDAL FX

PEDAL BEND

PEDAL WAH

LOW CUT

HIGH CUT

LOW DAMP

HIGH DAMP

MOD RATE

MOD DEPTH

DUCK SENS

DUCK PRE DPT

DUCK POST DPT

PITCH 1

LEVEL 1

PITCH 2

LEVEL 2

TYPE 1

TIME 1

PRE-DELAY 1

DENSITY 1

TONE 1

EFCT LEVEL 1

LOW CUT 1

HIGH CUT 1

TYPE 2

TIME 2

PRE-DELAY 2

DENSITY 2

TONE 2

EFCT LEVEL 2

LOW CUT 2

HIGH CUT 2

MODE

SPREAD TIME

FEEDBACK

TRIGGER

ON/OFF

TYPE

EFFECT LEVEL

DIRECT MIX

PITCH

PEDAL POS

WAH TYPE

PEDAL POS

PEDAL MIN

PEDAL MAX

Value (Category) Value (Target)

VOLUME MIN

FOOT VOLUME

DIV1 (DIVIDER 1)

DIV2 (DIVIDER 2)

DIV3 (DIVIDER 3)

MIXER 1

MIXER 2

MIXER 3

SEND/RETURN 1

SEND/RETURN 2

LOOPER PLAY LEVEL

AMP CTL (AMP CONTROL)

MASTER

SUB OUT OUTPUT LEVEL

TUNER ON/OFF

PATC H PATCH SELECT

USB AUDIO

MAIN G.EQ L/S *2

MAIN G.EQ R/S *2

SUB G.EQ L/S *2

SUB G.EQ R/S *2

AIRD PREAMP *3

VOLUME MAX

VOLUME CURVE

PEDAL POS

MODE

CH SELECT

A:DYNAMIC

A:DYNAMIC SNS

A:FILTER

A:CUTOFF FREQ

B:DYNAMIC

B:DYNAMIC SNS

B:FILTER

B:CUTOFF FREQ

MODE

A/B BALANCE

SPREAD

STEREO LINK *1

ON/OFF

MODE

SEND LEVEL

RETURN LEVEL

ADJUST

CTL 1

CTL 2

PATCH LEVEL

BPM

KEY

CARRYOVER

MAIN MIX LEVEL

SUB MIX LEVEL

LOW GAIN

MID GAIN

HIGH GAIN

LEVEL

LOW GAIN

MID GAIN

HIGH GAIN

LEVEL

LOW GAIN

MID GAIN

HIGH GAIN

LEVEL

LOW GAIN

MID GAIN

HIGH GAIN

LEVEL

TYPE

GAIN

BASS

MIDDLE

TREBLE

LEVEL

Page 45

Value (Category) Value (Target)

TOTAL REVERB LEVEL

*1 SEND/RETURN 1 only.

*2 Operates as stereo if STEREO LINK is ON.

*3 Lets you control the AIRD PREAMP of the channel that is enabled by the divider. If

multiple channels are enabled, AIRD PREAMP 1 takes priority.

Parameter Value Explanation

KNOB LOCK OFF, ON

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

AMP CONTROL

Parameter Value Explanation

Species the operation of the AMP CTL 1, 2 jacks.

LATCH Latch operation

Send a pulse when changing patches.

AMP CTL1

AMP CTL2

PULSE

INVERT

PULSE

INVERT

EXP HOLD

Parameter Value Explanation

The operational status of the EXP 1/2/3 PEDAL’s FUNCTION (P.26) is not carried over when patches are switched.

If the EXP 1/2 PEDAL’s FUNC (P.26) are the same between 2 patches, the operational status is carried over when patches are switched.

For example, if EXP PEDAL FUNCTION 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.

EXP1 HOLD

EXP2 HOLD

EXP3 HOLD

OFF

Patch change Patch change

GROUND LIFT

Parameter Value Explanation

In some cases, hum noise might occur if an amp or other eect unit is connected. If so, you might be able to reduce the noise by disconnecting the ground connector from the GT-1000’s chassis.

The ground of the connectors is connected to the

chassis (no ground lift).

The ground of the SEND 1 jack is disconnected from

MAIN

SUB

the chassis.

The ground of the SEND 2 jack is disconnected from

the chassis.

The ground of the RETURN 1 jack and the MAIN

OUTPUT L, R jacks is disconnected from the chassis.

