Boss Audio Systems GT-100 User Manual 2

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Page 1

Parameter Guide

Page 2

Contents

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

EZ TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

PATCH CREATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

AMP CUSTOMIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

OD/DS CUSTOMIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

OD/DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

PREAMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

FX1/FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

T. WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

SUB WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

ADV. COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

LIMITER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

SUB OD/DS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

GRAPHIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

PARAMETRIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

TONE MODIFY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

GUITAR SIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

SLOW GEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

DEFRETTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

WAVE SYNTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

SITAR SIM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

HARMONIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

SOUND HOLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

AC. PROCESSOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

TREMOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

ROTARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

UNI-V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

SLICER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

RING MOD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

HUMANIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

2X2 CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

SUB DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

PEDAL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

PEDAL BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

FOOT VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

DIVIDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

SINGLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

DUAL Ch. A, DUAL Ch. B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

SEND/RETURN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

NS1/NS2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

ACCEL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

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

LASER BEAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

RING MOD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

TWIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

WARP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

FEEDBACKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

MASTER SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

AMP CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

GLOBAL EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

TOTAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

PHRASE LOOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

PLAY OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

KNOB SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

PREFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

LCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

MIDI SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

MIDI PROGRAM MAP BANK 0–3 . . . . . . . . . . . . . . . . . . . . . . . . . . .30

MIDI BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

PEDAL CALIBRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

AUTO OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

CTL/EXP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

ACCEL/CTL, EXP SW, SUB CTL 1, SUB CTL 2 . . . . . . . . . . . . . . . . . . . . . .31

EXP, SUB EXP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

ASSIGN COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

ASSIGN 1–8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Virtual expression pedal system (Internal Pedal / Wave

Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

TUNER METRONOME MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

METRONOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

MANUAL MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Memo

•

This eect sound is mono.

•

This eect sound is output with two channels.

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

•

* The product names mentioned in this document are registered trademarks or trademarks of their respective owners. In this manual, these names are used because it is the

most practical way of describing the sounds that are simulated using COSM technology.

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Basic Operation

Editing on the GT-100 is extremely simple; the procedure is always the same..

Choose what you’re going to edit

Press one of the following buttons.

Eect

Here you can edit the parameters of each eect.

EZ (Easy) Tone

Here you can create the desired tone simply by choosing a musical style and the type of song you have in mind. You can also customize the amp and overdrive/distortion settings in an intuitive way.

Select an item

Use to select an item shown in the left display.

The screen shown here is an example of when you’ve pressed the [EFFECT] button.

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System

Here you can make settings that apply to the entire GT-100, such as output settings and phrase loop settings.

Control/Expression

Here you can assign the desired functions to the [ACCEL/CTL] pedal, [EXP] pedal, and external pedals.

Turn knob [4] to select the desired item (the cursor will move).

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Edit the values

Use shown in the right display.

If page tabs are shown in the screen, you can use the [PAGE] buttons to move between tabs.

to edit the values

Exit the settings

Press

You’ll be returned to the Play screen.

Turn the knobs to edit the values.

NOTE

The settings you’ve edited will be lost when you switch patches. If you want to keep the edited settings, you must save them as a user patch (Owner’s Manual: p. 13).

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EZ TONE

PATCH CREATE

Lets you easily create your sound starting from your choice of musical style and type of song.

Parameter Value Explanation

BLUES Blues sound

Soul Funk Soul and Funk sound

Jazz Jazz sound

LIVERPOOL British Rock

70's HARD ROCK The Hard Rock sound popular in the ’70s

80s METAL The Metal sound popular in the ’80s

MODERN METAL Modern Metal sound

BASIC TONE

SOFT –HARD -50–+50

BACKING – SOLO

AMBIENCE 0–100 Adjusts the length of the resonance

West Coast West Coast sound

Fuzz Rock Fuzz

STUDIO Recording Studio

PROGRESSIVE Progressive

SURF ROCK Surf Rock sound

COUNTRY Country

Acoustic For Acoustic Guitar

Punk Pop Punk Pop

+: Sharp distortion

-: Warm distortion

-50–+50

+: For soloing

-: For backing

OD/DS CUSTOMIZE

Lets you intuitively customize the overdrive/distortion.

Parameter Value Explanation

OD-1 This models the sound of the BOSS OD-1.

OD-2 This is a overdrive sound with high gain.

CRUNCH This is a crunch sound.

CUSTOM TYPE

SOFT –HARD -50–+50

BACKING – SOLO

DS-1

DS-2 This creates a heavier distortion sound.

METAL1

METAL2 This gives a heavy metal sound.

FUZZ This gives a basic, traditional fuzz sound.

-50–+50

This gives a basic, traditional distortion sound.

This is a metal sound with a characteristic midrange.

+: Sharp distortion

-: Warm distortion

+: For soloing

-: For backing

AMP CUSTOMIZE

Lets you intuitively customize the amp.

Parameter Value Explanation

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

TW CLEAN This models a Fender Twin Reverb.

CRUNCH

COMBO DRIVE

CUSTOM TYPE

SOFT –HARD -50–+50

BACKING – SOLO

COMBO LEAD

MS HiGAIN

MODERN STACK

-50–+50

This is a crunch sound that can faithfully reproduce the nuances of picking.

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

This is a lead sound of a combo tube amp typical of the late ‘70s to ‘80s.

This models the sound input to Input I on a Marshall 1959.

This is a trebly sound suited to hard rock.

This original high-gain amp delivers thick lows and intense distortion while still preserving the sound’s clear denition.

+: Sharp distortion

-: Warm distortion

+: For soloing

-: For backing

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EFFECT

COMP

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 This models a BOSS CS-3.

HI-BAND

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

D-COMP This models a MXR DynaComp.

TYPE

SUSTAIN 0–100

ATTACK 0–100 Adjusts the attack time.

LEVEL 0–100 Adjusts the tone.

TONE -50–+50 Adjusts the volume.

ORANGE

FAT

MILD

STEREO COMP This selects a stereo compressor.

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

This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.

When applied heavily, this compressor eect provides a fat tone with a boosted midrange.

When applied heavily, this compressor eect produces a sweet tone with the high end cut.

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

OD/DS

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

Parameter Value Explanation

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

TYPE Refer to OD/DS TYPE

DRIVE 0–120 Adjusts the depth of distortion.

TONE -50–+50 Adjusts the tone.

EFFECT LEVEL 0–100 Adjusts the volume of the OD/DS 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.

OD/DS TYPE

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

Category Type Explanation

This is a booster with unique characteristics

MID BOOST

CLEAN BOOST

TREBLE BOOST

CRUNCH

ADVANCED

NATURL 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.

BLUES OD

OD-1

T-SCREAM This models an Ibanez TS-808.

TURBO OD

DIST

VINTAGE

RAT This models a Proco RAT.

GUV DS This models a Marshall GUV’ NOR.

DST+ This models a MXR DISTORTION+.

METAL ZONE

’60S FUZZ

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

CUSTOM

in the midrange.

Making the connection before the COSM amp produces sound suitable for solos.

This not only functions as a booster, but also produces a clean tone that has punch even when used alone.

This is a booster that has bright characteristics.

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

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

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

This is distortion sound that is ideal for performances of heavy ris.

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

This gives a basic, traditional distortion sound.

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.

Custom OD/DS

You can customize it however you like to match the sound you want.

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EFFECT

CUSTOM OD/DS SETTING

Parameter Value Explanation

OD-1 This models the sound of the BOSS OD-1.

OD-2 This is a overdrive sound with high gain.

CRUNCH This is a crunch sound.

DS-1 This gives a basic, traditional distortion sound.

CUSTOM TYPE

CUSTOM CHAR -50–+50

CUSTOM BOTTOM

CUSTOM TOP -50–+50

CUSTOM LOW -50–+50

CUSTOM HIGH -50–+50

DS-2 This creates a heavier distortion sound.

METAL1

METAL2 This gives a heavy metal sound.

FUZZ This gives a basic, traditional fuzz sound.

-50–+50

This is a metal sound with a characteristic midrange.

+: For soloing

-: For backing

This controls the input sound’s low-frequency range and adjusts the amount of distortion in the low-frequency range

This controls the input sound’s high-frequency range and adjusts the amount of distortion in the high-frequency range.

Adjusts the low-range tones after distortion is applied.

Adjusts the high-range tones after distortion is applied.

PREAMP

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

Parameter Value Explanation

ON/OFF OFF, ON Turns the COSM AMP eect on/o.

TYPE Refer to PREAMP TYPE

GAIN 0–120 Adjusts the distortion of the amp.

T-COMP -10–0–+10 Adjusts the sense of compression of the amp.

Adjusts the volume of the entire preamp.

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

BRIGHT OFF, ON

GAIN SW

SOLO SW OFF, ON

SOLO LEVEL 0–100

LOW, MIDDLE, HIGH

* Be careful not to raise the Level setting too

high.

Adjusts the tone for the ultra high frequency range.

* The PRESENCE parameter functions as a

high-cut lter with some PREAMP TYPEs.

Turns the bright setting on/o.

* The BRIGHT parameter setting is available only

with certain PREAMP TYPEs.

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.

SOLO SW is switched on to create the tone to one suitable for solos.

Adjusts the volume level when the SOLO SW is ON.

Parameter Value Explanation

Select the speaker type.

OFF This turns o the speaker simulator.

ORIGIN (ORIGINAL)

1x8"

1x10"

1x12"

SP TYPE *1

MIC TYPE *1

MIC DIS *1

MIC POS *1

MIC LEVEL *1 0–100 Adjusts the volume of the mic.

DIRECT MIX *1

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

2x12"

4x10"

4x12"

8x12"

CUSTOM

This setting selects the simulated mic type.

DYN57

DYN421

CND451

CND87

FLAT

Simulates the distance between the mic and speaker.

OFF MIC

ON MIC

This simulates the mic position.

CENTER

1–10 cm

0–100 Adjusts the volume of the direct sound.

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

This is a compact open-back speaker cabinet with one 8-inch speaker.

This is a compact open-back speaker cabinet with one 10-inch speaker.

This is a compact open-back speaker cabinet with one 12-inch speaker.

This is a general open-back speaker cabinet with two 12-inch speakers.

This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.

This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.

This is a double stack of two cabinets, each with four 12-inch speakers.

Custom speaker

You can customize it however you like to match the sound you want.

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).

This setting points the mic away from the speaker.

Provides conditions whereby the mic is directed more towards the speaker.

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.

Page 7

EFFECT

PREAMP TYPE

This is a list of the amp types that can be selected for PREAMP.

Category Type Explanation

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

An amp with a broad frequency range and an extremely at response.

Good for acoustic guitar.

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

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

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

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

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

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

This models a Fender Bassman 4 x 10” Combo.

