Boss Audio Systems GT-100 User Manual

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Page 1

How to obtain a PDF of the owner’s manual

PDF les of the owner’s manual and supplementary material for this product can be obtained from the Roland website.

• GT-100 Owner’s Manual (this document)

• GT-100 Parameter Guide *

*These are not included with the product; you may download them as necessary.

Visit the following URL, choose “owner’s manuals,” and search for the model name “GT-100.“

http://www.roland.com/support/en/

Page 2

USING THE UNIT SAFELY

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

About WARNING and CAUTION Notices

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

ALWAYS OBSERVE THE FOLLOWING

WARNING

Do not disassemble or modify by yourself

Do not open (or modify in any way) the unit or its AC adaptor.

Do not repair or replace parts by yourself

Do not attempt to repair the unit, or replace parts within it (except when this manual provides specic instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

Do not use or store in the following types of locations

• Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet oors); or are

• Exposed to steam or smoke; or are

• Subject to salt exposure; or are

• Humid; or are

• Exposed to rain; or are

• Dusty or sandy; or are

• Subject to high levels of vibration and shakiness.

Do not place in an unstable location

Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.

Use only the included AC adaptor and the correct voltage

Be sure to use only the AC adaptor included with the unit. Also, make sure the line voltage at the installation matches the input voltage specied on the AC adaptor’s body. Other AC adaptors may use a dierent polarity, or be designed for a dierent voltage, so their use could result in damage, malfunction, or electric shock.

Use only the included power cord

Use only the attached power-supply cord. Also, the included power cord must not be used with any other device.

Do not bend the power cord or place heavy objects on it

Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are re and shock hazards!

About the Symbols

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power-cord plug must be unplugged from the outlet.

WARNING

Avoid extended use at high volume

This unit, either alone or in combination with an amplier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

Don’t allow foreign objects or liquids to enter unit; never place containers with liquid on unit

Do not place containers containing liquid on this product. Never allow foreign objects (e.g., ammable objects, coins, wires) or liquids (e.g., water or juice) to enter this product. Doing so may cause short circuits, faulty operation, or other malfunctions.

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WARNING

Turn o the unit if an abnormality or malfunction occurs

Immediately turn the unit o, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when:

• The AC adaptor, the powersupply cord, or the plug has been damaged; or

• If smoke or unusual odor occurs; or

• Objects have fallen into, or liquid has been spilled onto the unit; or

• The unit has been exposed to rain (or otherwise has become wet); or

• The unit does not appear to operate normally or exhibits a marked change in performance.

Adults must provide supervision in places where children are present

When using the unit in locations where children are present, be careful so no mishandling of the unit can take place. An adult should always be on hand to provide supervision and guidance.

CAUTION

Place in a well ventilated location

The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

Grasp the plug when connecting or disconnecting the AC adaptor

Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.

Periodically clean the AC adaptor’s plug

At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to re.

Manage cables for safety

Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

USING THE UNIT SAFELY

Quick Guide Overview Outputting Sound Eects Saving

CAUTION

Take care not to get ngers pinched by lid

Be careful so you don’t get your ngers pinched when you handle any moving parts such as the following. Adult supervision is recommended whenever small children use the unit.

• Expression Pedal (p. 20)

Keep small items out of the reach of children

To prevent accidental ingestion of the parts listed below, always keep them out of the reach of small children.

• Removable Parts USB Cap (p. 23)

Handle the ground terminal carefully

If you remove the screw from the ground terminal, be sure to replace it; don’t leave it lying around where it could accidently be swallowed by small children. When refastening the screw, make that it is rmly fastened, so it won’t come loose.

Do not drop or subject to strong impact

Protect the unit from strong impact.

(Do not drop it!)

Do not share an outlet with an unreasonable number of other devices

Do not force the unit’s powersupply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

Do not use overseas

Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

Avoid climbing on top of the unit, or placing heavy objects on it

Never climb on top of, nor place heavy objects on the unit.

Do not connect or disconnect the AC adaptor with wet hands

Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

Disconnect everything before moving the unit

Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

Unplug the AC adaptor from the outlet before cleaning

Before cleaning the unit, turn it o and unplug the AC adaptor from the outlet (p. 24).

If there is a possibility of lightning strike, disconnect the AC adaptor from the outlet

Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

Pedal Settings

System MIDI/USB Appendices

Page 4

IMPORTANT NOTES

Power Supply

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter or a motor (such as a refrigerator, washing machine, microwave oven, or air conditioner). Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise lter between this unit and the electrical outlet.

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

• To prevent malfunction and equipment failure, always make sure to turn o the power on all your equipment before you make any connections.

• With the factory settings, the GT-100 will automatically be switched o 10 hours after you stop playing or operating the unit. If you don’t want the unit to turn o automatically, change the “AUTO OFF” setting to “OFF” as described on p. 42.

* The settings you were editing will be lost

when the unit is turned o. If you want to keep your settings, you must save your settings before turning the unit o.

Placement

• Using the unit near power ampliers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them o.

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

• When moved from one location to another where the temperature and/or humidity is very dierent, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

• Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.