The ground of the RETURN 2 jack and the MAIN

OUTPUT L, R jacks is disconnected from the chassis.

The ground of the RETURN 1, 2 jacks and the MAIN

OUTPUT L, R jacks is disconnected from the chassis.

Species whether the ground of the SUB OUTPUT jack is connected to the GT-1000’s chassis or disconnected.

The ground of the SUB OUTPUT jacks is connected to

OFF

the chassis (no ground lift).

The ground of the SUB OUTPUT jacks is disconnected

from the chassis.

Page 46

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 1 SW will respond.

OTHER

Parameter Value Explanation

The GT-1000 can turn o its power automatically. The power will turn o automatically when 10 hours have passed since you last played or operated the unit. The display will show a message approximately 15 minutes before the power turns o.

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

AUTO OFF

LCD CONTRAST

LED LUMINANCE

Bluetooth SW

Bluetooth ID

DEMO OFF, ON

time, turn it “OFF.”

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

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

OFF The power will not turn o automatically.

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

1–10 Higher values increase the brightness.

Adjusts the brightness of the LED that is provided for each switch.

LOW Dim illumination.

HIGH Bright illumination.

You can use Bluetooth to edit the GT-1000’s settings from a smartphone app (BOSS TONE STUDIO). For details, refer to the manual of the app.

OFF Bluetooth functionality is not used.

ON Bluetooth functionality is used.

Species the number that is shown following the device name of the GT-1000, in the Bluetooth-connected app.

If you have more than one GT-1000 unit, this lets you conveniently distinguish the units.

OFF, 1–9

The power will automatically turn o when 10 hours have passed since you last played or operated the GT-1000.

Species the number that is shown following the device name.

If this is OFF, no number is added at the end.

If this is ON, the demo screen appears in the display when no audio is input to the GT-1000, and no operation is performed.

FACTORY RESET

Initializes the GT-1000 to its factory-set condition.

Parameter Value Explanation

SYSTEM System parameter settings

FROM, TO

U01-1–U50-5

STOMPBOX Stomp box settings

Settings for Patch Number U01-1 through U50-5

TUNER

Here you can make settings for the TUNER.

Parameter Value Explanation

MONO TUNER MODE

PITCH

OUTPUT

POLY

TYPE

POLY

OFFSET

NORMAL, STREAM

435–445 Hz (default: 440 Hz)

MUTE Sound will not be output while tuning.

BYPASS

THRU

6-REGULAR, 6-DROP D, 7-REGULAR, 7-DROP A

–-,

-5–-1

Species the meter display method for the monophonic tuner.

Species the reference pitch.

While tuning, the sound of the guitar being input to the GT-1000 will be output without change. All eects will be o.

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

* Only for monophonic tuner.

Selects the type of tuning for the polyphonic tuner.

Adjusts the reference pitch of the polyphonic tuner in semitone units relative to standard tuning.

METRONOME

Here you can make settings for the METRONOME.

Parameter Value Explanation

BPM 20–250 Species the tempo.

BEAT

OFF/ON OFF, ON Turns the metronome on/o.

LEVEL 0–100 Adjusts the volume of the metronome sound.

* You can select the output destination of the metronome sound.

* By pressing knob 1 you can set the metronome’s BPM to the master BPM value.

1/1–8/1, 1/2–8/2, 1/4–8/4, 1/8–8/8

Selects the time signature.

Page 47

Saving a Sound (WRITE)

Saving a Patch (PATCH WRITE)

When you want to save a patch you have created, save it as a user patch by following the procedure below. If you do not save the patch, the edited settings will be lost when you turn o the power or switch to another patch.

1. Press the [WRITE] button.

2. Press knob [1] to select “WRITE” (PATCH WRITE).

3. Use knob [1] to select the save-destination (U01-1–

U50-5).

You can use knobs [3]–[6] to edit the name.

Editing a name

To edit the patch name, use knob [6] to move the cursor and use knob [5] to change the character.

Controller Function

Turn the [3] knob Selects the type of characters

Press the [3] knob Delete one character (delete)

Turn the [4] knob Switch uppercase/lowercase

Press the [4] knob Insert one space (insert)

Turn the [5] knob Changes the character

Turn the [6] knob Moves the cursor

Exchanging Patches (PATCH EXCHANGE)

On the GT-1000, you can “swap” or exchange the positions of two User patches.