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

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

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

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

A simulation of the latest tube amp widely used in styles from blues and rock.

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

The sound of a tube amp typical of the late ‘70s to ‘80s.

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

This models the sound input to Input I on a Marshall 1959.

This is a trebly sound suited to hard rock.

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

Models the sound of the Channel 2 VINTAGE Mode on the MESA/Boogie DUAL Rectier.

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

This models a Hughes & Kettner Triamp AMP3.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This models the lead channel of a Peavey EVH 5150.

ADVANCED

VINTAGE

NATURL CLEAN

FULL RANGE

COMBO CRUNCH

STACK CRUNCH

HiGAIN STACK

POWER DRIVE

EXTREM LEAD

CORE METAL

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

CLEAN TWIN This models a Fender Twin Reverb.

PRO CRUNCH This models a Fender Pro Reverb.

TWEED

DELUXE CRUNCH This models a Fender Deluxe Reverb.

VO DRIVE

VO LEAD

MATCH DRIVE

BG LEAD

BG DRIVE

MS1959 I

MS1959 I+II

R-FIER VINTAGE

R-FIER MODERN

T-AMP LEAD

SLDN

5150 DRIVE

Category Type Explanation

CUSTOM

This is a custom preamp.

You can customize it however you like to match the sound you want.

Page 8

EFFECT

CUSTOM AMP SETTING

Parameter Value Explanation

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

TW CLEAN This models a Fender Twin Reverb.

CRUNCH

COMBO DRIVE

CUSTOM TYPE

CUSTOM CHAR -50–+50

CUSTOM BOTTOM

CUSTOM EDGE -50–+50

CUSTOM PREAMP LOW

CUSTOM PREAMP HIGH

COMBO LEAD

MS HiGAIN

MODERN STACK

-50–+50

-50–+50 Adjusts the preamp section’s low-frequency tone.

-50–+50

This is a crunch sound that can faithfully reproduce the nuances of picking.

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

This is a lead sound of a combo tube amp typical of the late ‘70s to ‘80s.

This models the sound input to Input I on a Marshall 1959.

This is a trebly sound suited to hard rock.

This original high-gain amp delivers thick lows and intense distortion while still preserving the sound’s clear denition.

+: For soloing

-: For backing

This controls the input sound’s low-frequency range and adjusts the amount of distortion in the low-frequency range.

This controls the input sound’s high-frequency range and adjusts the amount of distortion in the high-frequency range.

Adjusts the preamp section’s high-frequency tone.

This adjusts the tone as a equalizer. A parametric type is adopted for the high-middle and low-middle range.

Parameter Value Explanation

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

LOW GAIN -20–+20 dB Adjusts the low frequency range tone.

HIGH GAIN -20–+20 dB Adjusts the high frequency range tone.

LEVEL -20–+20 dB Adjusts the overall volume level of the equalizer.

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

20 Hz–10.0 kHz

-20–+20 dB Adjusts the low-middle frequency range tone.

20 Hz–10.0 kHz

-20–+20 dB Adjusts the low-middle frequency range tone.

FLAT, 20 Hz–800 Hz

630 Hz–

12.5 kHz, FLAT

Species the center of the frequency range that will be adjusted by the LOW-MID GAIN.

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

Species the center of the frequency range that will be adjusted by the HIGH-MID GAIN.

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

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.

CUSTOM SPEAKER SETTING

Parameter Value Explanation

CUSTOM SP SIZE

CUSTOM SP NUMBER

CUSTOM CABINET

CUSTOM COLOR LOW

CUSTOM COLOR HIGH

5–15" Selects the size of speaker.

x1, x2, x4, x8 Sets the number of speakers.

Selects the speaker cabinet type.

OPEN This is an open-backed cabinet

-10–+10 Adjusts the speaker section’s low-frequency tone.

-10–+10

This type of cabinet features an enclosed rear panel.

Adjusts the speaker section’s high-frequency tone.

Page 9

EFFECT

FX1/FX2

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

Parameter Value Explanation

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

TYPE Refer to FX1/FX2 TYPE

FX1/FX2 TYPE

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

Eect Name Explanation

T. WAH

(Touch Wah)

AUTO WAH

(Auto Wah)

SUB WAH

ADV. COMP

(Advanced Compressor)

LIMITER The limiter attenuates loud input levels to prevent distortion.

SUB OD/DS This eect distorts the sound to create long sustain.

GRAPHIC EQ

(Graphic Equalizer)

PARAMETRIC EQ

(Parametric Equalizer)

TONE MODIFY This changes the tone of the connected guitar.

GUITAR SIM

(Guitar Simulator)

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

DEFRETTER This simulates a fretless guitar.

WAVE SYNTH This is a synth sound that processes the guitar input signal.

SITAR SIM.

(Sitar Simulator)

OCTAVE This adds a note one octave lower, creating a richer sound.

PITCH SHIFTER

HARMONIST

SOUND HOLD

AC. PROCESSOR

(Acoustic Processor)

PHASER

FLANGER

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

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

UNI-V

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

This changes the ltering over a periodic cycle, providing an automatic wah eect.

You can control the wah eect in real time by adjusting the [EXP] pedal or the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack.

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 adjusts the tone as a equalizer. You can adjust the sound quality in ten bands.

Adjusts the tonal quality. You can adjust the sound quality in four bands.

Simulation of the characteristics of particular guitar components such as pickups and dierent guitar bodies allows you to switch among a number of dierent guitar types all while using a single guitar.

This simulates the sound of the sitar.

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

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

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 processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.

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

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

This models a Uni-Vibe.

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

Eect Name Explanation

With the volume level of the left and right sides alternately

PAN

SLICER

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

RING MOD.

HUMANIZER This can create human vowel-like sounds.

2X2 CHORUS

SUB DELAY

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.

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

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.

Frequency band division is employed to produce two dierent choruses, one for low frequencies and one for higher frequencies, for both the left and right channels (for a total of four). This allows you to achieve a more natural chorus sound.

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

Page 10

EFFECT

T. WAH

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

Parameter Value Explanation

Selects the wah mode.

MODE

POLAR

SENS 0–100

FREQ 0–100

PEAK 0–100

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

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

LPF

BPF

Selects the direction in which the lter will change in response to the input.

DOWN The frequency of the lter will fall.

UP The frequency of the lter will rise.

This creates a wah eect over a wide frequency range.

This creates a wah eect in a narrow frequency range.

Adjusts the sensitivity at which the lter will change in the direction determined by the polarity setting. Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no eect.

Adjusts the center frequency of the Wah 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.

SUB WAH

You can control the wah eect in real time by adjusting the [EXP] pedal or the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack.

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.

TYPE

PEDAL POS 0–100

PEDAL MIN 0–100

PEDAL MAX 0–100

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

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

LIGHT WAH

7STRING WAH

RESO WAH

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 as-

signed to an EXP Pedal or similar controller.

Selects the tone produced when the heel of the EXP Pedal is depressed.

Selects the tone produced when the toe of the EXP Pedal is depressed.

AUTO WAH

This changes the ltering over a periodic cycle, providing an automatic wah eect.

Parameter Value Explanation

Selects the wah mode.

MODE

RATE

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

FREQ 0–100

PEAK 0–100

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

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

LPF

BPF

0–100, BPM

–

This creates a wah eect over a wide frequency range.

This creates a wah eect in a narrow frequency range.

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 amount of wah eect applied in the range near 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.

ADV. COMP

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

Parameter Value Explanation

Selects the compressor type.

BOSS COMP This models a BOSS CS-3.

HI-BAND

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

TYPE

SUSTAIN 0–100

ATTACK 0–100 Adjusts the attack time.

LEVEL 0–100 Adjusts the volume.

TONE -50–+50 Adjusts the tone.

D-COMP This models a MXR DynaComp.

ORANGE

FAT

MILD

STEREO COMP This selects a stereo compressor.

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

This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.

When applied heavily, this compressor eect provides a fat tone with a boosted midrange.

When applied heavily, this compressor eect produces a sweet tone with the high end cut.

Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain.

Page 11

EFFECT

LIMITER

The limiter attenuates loud input levels to prevent distortion.

Parameter Value Explanation

Selects the limiter type.

TYPE

THRESH 0–100

RATIO 1:1–INF:1

LEVEL 0–100 Adjusts the volume.

ATTACK 0–100

RELEASE 0–100 Adjusts the release time.

BOSS LIMITER This selects a stereo limiter.

RACK 160D This models a dbx 160X.

VTG RACK U This models a UREI 1178.

Adjust this as appropriate for the input signal from your guitar. When the input signal level exceeds this threshold level, limiting will be applied.

This selects the compression ratio used with signals in excess of the threshold level.

Adjusts the strength of the picking attack when the strings are played. Higher values result in s sharper attack, creating a more clearly dened sound.

SUB OD/DS

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

Parameter Value Explanation

TYPE

DRIVE 0–120 Adjusts the depth of distortion.

TONE -50–+50 Adjusts the tone.

EFFECT LEVEL 0–100 Adjusts the volume of the OD/DS sound.

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

Refer to “OD/DS TYPE” (p. 5)

* “CUSTOM” is not available.

Adjusts the tone for the low frequency range. Turning this to the left (counterclockwise) produces a sound with the low end cut; turning it to the right boosts the low end in the sound.

Adjusts the volume level when the Solo Sw is ON.

GRAPHIC EQ

This adjusts the tone as a equalizer. You can adjust the sound quality in ten bands.

Parameter Value

31 Hz

62 Hz

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

8 kHz

16 kHz

LEVEL -20–+20 dB

-20–+20 dB

PARAMETRIC EQ

Adjusts the tonal quality. You can adjust the sound quality in four bands.

Parameter Value Explanation

LOW GAIN -20–+20 dB Adjusts the low frequency range tone.

HIGH GAIN -20–+20 dB Adjusts the high frequency range tone.

LEVEL -20–+20 dB

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 FLAT, 20 Hz–800 Hz

HIGH CUT

20 Hz–10.0 kHz

-20–+20 dB

20 Hz–10.0 kHz

-20–+20 dB

630 Hz–12.5 kHz, FLAT

Adjusts the overall volume level of the equalizer.

Species the center of the frequency range that will be adjusted by the LOW-MID 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 HIGH-MID 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.

TONE MODIFY

This changes the tone of the connected guitar.

Parameter Value Explanation

Selects the type of tone modication.

FAT Fat tone with boosted mid range.

PRES (PRESENCE) Bright tone with boosted high-mid range.

TYPE

LOW -50–+50

HIGH -50–+50

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

RESO 0–100

MILD Mild tone with the high end cut back.

TIGHT Tone with the low frequencies cut.

ENHANC (ENHANCE) Tone with the high frequencies boosted.

