Boss GT-1000CORE Parameter Guide

Parameter Guide

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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Eect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

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

DISTORTION 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

AIRD PREAMP 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

NOISE SUPPRESSOR 1, 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

EQUALIZER 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

DELAY 1–4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

MASTER DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

FX1–FX3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

AC.G SIM (AC. GUITAR SIMULATOR) . . . . . . . . . . . . . . . . . . . . . . . . 13

AC RESO (AC RESONANCE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

CHO BASS (CHORUS BASS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

C-VIBE (CLASSIC VIBE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

COMP (COMPRESSOR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

DEFRETR (DEFRETTER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

DEFRET B (DEFRETTER BASS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

DIST (DISTORTION) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

FEEDBAKR (FEEDBACKER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

FLANGER/FLANGR B (FLANGER B) . . . . . . . . . . . . . . . . . . . . . . . . . 18

HARMONST (HARMONIST) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

HUMANIZR (HUMANIZER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

OCT BASS (OCTAVE BASS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

OVERTONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

PITCH SFT (PITCH SHIFTER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

RING MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

RO TARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SITAR SIM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SLICER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SLW GEAR (SLOW GEAR)/ SG BASS (SLOW GEAR BASS)

SND HOLD (SOUND HOLD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

S-BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

TOUCH WH (TOUCH WAH)/ TW BASS (TOUCH WAH BASS)

TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

PEDAL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

DIVIDER 1–3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

MIXER 1–3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

SEND/RETURN 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

OUTPUT SP.SIMULATOR L, OUTPUT SP.SIMULATOR R, SUB OUT SP.SIMULATOR L, SUB OUT SP.SIMULATOR R

MASTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

. . . . . . . . . . . 29

MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

CONTROL MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

CONTROL ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

CONTROL FUNCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

ASSIGN SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Virtual Expression Pedal (Internal Pedal / Wave Pedal) . . . . . . 42

INPUT (Input Level) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

INPUT SENS (Input Sens) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

PATCH MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

LED COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

TEMPO HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

IN/OUT SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

OUTPUT, SUB OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

TOTAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

USB-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

PLAY OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

MIDI SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

PROGRAM MAP BANK1–BANK4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

HARDWARE SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

KNOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

AMP CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

EXP HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

GROUND LIFT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

METRONOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Saving a Sound (WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Saving a Patch (PATCH WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Exchanging Patches (PATCH EXCHANGE) . . . . . . . . . . . . . . . . . . . 56

Initializing Patches (PATCH INITIALIZE) . . . . . . . . . . . . . . . . . . . . 57

Inserting a Patch (PATCH INSERT) . . . . . . . . . . . . . . . . . . . . . . . . . . 57

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.

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-1000CORE, 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 [SELECT] to see a list of all parameters of the selected block. You can edit the parameters from this list.

1. Turn the [SELECT] knob to select the item that you

want to set.

Turning the knob will move the selected item vertically.

2. 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.

The selected block is enclosed by a thick frame.

* By pressing knob [SELECT] you can turn the selected eect on/o.

Eects that are o are shown in gray. When the eect is turned on, it is shown in white.

O On

3. Use knobs [1]–[5] to adjust the parameters that are

shown below the screen.

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.

Changing the placement of eects etc.

1. Press the [EFFECT] button.

The eect chain is shown.

2. Use knob [SELECT] to select the block that you

want to move.

3. While pressing knob [SELECT], turn it left or right.

The selected block moves left or right.

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.

* To change a value in larger steps, turn a knob while pressing it.

* The number of parameters and pages diers depending on the

eect.

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 [SELECT] knob to choose the eect you’re

going to edit.

3. Use the PAGE [

page.

] [J] buttons to move to the last

Reading STOMPBOX Settings into a Patch

1. Press the [EFFECT] button.

2. Use the [SELECT] 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

4. Press the [5] knob.

The STOMPBOX select window appears.

5. Turn knob [SELECT] to select the STOMPBOX type.

6. Press the [SELECT] 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.

5. Turn knob [SELECT] to select the STOMPBOX type.

6. Press the [5] (STOMPBOX COPY) knob.

The contents of the STOMPBOX are recalled into the patch.

You can edit the patch without modifying the contents of the STOMPBOX.