• Do not put anything that contains water on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swiftly wipe away any liquid that spills on the unit using a dry, soft cloth.

Maintenance

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Repairs and Data

• Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up computer, in another MIDI device, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

Additional Precautions

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on a computer, or in another MIDI device.

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory, on a computer, or in another MIDI device once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

• Never strike or apply strong pressure to the display.

• When disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

• To avoid disturbing others nearby, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you.

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

• Use only the specied expression pedal (Roland EV-5, BOSS FV-500L, BOSS FV500H; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specications, contact the manufacturer of the cable.

• When you operate the expression pedal, please be careful not to get your ngers pinched between the movable part and the panel. In places where small children are present, make sure that an adult provides supervision and guidance.

• It is forbidden by law to make an audio recording, video recording, copy or revision of a third party’s copyrighted work (musical work, video work, broadcast, live performance, or other work), whether in whole or in part, and distribute, sell, lease, perform, or broadcast it without the permission of the copyright owner.

• Do not use this product for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this product.

• Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

• MMP (Moore Microprocessor Portfolio) refers to a patent portfolio concerned with microprocessor architecture, which was developed by Technology Properties Limited (TPL). Roland has licensed this technology from the TPL Group.

• This product contains eCROS integrated software platform of eSOL Co.,Ltd. eCROS is a trademark of eSOL Co., Ltd. in Japan.

• Roland, BOSS, COSM, Metal Zone and SLICER are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries.

Page 5

Main Features

New COSM Amps

These newly remodeled COSM amps oer a distillation of all the sound creation know-how that we’ve built up over the years. They represent a further evolution that goes beyond conventional vintage amp modeling. From pristinely transparent clean sounds, to extreme high-gain sounds, these models allow your picking to freely control the amp’s dynamic behavior and its subtle nuances.

Intuitive Two-Screen User Interface

Two graphic LCD displays are used; select a menu item in the left screen, and immediately edit the parameters in the right screen. Knobs, switches, amps, and eects are shown as icons, allowing direct, easy-to-grasp operation.

EZ TONE for Easy Sound Creation

Creating your own patch or amp setup is easy; simply select a musical style or a type of sound, and use the tone grid screen to visually adjust the character and the amount of distortion.

Quick Guide Overview Outputting Sound Eects Saving

Accel Eect for Powerful Live Performance

Simply press the [ACCEL] pedal to add an aggressive sound eect that changes over time.

Easy-Operation Looper

The basic looper operations are controlled by a single dedicated pedal. In addition to the conventional method in which the eect-processed sound is recorded, you can also record the unprocessed sound and then apply eects later for comparison, or use the recording for a sound check during rehearsal on stage.

Pedal Settings

System MIDI/USB Appendices

Page 6

USING THE UNIT SAFELY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

IMPORTANT NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Quick Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

About the Play Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Rear Panel (Connections) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Outputting Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Switching the Unit On and O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Adjusting the Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Specifying the Output Device (Output Select) . . . . . . . . . . . . . . . .24

Tuning the Guitar (TUNER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Using the Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Selecting a Tone (Patch Change) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

How a Patch Is Structured . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Using the Pedal to Select the Patch . . . . . . . . . . . . . . . . . . . .26

Using the Knobs to Select a Patch . . . . . . . . . . . . . . . . . . . . .26

Creating Sounds (Eects) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Setting the Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Specifying the Divider and Mixer Modes . . . . . . . . . . . . . . . . . . . . .27

Using Amp Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Using Send/Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Saving a Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Saving a Patch (PATCH WRITE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Exchanging Patches (PATCH EXCHANGE) . . . . . . . . . . . . . . . . . . . . .30

Initializing Patches (PATCH INITIALIZE) . . . . . . . . . . . . . . . . . . . . . . . 30

Storing Settings by Eect (Quick Setting Write). . . . . . . . . . . . . . .31

Copying or Swapping PREAMP Settings Between Channels . . .31

Phrase Loop Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Setting Phrase Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Pedal Settings (Control/Expression) . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Using Pedals to Control the Parameters . . . . . . . . . . . . . . . . . . . . . .33

Assigning the ACCEL/CTL, EXP SW, SUB CTL1, and SUB

CTL2 Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Assigning the EXP and SUB EXP Pedal Functions . . . . . . .34

Assigning the [1]–[8] Knob Functions in the Play Screen . . . . . .35

Switching Settings with the Number Pedals . . . . . . . . . . . . . . . . . .35

Adjusting the [EXP] pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Setting Each Pedal Functions to Individual Patches (Assign) . .37

Virtual expression pedal system (Internal Pedal / Wave

Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Making Global Settings (System Settings) . . . . . . . . . . . . . . . . . . . . . 40

List of Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Specifying the Output Device You’re Using (OUTPUT

SELECT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Adjusting the Input Level from Your Guitar . . . . . . . . . . . . .40

Adjusting the Overall Tone (Global EQ) . . . . . . . . . . . . . . . . . 40

Adjusting the Overall Noise Suppressor, Reverb, and

Output Level (Total) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Making Phrase Loop (p. 32) Settings . . . . . . . . . . . . . . . . . . .40