RESO 1–3 (RESONATOR 1–3)

This produces a tone with greater power and punch by adding resonance in the low-frequency range and midrange.

Adjusts the tone for the low frequency range.

Adjusts the tone for the High frequency range.

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

Page 12

EFFECT

GUITAR SIM

Parameter Value Explanation

Selects the type of the guitar simulator.

S g H

H g S

H g HF

S g HLW (HOLLOW)

TYPE

H g HLW

S g AC

H g AC

P g AC

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

HIGH -50–+50

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

BODY 0–100

Changes from a single-coil pickup tone to a humbucking pickup tone.

Changes from a humbucking pickup tone to a single-coil pickup tone.

Changes from a humbucking pickup tone to a single-coil pickup half tone.

Changes a single-coil pickup tone to a hollow body tone with the body resonance added.

Changes a humbucking pickup tone to a hollow body tone with the body resonance added.

Changes a single-coil pickup tone to an acoustic guitar tone.

Changes a humbucking pickup tone to an acoustic guitar tone.

Changes a piezo pickup tone to an acoustic guitar tone.

Adjusts the tone for the High frequency range

Adjusts the way the body sounds when TYPE is set to S g HLW, H g HLW, S g AC, H g AC or P g AC.

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

SLOW GEAR

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

Parameter Value Explanation

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

SENS 0–100

RISE TIME 0–100

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

gear can be obtained only with a stronger picking, while no eect is obtained with a weaker picking. When the value is set higher, the eect is obtained even with a weak picking.

Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.

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.

ATTACK 0–100 Adjusts the attack of the picking sound.

RESO 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.

WAVE SYNTH

This is a synth sound that processes the guitar input signal.

* When you use a wave synthesizer, observe the following points.

• 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 a wave type which the synth sound is based.

WAVE

CUTOFF 0–100

RESO 0–100

FILTER SENS 0–100

FILTER DECAY 0–100

FILTER DEPTH 0–100

SYNTH LEVEL 0–100 Adjusts the volume of the synth sound.

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

SAW

SQUARE

Creates a synth sound with a saw waveform (

Creates a synth sound with the square waveform (

Adjusts the frequency where the harmonics contents of the sound are cut o.

This adjusts the amount of resonance (and the tone coloration) in the synth sound. The higher the value, the more the synth tone coloration is emphasized.

This adjusts the amount of ltering applied in response to the input.

This sets the time needed for the lter to nish its sweep.

Adjusts the depth of the lter. When the value is higher, the lter will change more drastically.

Page 13

EFFECT

SITAR SIM.

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

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.

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

BUZZ 0–100

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

obtained 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.

OCTAVE

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

Parameter Value Explanation

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

RANGE 1 (B1–E6)

RANGE

OCTAVE LEVEL

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

RANGE 2 (B1–E5)

RANGE 3 (B1–E4)

RANGE 4 (B1–E3)

0–100

B1 (corresponds to the sound of an open 7th string) to E6 (corresponds to the 1st string played at the 24th fret)

B1 (corresponds to the sound of an open 7th string) to E5 (corresponds to the 1st string played at the 12th fret)

B1 (corresponds to the sound of an open 7th string) to E4 (corresponds to the sound of an open 1st string)

B1 (corresponds to the sound of an open 7th string) to E3 (corresponds to the 4th string played at the 2nd fret)

Adjusts the volume of the sound one octave below.

PITCH SHIFTER

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

Parameter Value Explanation

Selects the number of voices for the pitch shift sound.

1-VOICE

VOICE

PS1:PITCH

PS2:PITCH

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

PS1:MODE

PS2:MODE

PS1:FINE

PS2:FINE

PS1:PRE DLY

PS2:PRE DLY

PS1:LEVEL

PS2:LEVEL

PS1:F.BACK 0–100

2-MONO

2-STEREO

-24–+24

Selection for the pitch shifter mode.

FAST,

MEDIUM,

SLOW

MONO

-50–+50

0 ms–300 ms,

–

BPM

0–100 Adjusts the volume of the pitch shifter.

One-voice pitch-shifted sound output in monaural.

Two-voice pitch-shifted sound (PS1, PS2) output in monaural.

Two-voice pitch-shifted sound (PS1, PS2) 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.

Page 14

EFFECT

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.

* 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.

* You cannot use the Harmonist eect with audio input via USB.

Parameter Value Explanation

Selects the number of voices for the pitch shift sound.

One-voice pitch-shifted sound output in monaural.

Two-voice pitch-shifted sound (HR1, HR2) output in monaural.

Two-voice pitch-shifted sound (HR1, HR2) 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 (#, b) as follows.

Major

VOICE

HR1:HARM

HR2:HARM

1-VOICE

2-MONO

2-STEREO

-2 oct–+2 oct, USER

Parameter Value Explanation

USER SCALE

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

C– C–C– C– C

Db– Db–Db– Db– Db

D– D–D– D– D

Eb– Eb–Eb– Eb– Eb

E– E–E– E– E

F– F–F– F– F

F#– F#–F#– F#– F#

G– G–G– G– G

Ab– Ab–Ab– Ab– Ab

A– A–A– A– A

Bb– Bb–Bb– Bb– Bb

B– B–B– B– B

* Eective with USER selected for HARM parameter.

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.

MASTER KEY C(Am)–B(G#m)

HR1:PRE DLY

HR2:PRE DLY

HR1:F.BACK 0–100

HR1:LEVEL

HR2:LEVEL

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

0 ms–300 ms,

–

BPM

0–100 Adjusts the volume of the harmony sound.

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.

Parameter Value Explanation

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

HOLD OFF, ON

RISE TIME 0–100

EFFECT LEVEL 0–120 Adjusts the volume of the hold sound.

• It is assumed that this parameter will be assigned to the footswitch.

• Patches are written with the HOLD parameter set to O.

Adjusts how rapidly the Sound Hold sound is produced.

Page 15

EFFECT

AC. PROCESSOR

This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.

Parameter Value Explanation

Selects the modeling type.

SMALL

TYPE

BASS -50–+50 Adjusts the low-end balance.

MIDDLE -50–+50 Adjusts the midrange balance.

MIDDLE FREQ 20.0 Hz–10.0 kHz

TREBLE -50–+50 Adjusts the high-end balance.

PRES -50–+50

LEVEL 0–100 Adjusts the volume.

MEDIUM

BRIGHT This is a bright acoustic guitar sound.

POWER This is a powerful acoustic guitar sound.

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

This is a standard, unadorned acoustic guitar sound.

Species the frequency range to be adjusted with Middle.

Adjusts the balance in the extended upper range.

PHASER

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

Parameter Value Explanation

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

4 STAGE

TYPE

RATE

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

RESO 0–100

MANUAL 0–100

8 STAGE

12 STAGE

BiPHASE

0–100, BPM

–

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

This is an eight-phase eect. It is a popular phaser eect.

This is a twelve-phase eect. A deep phase eect is obtained.

This is the phaser with two phase shift circuits connected in series.

This sets the rate of the phaser eect.

* When set to BPM, the value of each

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

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

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

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

Adjusts the center frequency of the phaser eect.

Parameter Value Explanation

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

EFFECT LEVEL 0–100 Adjusts the volume of the phaser.

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

OFF, 0–100, BPM

–

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.

FLANGER

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

Parameter Value Explanation

This sets the rate of the anging eect.

* When set to BPM, the value of each

parameter will be set according to the value of the “MASTER BPM” specied for

RATE

DEPTH 0–100 Determines the depth of the anging eect.

RESO 0–100

MANUAL 0–100

SEPARATION 0–100

LOW CUT

EFFECT LEVEL 0–100 Adjusts the volume of the anger.

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

0–100, BPM

–

FLAT, 55 Hz–800 Hz

each patch. This makes it easier to achieve eect sound settings that match the tempo of the song.

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

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

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

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

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

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.

Page 16

EFFECT

TREMOLO

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

Parameter Value Explanation

WAVE SHAPE 0–100

RATE

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

LEVEL 0–100 Adjusts the volume.

0–100, BPM

–

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

Adjusts the frequency (speed) of the change.

* When set to BPM, the value of each

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

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

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

ROTARY

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

Parameter Value Explanation

SPEED SELECT

RATE-SLOW

RATE-FAST

DEPTH 0–100

RISE TIME 0–100

FALL TIME 0–100

LEVEL 0–100 Adjusts the volume.

SLOW, FAST

0–100,

–

BPM

0–100, BPM

–

This parameter changes the simulated speaker’s rotating speed (SLOW or FAST ).

This parameter adjusts the SPEED SELECT of rotation when set to “SLOW.”

This parameter adjusts the SPEED SELECT of rotation when set to “FAST.”

* When set to BPM, the value of each

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

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

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

This parameter adjusts the amount of depth in the rotary eect.

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.”

UNI-V

This models a Uni-Vibe.

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

Parameter Value Explanation

Adjusts the rate of the UNI-V eect.

* When set to BPM, the value of each

parameter will be set according to the value of the “MASTER BPM” specied for

RATE

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

LEVEL 0–100 Adjusts the volume.

0–100, BPM

–

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.

PAN

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.

Parameter Value Explanation

AUTO

TYPE

MANUAL

WAVE SHAPE *1

RATE *1

DEPTH *1 0–100 Adjusts the depth of the eect.

POS *2

LEVEL 0–100 Adjusts the volume.

0–100

0–100, BPM

–

L 100–CENTER– R 100

*1 Setting available when TYPE is set to AUTO.

*2 Setting available when TYPE is set to MANUAL.

This varies the volume level on the left and right according to the settings for WAVE SHAPE, RATE, and DEPTH.

Output uses the volume balance set with POS.

Adjusts changes in volume level.

A higher value will steepen wave’s shape.

Adjusts the frequency (speed) of the change.

* When set to BPM, the value of each

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

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

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

This adjusts the volume balance between the left and right channels.

Page 17

EFFECT

SLICER

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

Parameter Value Explanation

PATTERN P1–P20

RATE

TRIGGER SENS

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

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

0–100, BPM

0–100

–

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.

Adjust the sensitivity of triggering.

With low settings of this parameter, softly picked notes will not retrigger the phrase (i.e., the phrase will continue playing), but strongly picked notes will retrigger the phrase so that it will playback from the beginning. With high settings of this parameter, the phrase will be retriggered even by softly picked notes.

VIBRATO

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

Parameter Value Explanation

Adjusts the rate of the vibrato.

* When set to BPM, the value of each

parameter will be set according to the value of the “MASTER BPM” specied for

RATE

DEPTH 0–100 Adjusts the depth of the vibrato.

TRIGGER OFF, ON

RISE TIME 0–100

LEVEL 0–100 Adjusts the volume.