Writing Patch Settings into a STOMPBOX

1. Press the [EFFECT] button.

2. Use the [SELECT] 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 [4] (WRITE TO STOMPBOX) knob.

6. Turn knob [1] to select the writing-destination

STOMPBOX.

7. Use knobs [3]–[5] and [SELECT] knob to name the

STOMPBOX.

You can turn the [SELECT] knob to move the cursor within the name.

Reference

For details on naming the STOMPBOX, refer to “Editing a name” (p. 56).

Basic MENU Operations

Here you can make settings that are common to the entire GT-1000CORE (system parameters).

Basic Operation

1. Press the [MENU] button.

* You can use the PAGE [K] [J] buttons to see additional items.

2. Press a knob [1]–[5] to select the item that you want

to edit.

A sub-menu appears.

3. Once again press a knob [1]–[5] to select the item

that you want to edit.

4. Use knobs [1]–[5] and [SELECT] knob to select

parameters or edit the values.

Eect

* Company names and product names appearing in this document are registered

trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners

are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

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 CMP

(BOSS COMP)

X-COMP

TYPE

THRESHLD *1 0–100

SUSTAIN *2 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.

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

*1 Setting available when TYPE is set to X-BASS.

*2 Not shown if TYPE is set to X-BASS.

D-COMP This models a MXR DynaComp.

ORANGE

STEREO

X-BASS

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.

This is a compressor for bass that uses MDP (Multi-Dimensional Processing).

Adjust this as appropriate for the input signal. When the input signal level exceeds this threshold level, compression will be applied.

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.

DISTORTION 1, 2

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” (p. 6)

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

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

SOLO SW OFF, ON The tone to one suitable for solos.

SOLO LVL

(SOLO LEVEL)

0–100

DISTORTION 1, 2 TYPE

This is a list of distortion types that can be selected for DISTORTION 1, 2

Type Explanation

MID

(MID BOOST)

CLEAN

(CLEAN BOOST)

TREBLE

(TREBLE BOOST)

CRUNCH

NATURAL

(NATURAL OD)

WARM OD This is a warm overdrive.

FAT DS A distortion sound with thick distortion.

LEAD DS

METAL DS

OCT FUZZ A fuzz sound with rich harmonic content.

A-DIST

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.

CENTA OD This models a KLON CENTAUR.

RAT This models a Proco RAT.

GUV DS This models a Marshall GUV’ NOR.

DIST+ This models the sound of the MXR DISTORTION+.

MTL ZONE

(METAL ZONE)

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.

This is a booster that has bright characteristics.

A lustrous crunch sound with an added element of amp distortion.

This is an overdrive sound that provides distortion with a natural feeling.

Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.

This is 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.

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.

Type Explanation

HM-2

MTL CORE

(METAL CORE)

60S FUZZ

MUFF FUZ

(MUFF FUZZ)

BASS OD Overdrive tuned especially for use with basses.

BASS DS Distortion tuned especially for use with basses.

BASS MT Wild, radical distortion sound.

BASS FUZZ Fuzz tuned especially for use with basses.

HI BAND

X-BASS

BASS DRV This models a TECH21 SANSAMP BASS DRIVER DI.

BASS DI This models a MXR Bass D.I.+.

* Company names and product names appearing in this document are registered

trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners

are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

This models the sound of the BOSS HM-2.

It produces distinctive cranked-up distortion sound with compression.

This is the sound of the BOSS ML-2 which is ideal for high speed metal ris.

This models a FUZZFACE.

It produces a fat fuzz sound.

This models an Electro-Harmonix Big Mu π.

With this eect, distortion is applied only to the high frequency sounds, and not to the sounds in the low frequency range.

This eect uses MDP to provide ideal distortion in all pitch ranges of the bass, from low to high.

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 List” (p. 8)

GAIN 0–120 Adjusts the distortion of the amp.

SAG -10–+10

RESO

(RESONANCE)

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

GAIN SW

SOLO SW OFF, ON The tone to one suitable for solos.

SOLO LVL

(SOLO LEVEL)

-10–+10

LOW,

MIDDLE,

HIGH

0–100 Adjusts the volume level when the SOLO SW is ON.

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.