Making the PLAY OPTION Settings . . . . . . . . . . . . . . . . . . . . .41

Assigning the [1]–[8] Knob Functions in the Play Screen 41

Specifying Whether Settings Will Be Shared by All

Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Adjusting the Contrast (Brightness) of the LCD Screen . .41

Adjusting the [EXP] pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Auto O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Restoring the Factory Settings (Factory Reset) . . . . . . . . . .42

USB-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Setting the USB audio ow . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Setting the MIX LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Setting the INPUT LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Setting the OUTPUT LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Setting the Direct Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Controlling the Direct Monitor Setting from a

Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

MIDI-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Setting the MIDI Receive Channel . . . . . . . . . . . . . . . . . . . . .44

Setting the MIDI Omni Mode . . . . . . . . . . . . . . . . . . . . . . . . . .44

Setting the MIDI Transmit Channel . . . . . . . . . . . . . . . . . . . . .44

Setting the MIDI Device ID . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Setting the MIDI Sync Clock . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Selecting the Connector That Will Receive MIDI

Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Sending Program Change Messages . . . . . . . . . . . . . . . . . . .45

Enabling/Disabling the Program Change Map Settings

(MIDI Map Select) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Sending [PHRASE LOOP] Pedal Operations as Control

Change Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Sending [ACCEL/CTL] Pedal Operations as Control

Change Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Sending [EXP] Pedal Operations as Control Change

Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Sending EXP Pedal Sw Operations as Control Change

Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Sending External Footswitch Operations as Control

Change Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Sending External Expression pedal Operations as

Control Change Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Setting the Program Change Map . . . . . . . . . . . . . . . . . . . . .46

Transmitting Data to an External MIDI Device . . . . . . . . . .46

Using the GT-100 with External MIDI Devices Connected . . . . . . . 47

What Can You Do with MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Operating From the GT-100 . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Remotely Controlling the GT-100 Using an External MIDI

Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Setting the Program Change Map . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Transmitting Data to an External MIDI Device (Bulk Dump) . . .48

Making Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Transmitting the Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Page 7

Contents

Using the GT-100 Connected to a Computer Via USB . . . . . . . . . . . 49

Before Connecting with USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Installing the USB Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Exchanging MIDI Messages between the Computer and

the GT-100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Connecting the Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Receiving Bulk Data That Was Saved on the Computer . .49

Transmitting/Receiving Audio Signals Between a

Computer and the GT-100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Restoring the Factory Settings (Factory Reset) . . . . . . . . . . . . . . . . . 50

Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

GT-100 Eects Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

GT-100 Eects List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

OD/DS Type List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Preamp Type List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

FX1/FX2 Eects List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

GT-100 Preset Patch List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Main Specications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Quick Guide Overview Outputting Sound Eects Saving

Pedal Settings

System MIDI/USB Appendices

Page 8

Quick Guide

Getting Ready

This Quick Guide explains basic operation.

For details, refer to the pages shown by the

Connect your guitar and amp.

Minimize the volume!

Turn o the power to the GT-100 and your amp, and set the volume to the minimum.

Turn on the power

For details, see

1. Connect the AC adaptor.

2. Turn the [POWER] switch on.

3. Turn on the power to your guitar amp.

page XX

page 24

symbol.

For details, see

page 22

* With the factory settings, the GT-100 will automatically

be switched o 10 hours after you stop playing or operating the unit. If you don’t want the unit to turn o automatically, change the “AUTO OFF” setting to “OFF” as described on p. 42.

Note

The settings you were editing will be lost when the unit is turned o. If you want to keep your settings, you must save your settings before turning the unit o.

Convenient tuner function

1. Press simultaneously.

2. Play an open string, and tune it so that only the center

indicator in the screen is lit.

3. When you’re nished tuning, press

simultaneously once again.

Adjust the volume

Use to adjust the volume.

For details, see

Set the reference pitch Set the OUTPUT mode(p. 24)

page 24

Page 9

Quick Guide

Quick Guide Overview Outputting Sound Eects Saving

Specify the type of amp you’ve connected

In order to ensure optimal sound, you should specify the type of amp you’ve connected to the GT-100. Please take a moment to do this.

1. Press .

2. Use to choose “OUTPUT SELECT.”

3. Use to select the type of amp you’re

using.

Value Explanation

JC-120

SMALL AMP

COMBO AMP

STACK AMP

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.

Pedal Settings

System MIDI/USB Appendices

4. Press .

MEMO

• The SP Type parameter is valid only if the Output Select setting is set to “LINE/PHONES.” For the detail on SP TYPE parameter, download “GT-100 Parameter Guide” (PDF le) from “GT-100” in the “Owner’s Manuals” list on the Roland website (http://www.roland. com/support/en/).

• When using headphones, you won’t be able to obtain a sound that is typical of a guitar amp unless you turn on a preamp. We recommend that you turn on a preamp whenever you’re using headphones. For the detail on PREAMP, refer to “GT-100 Parameter Guide” (PDF le).

Now you’re ready to get started! The following pages explain how to play using the GT-100.

Page 10

Quick Guide

Playing

Now that you’re nished with the preparations, you can get started playing the GT-100.