0–100, BPM

–

each patch. This makes it easier to achieve eect sound settings that match the tempo of the song.

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

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

This selects on/o of the vibrato.

* It is assumed that this parameter will be

assigned to the footswitch.

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

* When a patch with TRIGGER set to ON is

called up, the eect obtained is identical to what happens when TRIGGER is switched from O to On. If you want the vibrato eect to be produced immediately after the patches are switched, set RISE TIME to 0.

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

This selects the mode for the ring modulator.

NORMAL This is a normal ring modulator.

By ring-modulating the input signal, a bell like sound is created. The intelligent ring

MODE

INTELLIGENT

FREQUENCY 0–100

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

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

modulator changes the oscillation frequency according to the pitch of the input sound and therefore produces a sound with the sense of pitch, which is quite dierent from NORMAL. This eect does not give a satisfactory result if the pitch of the guitar sound is not correctly detected. So, you must use single notes, not chords.

Adjusts the frequency of the internal oscillator.

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

RATE

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

MANUAL *2 0–100

LEVEL 0–100 Adjusts the volume.

PICKING

AUTO

0–100, BPM

–

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.

*1 Setting available when MODE is set to PICKING.

*2 Setting available when MODE is set to AUTO.

Page 18

EFFECT

2X2 CHORUS

Parameter Value Explanation

Adjust the speed of the chorus eect for the low frequency range.

* When set to BPM, the value of each

parameter will be set according to the

LOW RATE

LOW DEPTH 0–100

HIGH RATE

HIGH DEPTH 0–100

LOW PRE DELAY

LOW LEVEL 0–100

HIGH PRE DELAY

HIGH LEVEL 0–100

XOVER FREQ 100 Hz–4.00 kHz

0–100, BPM

–

0–100, BPM

–

0.0 ms–40.0 ms

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.

Adjust the depth of the chorus eect for the low frequency range. If you wish to use this as a doubling eect, use a setting of 0.

Adjust the speed of the chorus eect for the high frequency range.

* When set to BPM, the value of each

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

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

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

Adjust the depth of the chorus eect for the high frequency range. If you wish to use this as a doubling eect, use a setting of 0.

Adjusts the delay of the eect sound in the low-frequency range. Extending the pre-delay will produce the sensation of multiple sounds (doubling eect).

Adjusts the volume of the eect sound in the low-frequency range.

Adjusts the delay of the eect sound in the high-frequency range. Extending the pre-delay will produce the sensation of multiple sounds (doubling eect).

Adjusts the volume of the eect sound in the high-frequency range.

This sets the frequency dividing the low- and high-frequency ranges.

SUB DELAY

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

Parameter Value Explanation

Use this to choose the type of delay.

TYPE

DELAY TIME

F.BACK 0–100

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

HIGH CUT

TAP TIME *1 0–100%

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

*1 Setting available when TYPE is set to PAN.

MONO A simple monaural delay.

PAN

1 ms–1000 ms, BPM

–

630 Hz–12.5 kHz, FLAT

Provides a tap delay eect that divides the delay time between the left and right channels.

Adjusts the delay time.

* When set to BPM, the value of each

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

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

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

Adjusts the volume that is returned to the input. Higher settings will result in more delay repeats.

This sets the frequency at which the high cut lter begins to take eect. When “FLAT” is selected, the high cut lter will have no eect.

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

Page 19

EFFECT

DELAY

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

Parameter Value Explanation

DELAY ON/OFF

TYPE

OFF, ON Turns this eect on/o.

This selects which type of delay.

* If you switch patches with the Type set to either DUAL-S, DUAL-P,

or DUAL- L/R 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 monaural eect or COSM amp is

connected after a stereo delay eect.*

SINGLE This is a simple monaural delay.

This delay is specically for stereo output. This allows you to obtain the tap delay eect that divides the delay time, then deliver them to L and R channels.

PAN

STEREO

DUAL-S

DUAL-P

EectLev

INPUT

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

This is a delay comprising two dierent delays connected in series. Each delay time can be set in a range from 1 ms to 1000 ms.

DELAY

Feedback

D1 D2

This is a delay comprising two delays connected in parallel. Each delay time can be set in a range from 1 ms to 1000 ms.

Tap Time OUTPUT L

Dly Time OUTPUT R

D1: DELAY 1 D2: DELAY 2

This is a delay with individual settings available for the left and right channels. Delay 1 goes to the left channel, Delay 2 to the right.

DUAL-L/R

REVERSE

ANALOG

TAPE

MOD

(MODULATE)

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

This gives a mild analog delay sound. The delay time can be set within the range of 1 to 2000 ms.

This setting provides the characteristic wavering sound of the tape echo. The delay time can be set within the range of 1 to 3400 ms.

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

COMMON

Parameter Value Explanation

This determines 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

DELAY TIME

F.BACK 0–100

HIGH CUT

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

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

1 ms–2000 ms, BPM

–

630 Hz–12.5 kHz, FLAT

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.

PAN

Parameter Value Explanation

Adjusts the delay time of the left channel

TAP TIME 0–100%

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

DUAL-S, DUAL-P, DUAL-L/R

Parameter Value Explanation

This determines 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

D1:TIME

D2:TIME

D1:F.BACK

D2:F.BACK

D1:HI CUT

D2:HI CUT

D1:LEVEL

D2:LEVEL

1 ms–1000 ms, BPM

–

0–100

630 Hz–12.5 kHz, FLAT

0–120

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).

Page 20

EFFECT

MODULATE

Parameter Value Explanation

MOD RATE 0–100

MOD DEPTH 0–100

Adjusts the modulation rate of the delay sound.

Adjusts the modulation depth of the delay sound.

CHORUS

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

Parameter Value Explanation

CHORUS ON/ OFF

MODE

RATE

DEPTH 0–100

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

PRE DELAY 0.0 ms–40.0 ms

LOW CUT FLAT, 20 Hz–800 Hz

HIGH CUT

OFF, ON Turns this eect on/o.

Selection for the chorus mode.

MONO

STEREO 1

STEREO 2

0–100, BPM

–

630 Hz–12.5 kHz, FLAT

This chorus eect outputs the same sound from both L channel and R channel.

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

This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the eect sound output in the R channel.

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).

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.

REVERB

This eect adds reverberation to the sound.

Parameter Value Explanation

REVERB ON/ OFF

TYPE

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

PRE DELAY 0 ms–500 ms

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

LOW CUT FLAT, 20 Hz–800 Hz

HIGH CUT

DENSITY 0–10 Adjusts the density of the reverb sound.

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

SPRING SENS

(TYPE = SPRING only)

OFF, ON Turns this eect on/o.

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

Simulates an ambience mic (o-mic, placed

AMBIENC (AMBIENCE)

ROOM

HALL 1

HALL 2

PLATE

SPRING

MOD (MODULATE)

630 Hz–12.5 kHz, FLAT

0–100

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.

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

Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.

Simulates the reverberation in a concert hall. Provides mild reverberations.

Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

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

This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.

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

Page 21

EFFECT

PEDAL FX

PEDAL BEND

This lets you use the pedal to get a pitch bend eect.

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

simultaneously) cannot be played.

Parameter Value Explanation

PITCH -24–+24

PEDAL POS 0–100

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

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

WAH

You can control the wah eect in real time by adjusting the [EXP] pedal or the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack.

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.

TYPE

PEDAL POS 0–100

PEDAL MIN 0–100

PEDAL MAX 0–100

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

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

LIGHT WAH

7STRING WAH

RESO WAH

This sets the pitch at the point where the EXP Pedal is all the way down.

Adjusts the pedal position for pedal bend. This parameter is used after it’s been assigned to an EXP Pedal or similar controller.

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 as-

signed to an EXP Pedal or similar controller.

Selects the tone produced when the heel of the EXP Pedal is depressed.

Selects the tone produced when the toe of the EXP Pedal is depressed.

FOOT VOLUME

This is a volume control eect.

Normally, this is controlled with the EXP Pedal or the [EXP] pedal connected to the SUB CTL 1, 2/SUB EXP jack.

Parameter Value Explanation

VOLUME MIN 0–100

VOLUME MAX 0–100

VOLUME CURVE

LEVEL 0–100 Adjusts the volume.

SLOW 1, SLOW 2, 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

When the pedal is fully raised

When the pedal is

fully advanced

Page 22

EFFECT

DIVIDER

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 MIXER

Parameter Value Explanation

MODE

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

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

MIXER

Parameter Value Explanation

STEREO

MODE

PAN L/R

CH A/B BALANC

SPREAD 0–100

100:0–0:100

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.”

SINGLE

Parameter Value Explanation

CH SELECT Ch. A, Ch. B Selects the channel to use.

DUAL Ch. A, DUAL Ch. B

Parameter Value Explanation

OFF DYNAMIC will not be used.

Ch. A/Ch. B DYNAMIC

Ch. A/Ch. B DYNAMIC SENS

Ch. A/Ch. B FILTER

Ch. A/Ch. B CUTOFF FREQ

POLAR+

POLAR-

0–100 Species the picking sensitivity.

OFF The lter will not be used.

LPF

HPF

100 Hz–2 kHz Cuto frequency

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

Only notes picked more softly than the DYNAMIC 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.

Page 23

EFFECT

SEND/RETURN

You can connect an external eects processor between the SEND jack and RETURN jack, and use it as one of the GT-100’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

SEND/ RETURN ON/OFF

OFF, ON

NORMAL

Turns the SEND/RETURN on/o.

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-100’s eect chain.

NS1/NS2

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

NS ON/OFF OFF, ON Switches the noise suppressor 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

THRESH 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

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.”

NS1DLY

(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.”

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-100’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-100’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.

INPUT

NS1FV

Foot Volume

Page 24

EFFECT

ACCEL FX

This allows for the use of six dierent types of Accel eects, which modify the sound over time when you depress the [ACCEL/CTL] pedal.

Parameter Value Explanation

S-BEND Applies intense bending.

LASER BEAM Produces a laser beam-like sound.

RING MOD.

TYPE

TWIST

WARP Produces a dream-like sound.

FEEDBACKER Generates feedback performance.

S-BEND

Applies intense bending.

Parameter Value Explanation

-3 oct, -2 oct,

PITCH

RISE TIME 0–100

FALL TIME 0–100

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

LASER BEAM

Produces a laser beam-like sound.

Parameter Value Explanation

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

DEPTH 0–100 Adjusts the modulation depth of the sound.

RISE TIME 0–100

FALL TIME 0–100

RING MOD.

Produces a metallic sound, creating the impression that the sound is being focused.

Parameter Value Explanation

FREQ 0–100

RISE TIME 0–100

FALL TIME 0–100

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

OCTAVE LEVEL

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

0–100

Produces a metallic sound, creating the impression that the sound is being focused.