Eect

AIRD PREAMP TYPE List

Category Type Explanation

TRNSPRNT

(TRANSPARENT)

NATURAL

BOUTIQUE

SUPREME

TYPE

(ADVANCED AMP)

MAXIMUM

JUGGERNT

(JUGGERNAUT)

X-CRUNCH

X-HI GAIN

X-MODDED

JC-120

TWIN

(TWIN COMBO)

DELUXE

(DELUXE COMBO)

TWEED

(TWEED COMBO)

DIAMOND

(DIAMOND AMP)

BRIT STK

TYPE (CLASSICS)

TYPE

(ADVANCED AMP)

TYPE (CLASSICS) CONCERT This models the Ampeg SVT.

(BRIT STACK)

RECTI STK

(RECTI STACK)

MAT CH

(MATCH COMBO)

BG COMBO

ORNG STK

(ORNG STACK)

BGNR UB

(BGNR UB METAL)

NATRL BS

(NATURAL BASS)

X-DRV BS

(X-DRIVE BASS)

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 Twin Reverb.

This models a Fender Deluxe Reverb.

This models a Fender Bassman 4 x 10” Combo.

This models a VOX AC30.

This models a Marshall 1959.

Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL Rectier.

This models the sound input to left input on a Matchless D/C-30.

This models the sound of the MESA/ Boogie combo amp.

This models the dirty channel of an ORANGE ROCKERVERB.

This models the sound that models the high-gain channel of a Bogner Uberschall.

Uncolored clean sound for bass.

High-gain sound for bass, using MDP to provide wide range and a goodsounding sense of separation.

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

THRESHLD

(THRESHOLD)

RELEASE 0–100

DETECT

0–100

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

INPUT

NS INPUT

FV OUT

low, a lower setting is appropriate. Adjust this value until the decay of the guitar sound is as natural as possible.

* High settings for the threshold parameter may

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

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

* Company names and product names appearing in this document are registered

trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners

are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

Eect

EQUALIZER 1–4

Adjusts the tone.

Parameter Value Explanation

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

PARAMTRC

TYPE

(PARAMETRIC)

GRAPHIC You can adjust the tone character in ten bands.

PARAMETRIC

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

Parameter Value Explanation

LO GAIN -20–+20dB

HI GAIN -20–+20dB

LEVEL -20–+20dB

LM FREQ 20.0Hz–16.0kHz

LM Q 0.5–16

LM GAIN -20–+20dB

HM FREQ 20.0Hz–16.0kHz

HM Q 0.5–16

HM GAIN -20–+20dB

LO CUT

HI CUT

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz FLAT

You can adjust the tone character in four 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.

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

Adjusts the width of the area aected by the EQ centered at the LM 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 HM GAIN.

Adjusts the width of the area aected by the EQ centered at the HM 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.

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

HI CUT

E.LEVEL 0–120 Adjusts the volume of the delay sound.

D.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. 47) to “INTERNAL.”

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.

Eect

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

ANALG ST

TAPE

REVERSE This produces an eect where the sound is played

SHIMMER

DUAL A delay comprising two dierent delays

WARP

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.

TAP TIME

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.

back in reverse.

Delay with pitch-shifted sound mixed in.

connected either in series or in parallel.

Produces a dream-like sound.

DELAY

FEEDBACK

OUTPUT R

TIME OUTPUT L

COMMON

* The COMMON parameters are not shown if TYPE is set to TWIST.

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

HI CUT

E.LEVEL 0–120 Adjusts the volume of the delay sound.

MOD RATE 0–100 Adjusts the modulation rate of the delay sound.

MOD DEPT

(MOD DEPTH)

DUCK SENS

(DUCK SENS)

DUCK PRE

(DUCK PRE DEPTH)

DUCK PST

(DUCK POST DEPTH)

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

BPM 40–250

1ms–2000ms,

BPM `–

20.0Hz–

20.0kHz FLAT

0–100

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

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

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

This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.

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

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. 47) to “INTERNAL.”

PAN

TWIST

SPACE EC

ECHO PX

BIN ECHO

* Company names and product names appearing in this document are registered

trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners

are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

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

This models the sound of the Roland RE-201.

This models the sound of the Maestro Echoplex.

This models the sound of the Binson Echorec2.

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%).

REVERSE

Parameter Value Explanation

AUTO TRIG OFF, ON

When this is on, the start position for reverse playback is adjusted automatically.

Eect

TAPE

Parameter Value Explanation

Selects the combination playback heads. Playback heads 2/3 provide delay times that are two times or three times as long as playback head 1.