What is a Patch?

The GT-100 contains numerous eects. A combination of these eects and their settings is called a “patch.”

Patch U01-4

Patch U01-3

Patch U01-2

Patch U01-1

A “patch” is a combination of eects and their settings.

The GT-100 comes with 400 patches; they are organized by bank and number, as follows.

Use the bank pedals to switch banks.

Use pedals 1 through 4 to switch numbers.

User Bank U50

User Bank

User Bank U01

Patch Patch Patch Patch

Preset Bank P50

User Bank

Preset Bank P01

You can’t save by overwriting a patch in a preset bank.

You can save by overwriting a patch in a user bank.

Selecting patches in the same bank

Press the pedal of the desired number.

Selecting patches from a dierent bank

1. Use to select the bank.

2. Press the pedal of the desired number.

Bank and number indication

The display shows the currently selected bank and number.

Bank Number Patch Name

MEMO

You can’t switch patches unless you’re in the Play screen (p. 11). Press the [EXIT] button to return to the Play screen, and then switch patches.

You can also switch patches by turning knob [1].

Page 11

Quick Guide

Using the pedals to control the eects

When you depress the [ACCEL/CTL] pedal, it will function as either an ACCEL pedal, which allows you to modify the sound by means of an Accel eect (p. 19), or an ordinary CTL (control) pedal. The [EXP] pedal can be used to control Foot Volume, Wah, etc.

The function of each of these pedals can be assigned individually for each patch.

Quick Guide Overview Outputting Sound Eects Saving

Press the [ACCEL/CTL] pedal

When using the pedal for ACCEL (SOURCE MODE set to MOMENT; p. 33), the function will be turned on when you depress the pedal (indicator will light).

It will turn o when you release the pedal (the indicator will go out).

Depress the [EXP] pedal (press down on the toe)

The [EXP] pedal’s value will increase.

Release the pedal (press down on the heel)

The [EXP] pedal’s value will decrease.

Firmly press down on the toe

The EXP PEDAL SW function will turn on (the indicator will be lit).

Firmly press down once again to turn the function o (the indicator will go out).

Phrase Loop

By operating the [PHRASE LOOP] pedal you can create performances in which you build up layers of sound by recording and playing back in real time.

Page 18

You are free to assign the parameters that will be controlled by these pedals.

page 33

Switching the Play screen

The screen that appears when you turn on the GT-100’s power is called the “Play screen.” There are three dierent Play screens, as shown below. To switch from one to the next, press the [PAGE] button.

Screen with the patch name shown large

Amp control screen Eect on/o status indication screen

What the eight knobs do

The eight knobs located below the displays control the functions shown at the bottom of the displays.

The functions assigned to each knob are displayed here.

Pedal Settings

System MIDI/USB Appendices

You can assign the Play screen knobs to control the parameters you want.

page 35

Knob Function Explanation

[1] PATCH Selects patches.

[2] CH A/B Switches between channels (settings) A and B.

[3] A:GAIN Adjusts the distortion of preamp A.

[4] B:GAIN Adjusts the distortion of preamp B.

[5] MT LOW

[6] MT MID

[7] MT HI

[8] PAT LV Adjusts the volume.

Adjusts the low, mid, and high-frequency ranges.

Page 12

Quick Guide

Editing: Basic Operation

Editing on the GT-100 is extremely simple; the procedure is always the same. Please take a moment to learn the basic operations.

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

page 16

page 14

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.

page 40

page 33

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.

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

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

Turn the knobs to edit the values.

Press

You’ll be returned to the Play screen.

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.

Page 13

Quick Guide

Editing: Saving a Patch

If you want to keep a patch you’ve edited, you must save (write) it as a user patch using the procedure described below. If you don’t save an edited patch, your edits will be lost when you switch patches.

Access the Write menu

Press

Select the write destination

Use (U01-1–U50-4).

Assigning a name

To edit the patch name, use knob [8] to move the cursor and use knob [8] to change the character.

to select the write destination

Quick Guide Overview Outputting Sound Eects Saving

Turn the knob to change the write destination.

Controller Operation

Knob [6] Selects the type of characters

Knob [7] Switches between lowercase/uppercase characters

Knob [8] Changes the character

][ ] button

PAGE [

[EZ TONE] button Deletes one character

[CTL/EXP] button Inserts one character

Moves the cursor

Save

Press .

When the patch has been saved, you will return to the Play screen.

Types of saving

In the left display, you can choose the type of data that will be saved. (By default, the patch will be saved.)

And if you turn knob [4]...

Save

Exchange Initialize Save to User Quick

Settings (p. 31)

...

Pedal Settings

System MIDI/USB Appendices

page 30

Exchange or copy PREAMP settings between channels A and B.

Turn knob [4] to choose the type of data to save.

Page 14

Quick Guide

Editing: EZ (Easy) Tone

EZ (Easy) Tone lets you create your sound intuitively, simply by turning knobs as indicated in the screen.

If you want to edit the parameters of each eect in the patch, refer to “Editing: Editing the Eects” (p. 16).

Enter EZ (Easy) Tone mode

Press .