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

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.

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.

Adjusts the frequency of the internal oscillator.

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.

Adjusts the volume of the one octave low sound.

TWIST

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

Parameter Value Explanation

RISE TIME 0–100

FALL TIME 0–100

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

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.

WARP

Produces a dream-like sound.

Parameter Value Explanation

RISE TIME 0–100

FALL TIME 0–100

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

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.

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

DEPTH *1 0–100

RISE TIME *2 0–100

OCTAVE RISE TIME *2

F.BACK LEVEL *2

OCTAVE F.BACK LEVEL *20–100

VIB RATE *2 0–100

VIB DEPTH *2 0–100

*1 MODE=NORMAL only

*2 MODE=OSC only

0–100

0–100 Adjusts the volume of the feedback sound.

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.

Page 25

EFFECT

MASTER SETTING

These settings are applied to the overall patch.

MASTER SETTING

Parameter Value Explanation

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

Adjusts the BPM value for each patch.

* BPM (beats per minute) indicates the number

of quarter note beats that occur each minute.

MASTER BPM 40–250

MASTER KEY C (Am)–B (G#m)

* When you have an external MIDI device

connected, the MASTER BPM synchronizes to the external MIDI device’s tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set”SYNC CLOCK” (p. 29) to INTERNAL.

This sets the key for the FX HARMONIST.

Major

Minor

Major

Minor

AMP CONTROL

By connecting your guitar amp’s channel switching jack to the GT-100’s AMP CONTROL jack, you can then use Amp Control to switch the amp channel.

This combining of the GT-100 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.

Parameter Value Explanation

GT-100

(AMP CONTROL jack)

MASTER EQ

Parameter Value Explanation

MASTER LOW GAIN

MASTER HIGH GAIN

MASTER MID FREQ

MASTER MID Q

MASTER MID GAIN

-20–+20 dB Adjusts the low frequency range tone.

-20–+20 dB Adjusts the high frequency range tone.

20.0 Hz–10.0 kHz

0.5–16

-20–+20 dB Adjusts the middle frequency range tone.

Specify the center of the frequency range that will be adjusted by the MASTER MID GAIN.

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

OFF

Guitar Amp

AMP CONTROL

(Channel switching jack)

GT-100

(AMP CONTROL jack)

Guitar Amp

(Channel switching jack)

* To determine how the amp channels are switched when the circuit is

open and shorted, refer to the amp owner’s manual, or actually conrm the sounds by operating the amp.

* Note that, depending on the circuitry of the channel switching jack in

the guitar amp used, the Amp Control function may not operate.

* Since this is a single mono plug, it can’t switch a three-channel amp.

MEMO

With Amp Control, not only can you switch amp channels, you can also use it to switch the amp’s eects on and o, like a footswitch controller.

Page 26

SYSTEM

OUTPUT SELECT

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

Parameter Value Explanation

JC-120

SMALL AMP

COMBO AMP

STACK AMP

SELECT

JC-120 RETURN

COMBO RETURN

STACK RETURN

LINE/PHONES

Choose this setting if the GT-100 is connected to the guitar input of a Roland JC-120 guitar amp.

Choose this setting if the GT-100 is connected to a small guitar amp.

Choose this setting if the GT-100 is connected to the guitar input of a combo-type guitar amp (i.e., a single unit that contains the amp and speaker) other than the JC-120.

For some types of guitar amps, the “JC-120” setting might produce better results.

Choose this setting if the GT-100 is connected to the guitar input of a stack-type guitar amp (i.e., one in which the amp and speaker are separate units).

Choose this setting if the GT-100 is connected to the RETURN jack of the JC-120.

Choose this setting if the GT-100 is connected to the RETURN jack of a combo-type guitar amp.

Choose this setting if the GT-100 is connected to the RETURN jack of a stack-type guitar amp. You should also choose the “STACK RETURN” setting if you’re using a guitar power amp together with a speaker cabinet.

Choose this setting if you’re using headphones, or if the GT-100 is connected to a keyboard amp, mixer, or digital recorder.

INPUT

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

Parameter Value Explanation

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

GLOBAL EQ

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

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. This does not

NS THRESH -20–+20 dB

REVERB 0–200%

MAIN OUTPUT LEVEL

-10 dB, +4 dB

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 %.

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

PHRASE LOOP

Here are various settings for the Phrase Loop function.

Parameter Value Explanation

The sound processed by the eects will be

PERFORM

MODE

PATCH EDIT

MONO

REC MODE

STEREO

PLAY LEVEL 0–120 Species the phrase playback volume.

OFF

PEDAL FUNC

PHRASE LOOP

recorded.

This lets you create a variety of performances by layering dierent sounds.

The sound before being processed by the eects will be recorded, and the eects will be applied when the loop is played back.

This is a convenient way to adjust the eects, or to compare the sound of dierent patches.

The phrase will be recorded in monaural (maximum 38 seconds).

The phrase will be recorded in stereo (maximum 19 seconds).

Phrase Loop will not operate even if you press the [PHRASE LOOP] pedal.

You can use the [PHRASE LOOP] pedal to switch Phrase Loop on/o or to record.

Parameter Value Explanation

LOW GAIN -20–+20 dB Adjusts the low frequency range tone.

MID GAIN -20–+20 dB Adjusts the middle frequency range tone.

MID FREQ 20.0 Hz–10.0 kHz

MID Q 0.5–16

HIGH GAIN -20–+20 dB Adjusts the high frequency range tone.

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.

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.

BANK CHANGE MODE

WAIT

IMMED

Page 27

SYSTEM

Parameter Value Explanation

OFF

EXP PEDAL HOLD

KNOB LOCK OFF, ON

NUM PEDAL SW

BANK EXTENT MIN

BANK EXTENT MAX

PEDAL INDICAT

OFF, TUNER, Ch. A/B, OD SOLO, A/B SOLO, A&B SOLO

P01–P50, U01–U50

OFF, ON

The operational status of the EXP PEDAL’s FUNC (p. 31) is not carried over when patches are switched.

If the EXP PEDAL’s FUNC (p. 31) are the same between 2 patches, the operational status is carried over when patches are switched.

For example, if EXP PEDAL FUNC is set to FOOT VOLUME in both patches, the one before and the one after the change, the volume corresponding to the position the pedal is in (angle) at the time of the patch change will be maintained after the patch change. On the other hand, if the patch being changed to is set to WAH, the volume will be in accordance with the value set within the patch, and you’ll obtain a wah eect that is in accordance with a value that reects the current position (angle) of the pedal.

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

Selects the function that will be recalled when you press the pedal of the same number as the currently selected patch.

Sets the lower limit for the banks.

Sets the upper limit for the banks.

If this is ON, all currently unlit pedal indicators will blink dimly.

KNOB SETTING

Here you can assign the desired parameters to knobs [1]–[8] in the Play Screen.

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

Parameter Value

KNOB 1

KNOB 2

KNOB 3

KNOB 4

KNOB 5

KNOB 6

KNOB 7

KNOB 8

OFF, PATCH, COMP SUSTAIN, COMP ATTACK, COMP LEVEL, OD/DS DRIVE, OD/DS TONE, OD/DS E.LEV, OD/DS SOLO LV, PRE A TYPE, PRE A GAIN, PRE A LEVEL, PRE A BASS, PRE A MID, PRE A TREBLE, PRE A PRES, PRE A SOLO LV, PRE A MIC LEV, PRE B TYPE, PRE B GAIN, PRE B LEVEL, PRE B BASS, PRE B MID, PRE B TREBLE, PRE B PRES, PRE B SOLO LV, PRE B MIC LEV, EQ LO CUT, EQ LOW, EQ LO-MID, EQ HI-MID, EQ HIGH, EQ HI CUT, DELAY TIME, DELAY F.BACK,DELAY HI CUT, DELAY E.LEV, DELAY D1TIME, DELAY D1F.BK, DELAY D1HICUT, DELAY D1LEV, DELAY D2TIME, DELAY D2F.BK, DELAY D2HICUT, DELAY D2LEV, CHORUS RATE , CHORUS DEPTH, CHORUS PREDLY, CHORUS E.LEV, REVERB TIME, REVERB HI CUT, REVERB E.LEV, MASTER LOW, MASTER MID, MASTER HIGH, PATCH LEVEL, PEDAL WAH LEV, PEDAL PB LEV, DIV CH SELECT, SR SEND LEVEL, SR RTN LEVEL, NS1 THRESH, NS1 RELEASE, NS2 THRESH, NS2 RELEASE, GLOBAL EQ LOW, GLOBAL EQ MID, GLOBAL EQ HIGH

Display of parameters you can set with KNOB SETTING

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

Value Display Value Display

OFF OFF DELAY F.BACK DlyFBK

PATCH PATCH DELAY HI CUT DlyHC

COMP SUSTAIN CmpSUS DELAY E.LEV DlyELV

COMP ATTACK CmpATK DELAY D1TIME D1 TIM

COMP LEVEL CmpLEV DELAY D1F.BK D1 FBK

OD/DS DRIVE OD DRV DELAY D1HICUT D1 HC

OD/DS TONE OD TNE DELAY D1LEV D1 LEV

OD/DS E.LEV OD ELV DELAY D2TIME D2 TIM

OD/DS SOLO LV OD SLV DELAY D2F.BK D2 FBK

PRE A TYPE A:TYPE DELAY D2HICUT D2 HC

PRE A GAIN A:GAIN DELAY D2LEV D2 LEV

PRE A LEVEL A:LEV CHORUS RATE ChoRAT

PRE A BASS A:BASS CHORUS DEPTH ChoDPT

PRE A MID A:MID CHORUS PREDLY ChoDLY

PRE A TREBLE A:TRB CHORUS E.LEV ChoLEV

PRE A PRES A:PRES REVERB TIME RevTIM

PRE A SOLO LV A:SLV REVERB HI CUT RevHC

PRE A MIC LEV A:MLV REVERB E.LEV RevELV

PRE B TYPE B:TYPE MASTER LOW MT LOW

PRE B GAIN B:GAIN MASTER MID MT MID

PRE B LEVEL B:LEV MASTER HIGH MT HI

PRE B BASS B:BASS PATCH LEVEL PAT LV

PRE B MID B:MID PEDAL WAH LEV WahLEV

PRE B TREBLE B:TRB PEDAL PB LEV PB LEV

PRE B PRES B:PRES DIV CH SELECT CH A/B

PRE B SOLO LV B:SLV SR SEND LEVEL SR SND

PRE B MIC LEV B:MLV SR RTN LEVEL SR RTN

EQ LO CUT EQ LC NS1 THRESH NS1THR

EQ LOW EQ LOW NS1 RELEASE NS1REL

EQ LO-MID EQ LMD NS2 THRESH NS2THR

EQ HI-MID EQ HMD NS2 RELEASE NS2REL

EQ HIGH EQ HI GLOBAL EQ LOW GB LOW

EQ HI CUT EQ HC GLOBAL EQ MID GB MID

DELAY TIME DlyTIM GLOBAL EQ HIGH GB HI

Page 28

SYSTEM

PREFERENCE

Here you can specify whether settings for the type of connected amp and preamp, control pedal, expression pedal, etc. will be independent for each patch, or whether the same settings will be shared by all patches.