HEAD

1, 1+2, 1+3, 2+3, 1+2+3

SHIMMER

Parameter Value Explanation

PITCH -24–+24

PITCH BL 0–100

PITCH FB 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.

DUAL

Parameter Value Explanation

This is a delay comprising two dierent delays connected in series.

D1 D2

This is a delay comprising two delays connected in parallel.

This delay lets you specify the L and R channels independently.

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.

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.

MODE

1:TYPE

(D1 TYPE)

2:TYPE

(D2 TYPE)

1:TIME

(D1 TIME)

2:TIME

(D2 TIME)

1:FEEDBK

(D1 FEEDBACK)

2:FEEDBK

(D2 FEEDBACK)

1:HI CUT

(D1 HIGH CUT)

2:HI CUT

(D2 HIGH CUT)

SERIES

PARALLEL

L/R

MONO This is a simple mono delay.

PAN

ANALOG This gives a mild analog delay sound.

TAPE

1ms–2000ms, BPM `–

0–100

20.0Hz–

20.0kHz, FLAT

Parameter Value Explanation

1:LEVEL

(D1 EFFECT LEVEL)

0–120

2:LEVEL

(D2 EFFECT LEVEL)

Adjusts the volume of the DELAY 1 (or DELAY

2).

WARP

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

FALL

MODE

TRIGGER OFF, ON

RISE TIME 0–100

FALL TIME *1 0–100

FADE TIME *2 0–100

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

*1 Setting available when MODE is set to RISE0FALL.

*2 Setting available when MODE is set to RISE0FADE.

(RISE0FALL)

FADE

(RISE0FADE)

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.

Adjusts the time for the rotation to stop when MODE is set to RISE0FALL.

Adjusts the time to fade-out when MODE is set to RISE0FADE.

SPACE EC (SPACE ECHO)

Parameter Value Explanation

Selects the combination playback heads.

Playback heads 2/3 provide delay times that are two times or three times as long as playback head 1.

HEAD

WOW&FLUT

(WOW & FLUTTER)

1, 1+2, 1+3, 2+3, 1+2+3

0–100 Adjusts the wow & utter.

ECHO PX (TAPE ECHO PX)

Parameter Value Explanation

WOW&FLUT

(WOW & FLUTTER)

0–100 Adjusts the wow & utter.

BIN ECHO (BIN DRUM ECHO)

Parameter Value Explanation

1, 2, 3, 4, 1+2,

HEAD

SELECTOR

WOW&FLUT

(WOW & FLUTTER)

2+3, 3+4, 1+3, 2+4, 1+2+3, 2+3+4, 1+2+3+4

ECHO, REPEAT, SWELL

0–100 Adjusts the wow & utter.

Selects the combination playback heads.

Selects the operating mode of the delay. Depending on mode that’s selected, the FEEDBACK will not work in some cases.

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-DELY

(PRE-DELAY)

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

WAVEFORM

LO CUT

HI CUT

D.LEVEL 0–100

BPM 40–250

0–100,

BPM Œ–

0.0ms–40.0ms

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.

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

1:RATE

2:RATE

1:DEPTH

2:DEPTH

1:PRE-DL

2:PRE-DL

1:LEVEL

2:LEVEL

1:WAVE

2:WAVE

1:LO CUT

2:LO CUT

1:HI CUT

2:HI CUT

D.LEVEL 0–100

BPM 40–250

OUTPUT

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.

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.G SIM

(AC GUITAR SIM)

AC RESO

(AC RESONANCE)

AUTO WAH

CHORUS

CHO BASS

(CHORUS BASS)

C-VIBE

(CLASSIC-VIBE)

COMP

DEFRETR

(DEFRETTER)

DEFRET B

(DEFRETTER BASS)

DIST

(DISTORTION)

FEEDBAKR

(FEEDBACKER)

FLANGER

FLANGR B

(FLANGER BASS)

HARMONST

(HARMONIST)

HUMANIZR

(HUMANIZER)

OCTAVE

OCT BASS

(OCTAVE BASS)

OVERTONE

PAN

PHASER

PITCH SFT

(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

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.

This simulates a fretless guitar.

This simulates a fretless bass.

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

Generates feedback performance.

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 can create human vowel-like sounds.

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.

Eect

Eect Name Explanation

SLW GEAR

(SLOW GEAR)

SG BASS

(SLOW GEAR BASS)

SND HOLD

(SOUND HOLD)

S-BEND Applies intense bending.