Select the type of editing

Use to select the type of editing

Menu Explanation

PATCH CREATE

AMP CUSTOM Lets you intuitively customize the amp.

OD/DS CUSTOM

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

Lets you intuitively customize the overdrive/ distortion.

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

For PATCH CREATE

Use

and

* Upon selection of a variation, as described above, the unit will be set to the appropriate preamp type (p. 52). However, if PREAMP under PREFERENCE (p. 41) is set to

Select a musical style

to choose the basic tone,

to select a variation.

Basic tone Explanation

BLUES Blues sound

Soul Funk Soul and Funk sound

Jazz Jazz sound

LIVERPOOL British Rock

70’s Hard Rock

SYSTEM 1 through 3, the preamp type that has been set within will be retained. In such cases, there's no need to proceed to the next step, "4. Adjust the sound."

The Hard Rock sound popular in the ’70s

Basic tone Explanation

80s METAL

MODERN METAL Modern Metal sound

West Coast West Coast sound

Fuzz Rock Fuzz

STUDIO Recording Studio

The Metal sound popular in the ’80s

Turn the knobs to edit the values.

Basic tone Explanation

PROGRESSIVE Progressive

SURF ROCK Surf Rock sound

COUNTRY Country

Acoustic For Acoustic Guitar

Punk Pop Punk Pop

Adjust the sound

Use

Use sound.

to switch screens.

to adjust the

Amount of distortion

Up: For soloing

Down: For backing

Left: Warm distortion

Right: Sharp distortion

Move horizontally

Resonance

Knob [8] adjusts the length of the resonance.

: Less

: More

Move vertically

Page 15

For AMP CUSTOM or OD/DS CUSTOM

Choose Amp or Drive

Quick Guide

Quick Guide Overview Outputting Sound Eects Saving

Use to select the type.

Initially, “CURRENT” will be displayed; then, below that the preamp type or OD/DS type (p. 52) that is set for the current patch will be displayed.

For AMP CUSTOM

Type Explanation

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

TW CLEAN This models a Fender Twin Reverb.

CRUNCH

COMBO DRIVE

COMBO LEAD

MS HiGAIN

MODERN STACK

* In order to use AMP CUSTOM, you rst need to turn on PREAMP A or B,

whichever is currently selected.

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.

Turn the knob to change the type.

For OD/DS CUSTOM

Type Explanation

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

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

CRUNCH This is a crunch sound.

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

DS-2 This creates a heavier distortion sound.

METAL1 This is a metal sound with a characteristic midrange.

METAL2 This gives a heavy metal sound.

FUZZ This gives a basic, traditional fuzz sound.

* In order to use OD/DS CUSTOM, you rst need to turn on OD/DS.

Adjust the amount of distortion

Use to switch screens.

Use

to adjust the

distortion.

Finish editing

Press .

Amount of distortion

Up: For soloing

Down: For backing

Left: Warm distortion

Right: Sharp distortion

Move horizontally

Pedal Settings

System MIDI/USB Appendices

Move vertically

The edits you made here will be lost if you switch patches. If you want to keep the patch you created, press the [WRITE] button to save your edits as

a user patch.

page 13

Page 16

Quick Guide

Editing: Editing the Eects

You can edit the parameters of each eect in the patch. Here we’ll show an example of editing the distortion of the overdrive eect.

Enter Eect Edit mode

Press .

Select the eect that you want to edit

Turn knob [4] to select the eect

Use to select OD/DS.

MEMO

An eect can also be selected by stepping on the pedal that has been set in Manual mode (p. 17).

Use knob [1] to move the position of the eect to left or right.

(Only if the cursor is located at FX1 or FX2) Use knob [2] to select the eect type for FX1 or FX2.

You can use knob [3] to turn the eect on/o.

(the cursor will move).

Edit the values

Use shown in the right display.

Use the [PAGE] buttons to move between page tabs.

Convenient Quick Settings

If you select a page tab that shows “QS,” you’ll be able to easily call up settings (Quick Settings) that have been saved for each eect. For details on how to save Quick Settings, refer to “Storing Settings by Eect (Quick Setting Write)” (p. 31).

What does each knob do?

The function (parameter) of each knob will dier depending on the eect. For a list of all parameters, download “GT-100 Parameter Guide” (PDF le) from “GT-100” in the “Owner’s Manuals” list on the Roland website (http://www.roland.com/support/en/).

Switches the type of overdrive/distortion

Knob Operation Explanation

[5] TYPE Switches the type of overdrive/distortion.

[6] DRIVE Adjusts the amount of overdrive/distortion.

[7] TONE Adjust the tone quality. Higher values produce a sharper tone.

[8] EFFECT LEVEL Adjusts the volume when the eect is being applied.

to edit the values

Turn the knob to change the value.

Finish editing

Press

You’ll be returned to the Play screen.

The edits you made here will be lost if you switch patches. If you want to keep the patch you created, press the [WRITE] button to save your edits as a user patch.

page 13

Page 17

Quick Guide

Advanced: Manual Mode

This section explains more advanced uses of the GT-100.