Parameter Value Explanation

OUTPUT SELECT

PREAMP PATCH, SYSTEM 1–3

ACCEL/CTL PATCH, SYSTEM

EXP PATCH, SYSTEM

EXP SW PATCH, SYSTEM

SUB CTL 1 PATCH, SYSTEM

SUB CTL 2 PATCH, SYSTEM

SUB EXP PATCH, SYSTEM

PATCH, SYSTEM

If this is set to PATCH, dierent settings can be made independently for each patch. If this is set to SYSTEM, the same settings will be shared by all patches.

* Here, even if a CTL/EXP pedal that has been

set to SYSTEM is set to ASSIGN SOURCE (p.

32), that setting will be ignored. In the case of the ACCEL/CTL pedal, in addition to the above, settings for Manual mode (p. 37) will also be ignored.

LCD

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

Parameter Value Explanation

CONTRST LEFT

CONTRST RIGHT

1–16 Higher values increase the brightness.

USB

Here you can make USB-related settings for when the GT-100 is connected to a computer via USB.

USB audio ow

USB IN-OUT MODE: NORMAL

GT-100

USB IN

INPUT

USB IN-OUT MODE: DRY OUT

GT-100

USB IN

INPUT

OUTPUT Level

Eect Chain

USB OUT

OUTPUT

Level

OUTPUT

Eect Chain

Level

MIX

Level

MIX

USB IN-OUT MODE: REAMP

GT-100

USB IN

INPUT

Parameter Value Explanation

Here you can specify the audio ow for USB input/output.

NORMAL

DRY OUT

USB IN-OUT MODE

REAMP

USB OUT

INPUT

Level

Eect Chain

The guitar input will be sent through the GT-100’s eects and output to the computer. The input from the computer will be mixed with the GT-100’s output, and then output.

The sound of the guitar processed by the eects will be monitored, while the guitar input will be output to the computer without passing through the GT-100’s eects. The input from the computer will be mixed with the GT-100’s output (eect-processed guitar sound) and then output.

The sound being input from the computer will pass through the GT-100’s eects, and then be output from the GT-100’s OUTPUT and USB OUT. With this setting, the guitar sound recorded on the computer can be played back through the GT-100’s eects and output from the GT-100’s guitar OUTPUT and USB OUT.

* If REAMP is selected, the GT-100’s INPUT

cannot be used.

OUTPUT

Level

OUTPUT

Page 29

SYSTEM

Parameter Value Explanation

Adjusts the level of the audio input from the computer that will be mixed with the sound processed by the GT-100’s eects

MIX LEVEL

INPUT LEVEL

OUTPUT LEVEL

DIR. MONITOR

DIR. MONITOR CMD

when “USB IN-OUT MODE” is not set to “REAMP”.

0–200 %

Adjusts the input level from the computer to the GT-100’s eects when “USB IN-OUT MODE” is set to “REAMP”.

-20–+20 dB

Adjusts the level of the output from the GT-100 to the computer.

0–200% Adjusts the level of the output to the computer.

Switches the output of the GT-100 sound to the OUTPUT and PHONES jacks.

* This setting cannot be saved. It is set to ON when the power

is turned on.

* If you are using the special driver, you can control DIR.

MONITOR On/O from ASIO 2.0 - compatible application.

OFF

This setting determines whether or not the command (the Direct Monitor command) controlling the Direct Monitor setting is enabled.

DISABLE

ENABLE

Adjusts the level of the audio input from the computer that will be mixed with the sound processed by the GT-100’s eects.

Adjusts the input level from the computer to the GT-100’s eects .

Set this to O if transmitting audio data internally through a computer (Thru).

No sound is heard at this time unless the setting for the computer is Thru.

The GT-100 sound is output. Set this to ON when using the GT-100 as a standalone device, without connecting to a computer (only USB input sound will be output if this is set to O).

The Direct Monitor command is disabled, maintaining the Direct Monitor mode set by the GT-100.

The Direct Monitor command is enabled, allowing the Direct Monitor mode to be switched from an external device.

MIDI SETTING

Here you can make settings for using the GT-100 connected with an external MIDI device or with a second GT-100 unit.

Parameter Value Explanation

RX CHANNEL

OMNI MODE

TX CHANNEL

DEVICE ID

This sets the MIDI channel used for receiving MIDI messages.

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

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

OFF

This sets the MIDI channel used for transmitting MIDI messages.

Ch. 1– Ch. 16. Species the transmit channel.

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

1–32 Sets the MIDI Device ID.

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.

Transmits on the same channel as the RX CHANNEL.

Parameter Value Explanation

This setting determines the basis used for synchronizing the timing for eect modulation rates and other time-based 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.”

SYNC CLOCK

MIDI IN SELECT

PC OUT

MAP SELECT

PH.LOOP OUT

ACC/CTL OUT

EXP OUT

EXP SW OUT

* 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 the MIDI Clock

AUTO

INTERNAL

This selects whether MIDI messages will be received from the MIDI IN connector or from the USB port.

USB (AUTO)

MIDI

This setting determines whether or not Program Change messages are output when patches are switched on the GT-100.

* On the GT-100, Bank Select messages are output simultane-

ously with Program Change messages.

OFF

This setting determines whether patches are switched according to the Program Change Map settings, or to the default settings.

FIX

PROG

This sets the controller number when [PHRASE LOOP] pedal switch operation data is output as Control Change messages.

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

This sets the controller number when [ACCEL/CTL] pedal switch operation data is output as Control Change messages.

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

This sets the controller number when [EXP] pedal operation data is output as Control Change messages.

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

This sets the controller number when EXP PEDAL SW operation data is output as Control Change messages.

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

received via MIDI. However, operations are automatically synchronized to the GT-100’s internal Clock if the GT-100 is unable to receive the external Clock.

Operations are synchronized to the GT-100’s internal Clock.

MIDI messages will be received via the USB port.

* If the USB port is not connected to a

computer, MIDI messages will be received from the MIDI IN connector.

MIDI messages will be received from the MIDI IN connector.

Program Change messages are not output, even when patches are switched.

Program Change messages are simultaneously output when patches are switched.

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.

This sets the controller number when [PHRASE LOOP] pedal operation data is output as Control Change messages.

This sets the controller number when [ACCEL/ CTL] pedal operation data is output as Control Change messages.

This sets the controller number when [EXP] pedal operation data is output as Control Change messages.

This sets the controller number when EXP PEDAL SW operation data is output as Control Change messages.

Page 30

SYSTEM

Parameter Value Explanation

This sets the controller number when operation data from the footswitch connected to the SUB CTL 1, 2/SUB EXP jack is output

SUB CTL 1 OUT

SUB CTL 2 OUT

SUB EXP OUT

as Control Change messages.

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

This sets the controller number when operation data from the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack is output as Control Change messages.

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

This sets the controller number when SUB CTL 1 pedal operation data is output as Control Change messages.

This sets the controller number when SUB CTL 2 pedal operation data is output as Control Change messages.

This sets the controller number when external SUB EXP Pedal operation data is output as Control Change messages.

MIDI PROGRAM MAP BANK 0–3

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-100 and the patches to be switched to in the “Program Change Map.”

Parameter Value Explanation

PC#1–PC#128

U01-1–U50-4, P01-1–P50-4

This sets the patch number (P01-1 through U50-4) for the corresponding Program Change number.

AUTO OFF

The GT-100 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 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.

Parameter Value Explanation

OFF The power will not turn o automatically.

AUTO OFF

The power will automatically turn o when 10 hours have passed since you last played or operated the GT-100.

FACTORY RESET

Initializes the GT-100 to its factory-set condition. Refer to “Restoring the Factory Settings.

Parameter Value Explanation

SYSTEM System parameter settings

FROM

QUICK Settings for User Quick Setting

U01-1–U50-4 Settings for Patch Number U01-1 through U50-4

SYSTEM System parameter settings

QUICK Settings for User Quick Setting

U01-1–U50-4 Settings for Patch Number U01-1 through U50-4

MIDI BULK DUMP

You can use Exclusive messages to provide another GT-100 with identical settings, and save eect settings on a MIDI sequencer or other device.

Parameter Value Explanation

SYSTEM System parameter settings

FROM

QUICK Settings for User Quick Setting

U01-1–U50-4 Settings for Patch Number U01-1 through U50-4

TEMP Settings for the patch that is currently selected

SYSTEM System parameter settings

QUICK Settings for User Quick Setting

U01-1–U50-4 Settings for Patch Number U01-1 through U50-4

TEMP Settings for the patch that is currently selected

PEDAL CALIBRATION

You can readjust the [EXP] pedal so that it will operate optimally.

Parameter Value Explanation

THRESHOLD 1–16

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

Page 31

CTL/EXP

ACCEL/CTL, EXP SW, SUB CTL 1, SUB CTL 2

Here’s how to assign the parameters that will be controlled by the ACCEL/ CTL, EXP SW, SUB CTL 1 and SUB CTL 2 pedals.

Parameter Value Explanation

OFF No assignment.

ACCEL Switches the ACCEL eect on and o.

P.LOOP ON/OFF Switches the PHRASE LOOP on and o.

P.LOOP REC/PLY Records/plays back the phrase.

P.LOOP STP/PLY Stops/plays back the phrase.

P.LOOP CLEAR Clears the phrase

DIV CH SELECT Switches between Preamp channel A and B.

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

A/B SOLO Switches the Preamp SOLO on and o.

Switches the preamp SOLO, for both channel A and B, on and o.

If one of the two channels is o, both will be turned on.

Controls the Start/Stop of external MIDI devices (such as sequencers).

Controls the Play/Stop of external MIDI devices (such as hard disk recorders).

Increases the patch volume level by 10 units.

Increases the patch volume level by 20 units.

Decreases the patch volume level by 10 units.

Decreases the patch volume level by 20 units.

Switches to the next higher patch number in the same bank as the currently selected patch.

Switches to the next lower patch number in the same bank as the currently selected patch.

Lights/extinguishes the pedal’s LED indicator.

* This is shown only when ACCEL/CTL pedal

is selected.

* This is shown only if PERFORMANCE (p. 28)

is set to PATCH.

FUNC

A&B SOLO

COMP Switches the COMP on and o.