TOUCH WH

(TOUCH WAH)

TW BASS

(TOUCH WAH BASS)

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

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

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

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

AC.G SIM (AC. GUITAR SIMULATOR)

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

Parameter Value Explanation

BODY 0–100 Adjusts the body resonance.

LO -50–+50

HI -50–+50

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

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

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

AC RESO (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

RESO 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.

Eect

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

RAT E

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

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

FREQ 0–100

RESO 0–100

WAVEFORM TRI, SINE Selects a wave type.

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

BPM 40–250

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.

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

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 CHO

CE-1 VIB

RAT E

DEPTH 0–100

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

PRE-DELY *1 0.0ms–40.0ms

0–100, BPM Œ–

TRI

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.

WAVEFORM *1

SINE

LO CUT *1

HI CUT *1

D.LEVEL 0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz, FLAT

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.

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

*1 Not shown if TYPE is set to CE-1 CHO or CE-1 VIB.

* 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”

1:RATE

2:RATE

1:DEPTH

2:DEPTH

1:PRE-DL

2:PRE-DL

1:LEVEL

2:LEVEL

1:WAVE

2:WAVE

0–100,

BPM Œ–

0–100

0.0ms–40.0ms

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

TRI

SINE

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.

PRIME

Parameter Value Explanation

SWEETNES

(SWEETNESS)

BELL 0–100

OUTPUT

0–100

MONO

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.

CE-1 CHORUS, CE-1 VIBRATO

Parameter Value Explanation

PREAMP

(PREAMP SW)

GAIN

(PREAMP GAIN)

LEVEL

(PREAMP LEVEL)

OFF, ON

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.

1:LO CUT

2:LO CUT

1:HI CUT

2:HI CUT

D.LEVEL 0–100

BPM 40–250

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

Eect

CHO BASS (CHORUS BASS)

This is a chorus eect for bass.

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

TYPE

RAT E

DEPTH 0–100

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

LO CUT *1

HI CUT *1

BPM 40–250

STEREO 1

STEREO2

0–100,

BPM Œ–

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.

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.

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

C-VIBE (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

Direct sound and eect sound are mixed and 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

MODE

RAT E

DEPTH E.LEVEL

BPM

CHORUS

VIBRATO Only eect sound is output.

0–100, BPM Œ–

0–100 Adjusts the depth of the eect.

0–100 Adjusts the tone.

40–250

COMP (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

D-COMP

TYPE

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.

X-BASS COMP

THRESHOLD *1

SUSTAIN *2 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.

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

*1 Setting available when TYPE is set to X-BASS COM.

*2 Not shown if TYPE is set to X-BASS COMP.

0–100

This is a compressor for bass that uses MDP.

Adjust this as appropriate for the input signal. When the input signal level exceeds this threshold level, compression will be applied.

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.

Eect

DEFRETR (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

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

ATTAC K 0–100 Adjusts the attack of the picking sound.

RESO 0–100

DIR 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.

DEFRET B (DEFRETTER BASS)

This simulates a fretless bass.

Parameter Value Explanation

SENS 0–100

ATTAC K 0–100 Adjusts the attack of the picking sound.

TONE -50–+50

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

DIR 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.

DIST (DISTORTION)

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 TYPE” (p. 17)

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

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

SOLO SW OFF, ON The tone to one suitable for solos.

SOLO LVL 0–100

DISTORTION TYPE

This is a list of distortion types that can be selected for DISTORTION.

Type Explanation

MID

CLEAN

TREBLE This is a booster that has bright characteristics.

CRUNCH

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.

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.

Type Explanation

NATURAL

WARM OD This is a warm overdrive.

FAT DS A distortion sound with thick distortion.

LEAD DS

METAL DS

OCT FUZZ A fuzz sound with rich harmonic content.

A-DIST

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.

CENTA OD This models a KLON CENTAUR.

RAT This models a Proco RAT.

GUV DS This models a Marshall GUV’ NOR.

DIST+ This models the sound of the MXR DISTORTION+.

MTL ZONE

HM-2

MTL CORE

60S FUZZ

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

BASS OD Overdrive tuned especially for use with basses.

BASS DS Distortion tuned especially for use with basses.

BASS MT Wild, radical distortion sound.

BASS FUZ Fuzz tuned especially for use with basses.