What Is Manual Mode?

Manual mode lets you use the GT-100’s pedals to turn on/o individual eects within a patch.

You can use this just as though you were individually switching on/o several compact eects units in a pedalboard.

* In Manual mode, P.LOOP PEDAL and ACC/CTL PDL, which

can be assigned to ASSIGN 1--8 (p. 37) under ”Pedal Settings (Control/Expression)” (p. 33), will be invalidated.

Using the pedals to turn each eect on/o (Manual mode)

Quick Guide Overview Outputting Sound Eects Saving

1. Press simultaneously.

2. Use the pedals to turn each eect on/o.

On/o status

Pedal name

Eect name

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

Use the pedals to turn each eect on/o.

Pedal Settings

System MIDI/USB Appendices

3. To exit Manual mode, press simultaneously once again.

* If PHRASE LOOP PEDAL FUNC (p. 32) is set to “PHRASE LOOP,” you won’t be able to assign anything other than PHRASE LOOP (“PL”) to the

[PHRASE LOOP] pedal. If you want to assign any other function, you must turn PHRASE LOOP PEDAL FUNC o.

Page 18

Advanced: Phrase Loop

By operating the [PHRASE LOOP] pedal, you can carry out recording and playback in real time to create layered performances.

Enter Phrase Loop mode

Quick Guide

Each time you press the pedal, the right display will show the phrase loop status for a predetermined amount of time.

Hold down the pedal for two seconds or longer; the Phrase Loop function will turn on, and will be in the standby condition.

Record

Press the pedal once again, and record your guitar performance.

About Phrase Loop

The recording time is 38 seconds in monaural.

To make settings for Phrase Loop, see “Setting Phrase Loop” (p. 32).

About the pedal’s indicator

The pedal’s indicator will blink or light in a dierent pattern according to the Phrase Loop status.

Status Indicator illumination pattern

Standby

Recording/Overdub

Playback

(stays lit)

...

: lit : unlit

Indicator

Loop playback

Play back the loop.

Pressing the pedal will switch to overdubbing.

Overdub

Record additional layers while playing back the loop. Press the pedal to switch to playback.

Clear/Exit

To clear the phrase and exit Phrase Loop, hold down the pedal for at least two seconds while stopped.

* The recorded content will be erased when you exit

Phrase Loop.

* The recorded content will not be saved.

Press twice

Stop

Hold down two seconds or longer

To stop, press the pedal twice in succession during overdubbing or loop playback.

* Press the pedal twice within one second.

Page 19

Quick Guide

Advanced: Accel Eect

The GT-100 has six dierent Accel eects that make the sound more aggressive when you press the [ACCEL/CTL] pedal.

First, you need to set [CTL/EXP]: ACCEL/CTL FUNC to ACCEL, and set SOURCE MODE to MOMENT (p. 33).

Enter Eect Edit mode

Press .

Select the ACCEL eect

Turn knob [4] to select the eect

Use to select “ACCEL.”

(the cursor will move).

Quick Guide Overview Outputting Sound Eects Saving

Select the eect

Use

ACCEL eects types

Type Eect

S-BEND Applies intense bending.

LASER BEAM Produces a laser beam-like sound.

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

TWIST

WARP Produces a dream-like sound.

FEEDBACKER Generates feedback performance.

to select the type of ACCEL eect.

to adjust the sound.

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

Select the type

Pedal Settings

Adjust the sound.

(Depends on the type.)

System MIDI/USB Appendices

Exit the settings

Press

You’ll be returned to the Play screen.

The settings you made will be lost if you switch patches. If you want to keep the patch you created, save it as a user patch.

page 13

Page 20

Panel Descriptions

Front Panel

Display

Various information about the GT-100 is shown here.

[EXP] pedal

Controls volume, wah, and other parameters. By strongly pressing the toe end of the pedal, you can turn volume control or wah on/o.

* When you operate the expression

pedal, please be careful not to get your ngers pinched between the movable part and the panel. In places where small children are present, make sure that an adult provides supervision and guidance.

Pedal Explanation

[BANK UP]

[BANK DOWN]

Number pedals 1–4

[PHRASE LOOP]

[ACCEL/CTL] pedal

Switch the patch bank (p. 10) or turn Manual mode on/o (p. 17).

These switch the patch number (p. 10). Press the [1]/[2] pedals simultaneously to turn the tuner function on/o (p. 24).

Starts the Phrase Loop function (p. 18).

Starts the Accel function (p. 19), or can be used as a control pedal.

Knob/Button Explanation

Parameter knobs [1]–[8]

][ ]

PAGE [ button

Adjust the parameter values shown in the display.

Switch pages in the display.

Knob/Button Explanation

[OUTPUT LEVEL] knob

[EFFECT] button

[SYSTEM] button

[EZ TONE] button

[CTL/EXP] button

[EXIT] button

[WRITE] button

This adjusts the volume level at the OUTPUT jack and the PHONES jack.

Lets you make eect settings(p. 16).

Lets you make overall settings for the entire GT-100 (p. 40).

Lets you easily create a sound by specifying a musical style or character of song (p. 14).