OD/DS Switches the OD/DS on and o.

PREAMP Switches the PREAMP/SPEAKER on and o.

EQ Switches the EQ on and o.

FX1 Switches the FX1 on and o.

FX2 Switches the FX2 on and o.

DELAY Switches the DELAY on and o.

CHORUS Switches the CHORUS on and o.

REVERB Switches the REVERB on and o.

PEDAL FX Switches the Pedal FX on and o.

SEND/RETURN Switches the SEND/RETURN on and o.

AMP CTL Switches the Amp Control on and o.

TUNER Switches the TUNER/BYPASS on and o.

MANUAL MODE Switches the MANUAL MODE on and o.

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

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

MIDI START

MMC PLAY

LEVEL +10 *1

LEVEL +20 *1

LEVEL -10 *1

LEVEL -20 *1

NUMBER INC *1

NUMBER DEC *1

BANK INC *1 Switches to the next higher bank number.

BANK DEC *1 Switches to the next lower bank number.

LED ON/OFF

Parameter Value Explanation

MIN

MAX

SOURCE MODE

OFF, ON

(or STOP, START)

OFF, ON

(or STOP, START)

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

MOMENT

TOGGLE

This sets the value for times when the switch is O.

This sets the value for times when the switch is On.

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

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

EXP, SUB EXP

Here’s how to assign the parameters that will be controlled by the GT-100’s [EXP] pedal, and by an expression pedal (such as the separately available EV-5) connected to the SUB CTL 1, 2/SUB EXP jack.

Parameter Value Explanation

OFF No assignment.

FOOT VOLUME Foot volume will be assigned.

PEDAL BEND Pedal bend will be assigned.

WAH Wah will be assigned.

FUNC

PATCH LEVEL MIN

PATCH LEVEL MAX

* Only FOOT VOLUME can be assigned to SUB EXP (external expression

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

PB/FV Pedal bend and foot volume will be assigned.

WAH/FV Wah and foot volume will be assigned.

Patch level will be assigned.

PATCH LEVEL

0–200

* This is shown only if PERFORMANCE (p. 28) is set

to SYSTEM.

Species the minimum value.

* This is shown only if FUNC is set to PATCH

LEVEL.

Species the maximum value.

* This is shown only if FUNC is set to Patch Level.

*1 The function will activate as soon as you press the pedal, regardless of

whether the SOURCE MODE parameter is MOMENT or TOGGLE.

Page 32

CTL/EXP

ASSIGN COMMON

Parameter Value Explanation

INPUT SENS 0–100

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

ASSIGN 1–8

* If you want to light the ACCEL/CTL pedal’s LED indicator while the

ASSIGN 1–8 function is assigned to the ACCEL/CTL pedal, set the ACCEL/ CTL pedal FUNC (p. 31) to “LED ON/OFF.”

Parameter Value Explanation

OFF/ON OFF, ON Turns the ASSIGN 1–8 on/o.

EXP PEDAL Assigns the GT-100’s [EXP] pedal.

EXP PDL SW Assigns the EXP pedal switch.

P.LOOP PEDAL Assigns the GT-100’s [PHRASE LOOP] pedal.

ACC/CTL PDL Assigns the [ACCEL/CTL] pedal.

SUB EXP PDL

SUB CTL1 PDL

SOURCE

SOURCE MODE

TARGET CATEGRY

TARGET

TARGET MIN

TARGET MAX

ACT RANGE LO 0–126

ACT RANGE HI 1–127

WAVE RATE *1

SUB CTL2 PDL

INT PEDAL

WAVE PEDAL

INPUT LEVEL

CC#1–#31

CC#64–#95

MOMENT

TOGGLE

This selects the parameter to be changed.

Refer to TARGET list

This sets the minimum value for the range in which the parameter can change. The value diers depending on the parameter assigned for TARGET parameter.

This sets the maximum value for the range in which the parameter can change. The value diers depending on the parameter assigned for TARGET parameter.

0–100, BPM

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.

–

Assigns the external expression pedal (such as the separately available EV-5) connected to the SUB CTL 1, 2/SUB EXP jack.

Assigns the external footswitch (FS-5U, FS-6; available separately) connected to the SUB CTL 1, 2/SUB EXP jack.

Assigns the external foot switch (FS-5U, FS-6; available separately) connected to the SUB CTL 1, 2/SUB EXP jack.

Refer to “Virtual expression pedal system (Internal Pedal / Wave Pedal)” (p. 35)

The assigned target parameter will change according to the input level.

Control Change messages from an external MIDI device.

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

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

You can set the controllable range for target parameters within the source’s operational range. Target parameters are controlled within the range set with ACT RANGE LO and ACT RANGE HI. You should normally set ACT RANGE LO to 0 and ACT RANGE HI to 127.

This determines the time spend for one cycle of the assumed EXP Pedal.

Parameter Value Explanation

SAW

WAVEFORM *1

INT PDL TRIGGER *2

INT PDL TIME *2

INT PDL CURVE *2

*1 The WAVE RATE and WAVEFORM parameters are enabled when the Source

parameter is set to WAVE PEDAL.

*2 The INT PDL TRIGGER, INT PDL TIME, and INT PDL CURVE parameters are enabled

when the SOURCE parameter is set to INT PEDAL.

TRI

SINE

PATCH CHANGE This is activated when a patch is selected.

EXP PDL-LO

EXP PDL-MID

EXP PDL-HI

EXP PDL SW

P.LOOP PEDAL

ACC/CTL PDL

SUB EXP PDL

SUB CTL1 PDL

SUB CTL2 PDL

CC#1–#31

CC#64–#95

0–100

LINEAR

SLOW RISE

FAST RISE

This is activated when the GT-100’s [EXP] pedal is set to the minimum position.

This is activated when the GT-100’s [EXP] pedal is moved through the middle position.

This is activated when the GT-100’s [EXP] pedal is set to the maximum position.

This is activated when the EXP pedal switch is operated.

This is activated when the [PHRASE LOOP] pedal is operated.

This is activated when the [ACCEL/CTL] Pedal is operated.

This is activated when an external expression pedal connected to the SUB CTL 1, 2/SUB EXP jack is operated.

This is activated when an external footswitch connected to the SUB CTL 1, 2/SUB EXP jack is operated.

This is activated when a control change is received.

