Boss Audio Systems GT-100 User Manual 2
Parameter Guide
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 eect sound is mono.
•
This eect sound is output with two channels.
These eects 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.
Copyright © 2012 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.
2
Basic Operation
Editing on the GT-100 is extremely simple; the procedure is always the same..
Choose what you’re going to edit
1
Press one of the following buttons.
Eect
Here you can edit the parameters of each eect.
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
2
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.
page 5
page 4
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).
page 26
page 31
3
4
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).
3
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 denition.
+: Sharp distortion
-: Warm distortion
+: For soloing
-: For backing
4
EFFECT
COMP
This is an eect that produces a long sustain by evening out the volume
level of the input signal.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
BOSS COMP This models a BOSS CS-3.
HI-BAND
LIGHT This is a compressor with a light eect.
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 eect in the high end.
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
When applied heavily, this compressor eect
provides a fat tone with a boosted midrange.
When applied heavily, this compressor eect
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 eect distorts the sound to create long sustain.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect 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 ris.
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.
5
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 dierent preamp characteristics, speaker
sizes, and cabinet shapes.
Parameter Value Explanation
ON/OFF OFF, ON Turns the COSM AMP eect 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.
6
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 dening 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 Rectier.
Models the sound of the Channel 2 MODERN
Mode on the MESA/Boogie DUAL Rectier.
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.
7
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 denition.
+: 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.
EQ
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 eect 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
Species the center of the frequency range that
will be adjusted by the LOW-MID GAIN.
Adjusts the width of the area aected by the EQ
centered at the LOW-MID FREQ. Higher values
will narrow the area.
Species the center of the frequency range that
will be adjusted by the HIGH-MID GAIN.
Adjusts the width of the area aected 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 eect. When FLAT is selected, the
low cut lter will have no eect.
This sets the frequency at which the high cut
lter begins to take eect. When FLAT is selected,
the high cut lter will have no eect.
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
CLOSE
-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.
8
EFFECT
FX1/FX2
With FX1 and FX2, you can select the eect to be used from the following.
You can select the same eect for FX1 and FX2.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
TYPE Refer to FX1/FX2 TYPE
FX1/FX2 TYPE
This is a list of the eects that can be selected for FX1/FX2.
Eect 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 eect 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 eect (“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 eect that creates a cyclic change in volume.
ROTARY This produces an eect like the sound of a rotary speaker.
UNI-V
You can produce a wah eect with the lter changing in response
to the guitar level.
This changes the ltering over a periodic cycle, providing an
automatic wah eect.
You can control the wah eect 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 eect that produces a long sustain by evening out the
volume level of the input signal. You can also use it as a limiter to
suppress only the sound peaks and prevent distortion.
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 dierent guitar bodies allows you to switch
among a number of dierent guitar types all while using a single
guitar.
This simulates the sound of the sitar.
This eect changes the pitch of the original sound (up or down)
within a range of two octaves.
Harmonist is an eect where the amount of shifting is adjusted
according to an analysis of the guitar input, allowing you to create
harmony based on diatonic scales.
You can have sound played on the guitar be held continuously.
This eect allows you to perform the melody in the upper registers
while holding a note in the lower registers.
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
eect gives a whooshing, swirling character to the sound.
The anging eect gives a twisting, jet-airplane-like character to
the sound.
This models a Uni-Vibe.
Although this resembles a phaser eect, it also provides a unique
undulation that you can’t get with a regular phaser.
Eect Name Explanation
With the volume level of the left and right sides alternately
PAN
SLICER
VIBRATO This eect 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 eect 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 dierent
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
eect is useful for making the sound fatter.
9
EFFECT
T. WAH
You can produce a wah eect 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 eect 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 eect over a wide
frequency range.
This creates a wah eect 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 eect.
Adjusts the center frequency of the Wah
eect.
Adjusts the way in which the wah eect
applies to the area around the center
frequency.
Higher values will produce a stronger tone
which emphasizes the wah eect more. With
a value of 50 a standard wah sound will be
produced.
SUB WAH
You can control the wah eect 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 eect 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 rened sound with no unusual
characteristics.
This expanded wah features a variable range
compatible with seven-string and baritone
guitars.
This completely original eect oers 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 eect.
Parameter Value Explanation
Selects the wah mode.
MODE
RATE
DEPTH 0–100 Adjusts the depth of the eect.
FREQ 0–100
PEAK 0–100
EFFECT LEVEL 0–100 Adjusts the volume of the eect sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
LPF
BPF
0–100,
BPM
–
This creates a wah eect over a wide
frequency range.
This creates a wah eect 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” specied for
each patch. This makes it easier to achieve
eect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
Adjusts the center frequency of the Wah
eect.
Adjusts the amount of wah eect applied in
the range near the center frequency. Higher
values will produce a stronger tone which
emphasizes the wah eect more. With a value
of 50 a standard wah sound will be produced.
ADV. COMP
This is an eect that produces a long sustain by evening out the volume
level of the input signal. You can also use it as a limiter to suppress only the
sound peaks and prevent distortion.
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 eect.
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 eect in the high end.
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
When applied heavily, this compressor eect
provides a fat tone with a boosted midrange.
When applied heavily, this compressor eect
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.
10
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 dened sound.
SUB OD/DS
This eect 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.
Species the center of the frequency range
that will be adjusted by the LOW-MID GAIN.
Adjusts the width of the area aected by the
EQ centered at the LOW-MID FREQ. Higher
values will narrow the area.
Adjusts the low-middle frequency range
tone.
Species the center of the frequency range
that will be adjusted by the HIGH-MID GAIN.
Adjusts the width of the area aected by the
EQ centered at the HIGH-MID FREQ. Higher
values will narrow the area.
Adjusts the low-middle frequency range
tone.
This sets the frequency at which the low
cut lter begins to take eect. When FLAT is
selected, the low cut lter will have no eect.
This sets the frequency at which the high
cut lter begins to take eect. When FLAT
is selected, the high cut lter will have no
eect.
TONE MODIFY
This changes the tone of the connected guitar.
Parameter Value Explanation
Selects the type of tone modication.
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 eect 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.
11
EFFECT
GUITAR SIM
Simulation of the characteristics of particular guitar components such as
pickups and dierent guitar bodies allows you to switch among a number
of dierent guitar types all while using a single guitar.
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 eect 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 eect (“violin-like” sound).
Parameter Value Explanation
Adjusts the sensitivity of the slow gear. When
it is set to a lower value, the eect of the slow
SENS 0–100
RISE TIME 0–100
LEVEL 0–100 Adjusts the volume of the eect sound.
gear can be obtained only with a stronger
picking, while no eect is obtained with a
weaker picking. When the value is set higher,
the eect 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 eect 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.
).
12
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