Lets you make control pedal and expression pedal assignments (p. 33).

Returns you to the previous screen, or cancels the previous operation.

Saves patch settings, or lets you exchange or copy data (p. 30).

Page 21

About the Play Screen

The screen that appears after you turn on the power is called the Play screen.

Icons in the display

Left display

Bank – Number

Icon Explanation

, ,

MASTER BPM

OUTPUT SELECT setting

PREAMP Channel

PHRASE LOOP on

Displays the Master BPM (*1) value for each patch.

This is displayed when OUTPUT SELECT (p. 9) is set to anything other than LINE/PHONES.

This is displayed when OUTPUT SELECT (p. 9) is set to LINE/PHONES.

When the DIVIDER (p. 27) mode is Single, preamp channel “A” is selected.

When the DIVIDER (p. 27) mode is Single, preamp channel “B” is selected.

This is displayed if the DIVIDER (p. 27) mode is Dual.

This icon is highlighted if the SOLO SW (*1) is on.

This is displayed when the PHRASE LOOP (p. 18) is On.

Panel Descriptions

Quick Guide Overview Outputting Sound Eects Saving

Right display

*1 For the detail on the Master BPM and SOLO SW, download “GT-100 Parameter Guide” (PDF le) from “GT-100” in the “Owner’s Manuals” list on the Roland website (http://

www.roland.com/support/en/).

Types of Play screens

Screen with the patch name shown large

Use the PAGE [ ][ ] buttons to switch.

Amp control screen (Ch. A)

If DIVIDER (p. 27) is set to SINGLE, only the screen of the currently selected channel (not both channels) will be

Amp control screen (Ch. B)

shown.

Pedal Settings

System MIDI/USB Appendices

Eect on/o status indication screen

The explanations in this manual include illustrations that depict what

should typically be shown by the display.

Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

Page 22

Panel Descriptions

Rear Panel (Connections)

INPUT jack

Connect your guitar.

AUX IN jack

Use a stereo mini-plug to connect your audio player.

PHONES jack

Connect headphones (sold separately).

LIFT/GND switch

Normally, you can leave this set to the GND position.

If you’ve connected the EXT LOOP (SEND/RETURN) jacks to an amp, a ground loop may occur, producing noise. If this occurs, you may be able to eliminate the noise by moving this switch to the LIFT position.

EXT LOOP SEND/ RETURN jack

Connect to external eects processor or amp.

OUTPUT jacks

Connect these to your guitar amp or mixer. If using a mono connection, use only the “L” jack.

AMP CTL jack

If you’re using the Amp Control function (p. 28), connect this to the channel switching jack of your guitar amp.

* For some models of guitar amps, this might

not be usable.

* To prevent malfunction and equipment failure, always turn down the volume, and turn o all the units before making any connections.

* When connection cables with resistors are used, the volume level of equipment connected to the inputs (INPUT , AUX IN, RETURN jacks) may be

low. If this happens, use connection cables that do not contain resistors.

SUB CTL 1, 2/SUB EXP jack

You can control various parameters by connecting an expression pedal (such as the separately available Roland EV-5) or a foot switch (BOSS FS-5U, FS-6; available separately) here (p. 33).

* Use only the specied expression pedal (Roland

EV-5, BOSS FV-500L, or FV-500H sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

* Only FOOT VOLUME can be assigned to the external

expression pedal (SUB EXP) (p. 33).

* You can’t simultaneously connect both a foot switch

and an expression pedal.

Page 23

Panel Descriptions

Quick Guide Overview Outputting Sound Eects Saving

MIDI jack

Connect these to MIDI devices so that MIDI data can be transmitted and received (p. 47).

[POWER] switch

Turns the unit on and o.

DC IN jack

Connect the included AC adaptor here.

Place the AC adaptor so the side with the indicator (see illustration) faces upwards and the side with textual information faces downwards. The indicator will light when you plug the AC adaptor into an AC outlet.

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the DC IN jack, anchor the power cord using the cord hook, as shown in the illustration.

Security Slot ( )

Connect a commercially available anti-theft security cable here.

http://www.kensington.com/

USB port

Use a USB cable to connect a computer to this connector and enable exchange of data between the GT-100 and the computer (p. 49).

About USB cap

If you want to connect a USB cable, detach the USB cap that covers the USB port. Leave the USB cap in place when you’re not using the USB port.

Grounding Terminal

Connect the ground cable here.

* Depending on the circumstances of a particular setup, you may experience a discomfort-

ing sensation, or perceive that the surface feels gritty to the touch when you touch this device, or the metal portions of other objects, such as guitars. This is due to an innitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground terminal (see gure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

Unsuitable places for connection

• Water pipes (may result in shock or electrocution)

• Gas pipes (may result in re or explosion)

• Telephone-line ground or lightning rod (may be dangerous in the event of lightning)

Pedal Settings

System MIDI/USB Appendices

Page 24

Outputting Sounds

Switching the Unit On and O

Switching the Unit On

* Once everything is properly connected (p. 22), be sure to follow

the procedure below to turn on their power. If you turn on equipment in the wrong order, you risk causing malfunction or equipment failure.