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

Page 33

TARGET list

CTL/EXP

CATEGORY TARGET

ON/OFF

TYPE

COMP

OD/DS

PREAMP

PREAMP A/B

SUSTAIN

ATTACK

TONE

LEVEL

ON/OFF

TYPE

DRIVE

BOTTOM

TONE

SOLO SW

SOLO LEVEL

EFFECT LEVEL

DIRECT MIX

CUSTOM TYPE

CUSTOM BOTTOM

CUSTOM TOP

CUSTOM LOW

CUSTOM HIGH

CUSTOM CHAR

ON/OFF

TYPE

GAIN

T-COMP

BASS

MIDDLE

TREBLE

PRES

LEVEL

BRIGHT

GAIN SW

SOLO SW

SOLO LEVEL

SP TYPE

MIC TYPE

MIC DIST

MIC POS

MIC LEVEL

DIRECT MIX

CUSTOM TYPE

CUSTOM BOTTOM

CUSTOM EDGE

CUSTOM LOW

CUSTOM HIGH

CUSTOM CHAR

SPCSTM SIZE

SPCSTM COLOR L

SPCSTM COLOR H

SPCSTM SP NUM

SPCSTM CABINET

CATEGORY TARGET

ON/OFF

LOW CUT

LOW GAIN

LOW-MID FREQ

LOW-MID Q

FX1/FX2

FX1/FX2 T.WAH

FX1/FX2 A.WAH

FX1/FX2 SUB WAH

FX1/FX2 ADV CMP

FX1/FX2 LIMITER

FX1/FX2 OD/DS

LOW-MID GAIN

HI-MID FREQ

HI-MID Q

HI-MID GAIN

HIGH GAIN

HIGH CUT

LEVEL

ON/OFF

TYPE

MODE

POLARITY

SENS

FREQ

PEAK

EFFECT LEVEL

DIRECT MIX

MODE

FREQ

PEAK

RATE

DEPTH

EFFECT LEVEL

DIRECT MIX

TYPE

PDL POS

PEDAL MIN

PEDAL MAX

EFFECT LEVEL

DIRECT MIX

TYPE

SUSTAIN

ATTACK

TONE

LEVEL

TYPE

ATTACK

THRESH

RATIO

RELEASE

LEVEL

TYPE

DRIVE

BOTTOM

TONE

SOLO SW

SOLO LEVEL

EFFECT LEVEL

DIRECT MIX

CATEGORY TARGET

31 Hz

62Hz

125 Hz

250 Hz

FX1/FX2 GEQ

FX1/FX2 PEQ

FX1/FX2 ToneMOD

FX1/FX2 GTR SIM

FX1/FX2 SL.GEAR

FX1/FX2 DEFRET

FX1/FX2 WAV SYN

FX1/FX2 SitarSIM

500 Hz

1 kHz

2 kHz

4 kHz

8 kHz

16 kHz

LEVEL

LOW CUT

LOW GAIN

LOW-MID FREQ

LOW-MID Q

LOW-MID GAIN

HI-MID FREQ

HI-MID Q

HI-MID GAIN

HIGH CUT

HIGH GAIN

LEVEL

TYPE

RESO

LOW

HIGH

LEVEL

TYPE

LOW

HIGH

BODY

LEVEL

SENS

RISE TIME

LEVEL

TONE

SENS

ATTACK

DEPTH

RESO

EFFECT LEVEL

DIRECT MIX

WAVE

CUTOFF

RESO

FILTER SENS

FILTER DECAY

FILTER DEPTH

SYNTH LEVEL

DIRECT MIX

TONE

SENS

DEPTH

RESO

BUZZ

EFFECT LEVEL

DIRECT MIX

CATEGORY TARGET

FX1/FX2 OCTAVE

FX1/FX2 P.SHIFT

FX1/FX2 HARM

FX1/FX2 S.HOLD

FX1/FX2 AC.PRO

FX1/FX2 PHASER

FX1/FX2 FLANGER

FX1/FX2 TREMOLO

RANGE

OCTAVE LEVEL

DIRECT MIX

VOICE

PS1 MODE

PS1 PITCH

PS1 FINE

PS1 PRE DLY

PS1 LEVEL

PS2 MODE

PS2 PITCH

PS2 FINE

PS2 PRE DLY

PS2 LEVEL

PS1 F.BACK

DIRECT MIX

VOICE

HR1 HARMONY

HR1 PRE DLY

HR1 LEVEL

HR2 HARMONY

HR2 PRE DLY

HR2 LEVEL

HR1 F.BACK

DIRECT MIX

HOLD

RISE TIME

EFFECT LEVEL

TYPE

BASS

MIDDLE

MIDDLE FREQ

TREBLE

PRES

LEVEL

TYPE

RATE

DEPTH

MANUAL

RESO

STEP RATE

EFFECT LEVEL

DIRECT MIX

RATE

DEPTH

MANUAL

RESO

SEPARATION

LOW CUT

EFFECT LEVEL

DIRECT MIX

WAVE SHAPE

RATE

DEPTH

LEVEL

Page 34

CTL/EXP

CATEGORY TARGET

SPEED SELECT

RATE SLOW

FX1/FX2 ROTARY

FX1/FX2 UNIV

FX1/FX2 PAN

FX1/FX2 SLICER

FX1/FX2 VIBRATO

FX1/FX2 RINGMOD

FX1/FX2 HUMAN

FX1/FX2 2x2CHO

FX1/FX2 SUB DLY

RATE FAST

RISE TIME

FALL TIME

DEPTH

LEVEL

RATE

DEPTH

LEVEL

TYPE

WAVE SHAPE

RATE

DEPTH

POS

LEVEL

PATTERN

RATE

TRIGGER SENS

EFFECT LEVEL

DIRECT MIX

RATE

DEPTH

TRIGGER

RISE TIME

LEVEL

MODE

FREQ

EFFECT LEVEL

DIRECT MIX

MODE

VOWEL 1

VOWEL 2

SENS

RATE

DEPTH

MANUAL

LEVEL

XOVER FREQ

LOW RATE

LOW DEPTH

LOW PRE DLY

LOW LEVEL

HIGH RATE

HIGH DEPTH

HIGH PRE DLY

HIGH LEVEL

TYPE

DELAY TIME

F.BACK

HIGH CUT

EFFECT LEVEL

DIRECT MIX

TAP TIME

CATEGORY TARGET

ON/OFF

TYPE

DELAY TIME

DELAY

DELAY D1

DELAY D2

DELAY MOD

CHORUS

REVERB

PEDAL FX

PEDAL P.B.

PEDAL WAH

FOOT VOLUME

F.BACK

HIGH CUT

EFFECT LEVEL

DIRECT MIX

PAN TAP TIME

TIME

F.BACK

HIGH CUT

LEVEL

TIME

F.BACK

HIGH CUT

LEVEL

MOD. RATE

MOD. DEPTH

ON/OFF

MODE

RATE

DEPTH

PRE DELAY

LOW CUT

HIGH CUT

EFFECT LEVEL

ON/OFF

TYPE

REVERB TIME

PRE DELAY

LOW CUT

HIGH CUT

DENSITY

EFFECT LEVEL

DIRECT MIX

SPRING SENS

ON/OFF

PITCH

PDL POS

EFFECT LEVEL

DIRECT MIX

TYPE

PDL POS

PEDAL MIN

PEDAL MAX

EFFECT LEVEL

DIRECT MIX

VOLUME CURVE

VOLUME MIN

VOLUME MAX

LEVEL

CATEGORY TARGET

MODE

CHANNEL SELECT

ChA DYNAMIC

ChA DYN SENS

DIVIDER

MIXER

SEND/ RETURN

AMP CTL

NS1

NS2

ACCEL

ACCEL S-BEND

ACCEL LASER

ACCEL RING

ACCEL TWIST

ACCEL WARP

ACCEL F.BACK

ChA FILTER

ChA CUTOFF

ChB DYNAMIC

ChB DYN SENS

ChB FILTER

ChB CUTOFF

MODE

ChA/B BALANCE

SPREAD

ON/OFF

MODE

SEND LEVEL

RETURN LEVEL

AMP CTL SW

ON/OFF

THRESH

RELEASE

DETECT

ON/OFF

THRESH

RELEASE

DETECT

ON/OFF

TYPE

PITCH

RISE TIME

FALL TIME

RATE

DEPTH

RISE TIME

FALL TIME

FREQ

RISE TIME

FALL TIME

RING LEVEL

OCTAVE LEVEL

DIRECT MIX

LEVEL

RISE TIME

FALL TIME

LEVEL

RISE TIME

FALL TIME

MODE

DEPTH

RISE TIME

OCTAVE R.TIME

FB LEVEL

OCTAVE FB LEV

VIB RATE

VIB DEPTH

CATEGORY TARGET

PATCH LEVEL

MASTER LOW

MASTER

BPM/ KEY

TUNER

MANUAL

PHRASE LOOP

TAP

MIDI

PATCH

MASTER MID F

MASTER MID Q

MASTER MID G

MASTER HIGH

MASTER BPM

MASTER KEY

TUNER SW

MANUAL MODE SW

ON/OFF

REC/ PLAY

STOP/ PLAY

CLEAR

BPM TAP

DELAY TAP

START/ STOP

MMC PLY /STOP

LEVEL +10

LEVEL +20

LEVEL -10

LEVEL -20

NUMBER INC

NUMBER DEC

BANK INC

BANK DEC

Page 35

CTL/EXP

Virtual expression pedal system (Internal Pedal / Wave Pedal)

By assigning a desired parameter to the virtual expression pedal, you can produce an eect as though you were operating a physical expression pedal to change the volume or tone quality in real time.

The virtual expression pedal system provides the following two types of functions, and you can use the SOURCE setting for ASSIGN 1–8 to choose the desired type.

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

parameter SOURCE MODE to “MOMENT.”

Internal pedal

If SOURCE is set to “INT PEDAL,” the virtual expression pedal will begin operating when started by the specied trigger (INT PDL TRIGGER), modifying the parameter specied by TARGET.

The value changes in a curve

When the trigger occurs

Wave pedal

If SOURCE is set to “WAVE PEDAL,” the virtual expression pedal will cyclically modify the parameter specied by TARGET in a xed wave form.

About the Range of a Target’s Change

The value of the parameter selected as the target changes within the range dened by “Min” and “Max,” as set on the GT-100.

When using an external footswitch, or other controller that acts as an on/o switch, “Min” is selected with O (CLOSED), and “Max” is selected with On (OPEN).

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

MIN

Allowable

Parameter

Settings Range

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

Input Level

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.

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

* 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.

0 127

When the pedal is advanced halfway

When the pedal is fully advanced

Degree to Which Expression Pedal Is Depressed

Page 36

CTL/EXP

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 RANGE LO: 40, ACT RANGE HI: 80

MAX

Degree to

Allowable

Value

Parameter

MIN

Settings Range

When the pedal is fully raised

0 127

40 80

ACT RANGE LO

ACT RANGE HI

Which Expression Pedal Is Depressed

When the pedal is fully advanced

Degree to

OFF

0 127 When the pedal is fully raised

40 8060 ACT RANGE LO

Center Value

ACT RANGE HI

Which Expression Pedal Is Depressed

When the pedal is fully advanced

* When using a footswitch or other on/o switching controller as the

source, leave these at “ACT RANGE LO: 0” and “ACT RANGE HI: 127.” With certain settings, the value may not change.

Page 37

Other Settings

TUNER METRONOME MODE

Editing procedure

1. Simultaneously press pedals [1] and [2].

The tuner function and the metronome function will turn on.

2. Use knobs [1], [4]–[8] to specify the settings.

3. Simultaneously press pedals [1] and [2] to return to

the Play screen.

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

MANUAL MODE

Editing procedure

1. Simultaneously press pedals [BANK DOWN] and

[BANK UP].

The MANUAL mode will turn on.

2. Use knobs [1]–[8] to specify the settings.

3. Simultaneously press pedals [BANK DOWN] and

[BANK UP] to return to the Play screen.

Here you can make settings for the MANUAL mode.

TUNER

Here you can make settings for the TUNER mode.

Parameter Value Explanation

PITCH 435 Hz–445 Hz Species the reference pitch.

MUTE Sound will not be output while tuning.

While tuning, the sound of the guitar being input to the GT-100 will be output without change. All eects will be o.

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

OUTPUT

BYPASS

THRU

METRONOME

Here you can make settings for the METRONOME mode.

Parameter Value Explanation

TEMPO 40–250 Species the tempo of the metronome.

1/1–8/1,

BEAT

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

LEVEL 0–100 Adjusts the volume of the metronome.

1/2–8/2, 1/4–8/4, 1/8–8/8

Selects the time signature.

Parameter Value Explanation

BANK DOWN

BANK UP

NUMBER PEDAL 1

NUMBER PEDAL 2

NUMBER PEDAL 3

NUMBER PEDAL 4

PHRASE LOOP

ACCEL/CTL

OFF, ACCEL, PL (PHRASE LOOP), PL R/P, PL S/P, PL CLR, CH A/B, OD SOLO, A/B SOLO, A&B SOLO, CMP, OD, PREAMP, EQ, FX1, FX2, DLY, CHO, REV, PDL FX, S/R, AMP CTL, TUNER, MANUAL, BPM TAP, DLY TAP, MIDI (MIDI START), MMC PLAY, LEV +10, LEV +20, LEV -10, LEV -20, NUM INC, NUM DEC, BANK INC, BANK DEC

You can assign the desired eects unit to each pedal.

Page 38

1PS

Boss Audio Systems GT-100 User Manual 2

Specifications and Main Features

Frequently Asked Questions

User Manual

Basic Operation

EZ TONE

PATCH CREATE

OD/DS CUSTOMIZE

AMP CUSTOMIZE

EFFECT

COMP

OD/DS

PREAMP

FX1/FX2

T. WAH

SUB WAH

AUTO WAH

ADV. COMP

LIMITER

SUB OD/DS

GRAPHIC EQ

PARAMETRIC EQ

TONE MODIFY

GUITAR SIM

SLOW GEAR

DEFRETTER

WAVE SYNTH

SITAR SIM.

OCTAVE

PITCH SHIFTER

HARMONIST

SOUND HOLD

AC. PROCESSOR

PHASER

FLANGER

TREMOLO

ROTARY

UNI-V

SLICER

VIBRATO

RING MOD.

HUMANIZER

2X2 CHORUS

SUB DELAY

DELAY

CHORUS

REVERB

PEDAL FX

PEDAL BEND

FOOT VOLUME

FOOT VOLUME

DIVIDER

MIXER

SINGLE

DUAL Ch. A, DUAL Ch. B

SEND/RETURN

NS1/NS2

ACCEL FX

RING MOD.

TWIST

S-BEND

LASER BEAM

WARP

FEEDBACKER

MASTER SETTING

MASTER SETTING

AMP CONTROL

MASTER EQ

SYSTEM

OUTPUT SELECT

INPUT

GLOBAL EQ

TOTAL

PHRASE LOOP

PLAY OPTION

KNOB SETTING

PREFERENCE

MIDI SETTING

MIDI PROGRAM MAP BANK 0–3

AUTO OFF