1. Select the exchange source patch.

2. Press the [WRITE] button.

3. Press knob [2] to select “EXCHANGE” (PATCH

EXCHANGE).

4. Use knob [1] to select the other user patch that you

want to exchange.

* If you decide to cancel without exchanging, press the [EXIT]

button a several times. You’ll be returned to the Play screen.

5. Press the [WRITE] button once again.

A conrmation message appears.

6. Press the [6] knob.

The patches will be exchanged. If you decide to cancel the exchange operation, press knob [5].

Initializing Patches (PATCH INITIALIZE)

You can return (initialize) a User patch to its original factory settings. This is convenient when you want to create a new patch from scratch.

NOTE

Any tone settings you’ve stored in a patch are lost once the initialization is executed.

* If you decide to cancel without writing, press the [EXIT] button

a several times. You’ll be returned to the Play screen.

4. Press the [WRITE] button once again.

The patch is written.

1. Press the [WRITE] button.

2. Press knob [3] to select “INITIALIZE” (PATCH

INITIALIZE).

3. Use knob [1] to select the user patch that you want

to initialize.

* If you decide to cancel without initializing, press the [EXIT]

button a several times. You’ll be returned to the Play screen.

4. Press the [WRITE] button once again.

A conrmation message appears.

5. Press the [6] knob.

The patch will be initialized. If you decide to cancel the initialize operation, press knob [5].

Page 48

Saving a Sound (WRITE)

Inserting a Patch (PATCH INSERT)

You can insert a patch into any position of the user patches.

For example, if you insert patch U01-1 at U02-1, patch U02-1 and subsequent patches are shifted (renumbered) backward by one. (Patch U02-1 becomes U02-2.)

NOTE

When you execute the insert operation, the last user patch (U50-5) is deleted.

1. Press the [WRITE] button.

2. Press knob [4] to select “INSERT” (PATCH INSERT).

3. Use knob [1] to select the insert-destination user

patch.

* If you decide to cancel without inserting, press the [EXIT]

button a several times. You’ll be returned to the Play screen.

4. Press the [WRITE] button once again.

A conrmation message appears.

5. Press the [6] knob.

The patch is inserted at the specied position. If you decide to choose the insert operation, press knob [5].

Boss GT-1000 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Basic Operation

Using STOMPBOX

Writing Patch Settings into a STOMPBOX

Basic MENU Operations

Editing the STOMPBOX

Reading STOMPBOX Settings into a Patch

COMPRESSOR

DISTORTION 1, 2

AIRD PREAMP 1, 2

NOISE SUPPRESSOR 1, 2

EQUALIZER 1–4

DELAY 1–4

MASTER DELAY

CHORUS

FX1–FX3

AC RESONANCE

AUTO WAH

AC.GUITAR SIMULATOR

CHORUS

CLASSIC-VIBE

COMPRESSOR

DEFRETTER

FEEDBACKER

FLANGER

HARMONIST

HUMANIZER

OCTAVE

OVERTONE

PHASER

PITCH SHIFTER

RING MOD.

ROTARY

SITAR SIM.

SLICER

SLOW GEAR

SOUND HOLD

S-BEND

TREMOLO

VIBRATO

TOUCH WAH

REVERB

PEDAL FX

FOOT VOLUME

DIVIDER 1–3

MIXER 1–3

SEND/RETURN 1, 2

LOOPER

MAIN SP.SIMULATOR L, MAIN SP.SIMULATOR R, SUB SP.SIMULATOR L, SUB SP.SIMULATOR R

MASTER

MENU

CONTROL ASSIGN

CONTROL FUNCTION

ASSIGN SETTING

Virtual Expression Pedal System (Internal Pedal / Wave Pedal)

INPUT (Input Level)

INPUT SENS (Input Sens)

LED COLOR

PATCH MIDI

TEMPO HOLD

IN/OUT SETTING

INPUT

MAIN OUT, SUB OUT

PHONES

TOTAL

USB-Related Settings

PLAY OPTION

MIDI

MIDI SETTING

PROGRAM MAP BANK1–BANK4

BULK DUMP

HARDWARE SETTING

KNOB

AMP CONTROL

EXP HOLD

GROUND LIFT

CALIBRATION