* Before turning the unit on/o, always be sure to turn the volume

down. Even with the volume turned down, you might hear some sound when switching the unit on/o. However, this is normal and does not indicate a malfunction.

* This unit is equipped with a protection circuit. A brief interval (a

few seconds) after turning the unit on is required before it will operate normally.

1. Press the GT-100’s [POWER] switch to turn on the power.

2. Turn on the power of the connected guitar amp.

Tuning the Guitar (TUNER)

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

The tuner function and the metronome function will turn on. The left display will show the “TUNER” screen.

2. Turn knob [1] to specify the reference pitch.

3. Turn knob [4] to specify how the guitar sound will be

output while you’re using the tuner.

Switching the Unit O

1. Before turning o the power, conrm the following.

• Have you minimized the volume of the connected equipment?

• Have you saved any patches containing settings that have been changed? “Saving a Patch (PATCH WRITE)” (p. 30)

2. Turn o the power of your guitar amp and any other

connected equipment.

3. Hold down the GT-100’s [POWER] switch for several

seconds to turn o the power.

Adjusting the Output Level

1. Adjust the GT-100’s output level with the [OUTPUT LEVEL]

knob.

Specifying the Output Device

Parameter Value Explanation

[1] PITCH 435 Hz–445 Hz Species the reference pitch.

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.

OFF

THRU

MUTE

BYPASS

TUNER OUTPUT

TUNER

[4] OUTPUT

MUTE

BYPASS

THRU

EXP pedal

4. Play an unfretted note on the string that you want to

tune, and tune the string until the desired note name is shown in the display.

5. While watching the screen, tune the string until only the

middle indicator is lit.

Repeat steps 4–5 to tune all strings.

(Output Select)

You’ll need to specify the type of device (amp) that’s connected to the OUTPUT jacks. The GT-100 will apply an internal adjustment so that the output will sound optimal on the system you’re using.

Reference

For details on how to make this setting, refer to”Specify the type of amp you’ve connected” (p. 9)

MEMO

If you’re tuning a guitar that’s equipped with a tremolo arm, tuning one string may cause other strings to drift. If so, start by tuning the strings approximately, so that the correct note names are displayed; then repeatedly tune each string until all strings are in tune.

Page 25

Outputting Sounds

6. 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.

MEMO

You can also turn the tuner on/o by pressing the number pedal of the same number as the currently selected patch. For details, refer to “Adjusting the [EXP] pedal” (p. 36)”Switching Settings with the Number Pedals” (p. 35).

Using the Metronome

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

The tuner function and the metronome function will turn on. The right display will show the “METRONOME” screen.

Selecting a Tone (Patch Change)

A combination (or set) of eects together with a group of parameter settings is called a “patch.”

How a Patch Is Structured

The GT-100 can store 400 dierent patches in memory, organized by bank and number as shown below.

Preset Bank P50

User Bank

Preset Bank P01

User Bank U50

User Bank

User Bank U01

User Banks (U01–U50)

Newly created eects settings are saved in the User banks. Patches in these banks are called “User patches.”

A “U” appears in the display when a User patch is selected.

Quick Guide Overview Outputting Sound Eects Saving

2. Use knobs [5]–[8] to specify the metronome settings.

Parameter Value Explanation

[5] TEMPO 40–250

1/1–8/1,

[6] BEAT

[7] OFF/ON OFF, ON Turns the metronome on/o.

[8] LEVEL 0–100

* The metronome sound is output through the OUTPUT jack and

the PHONES jack.

* Changing the TEMPO will also change the MASTER BPM. For the

detail on MASTER BPM, refer to “GT-100 Parameter Guide” (PDF le).

1/2–8/2, 1/4–8/4, 1/8–8/8

Species the tempo of the metronome.

Selects the time signature.

Adjusts the volume of the metronome.

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.

Bank

Number

Preset Banks (P01–P50)

The Preset banks contain eect settings that make full use of the features the GT-100 has to oer. The patches in these banks are called “Preset patches.” When you change the settings of a Preset patch, save the result as a User patch. Preset patches cannot be overwritten.

A “P” appears in the display when a Preset patch is selected.

Bank

Number

Pedal Settings

System MIDI/USB Appendices

Page 26

Outputting Sounds

Using the Pedal to Select the Patch

Patches are switched by selecting a “bank” (U01–U50, P01–P50) and “number” (1–4).

* On the GT-100, you cannot switch patches in any screen other

than the Play screen. Press [EXIT] to return to the Play screen (p. 21).

1. Select a bank.

Use the [BANK UP]/[BANK DOWN] pedals to select a bank.

2. Select a patch within the selected bank.

Use pedals [1]–[4] to select a patch within the bank you selected in step 1.

MEMO

When selecting a patch, even if a new bank is selected, the patch is not switched until you also choose the number. If you want to be able to switch patches merely by selecting a dierent bank, adjust the BANK CHG MODE (p. 41) setting.

Using the Knobs to Select a Patch

You can also use knob [1] to select a patch.

* You can change the function of the knobs (p. 41).

Page 27

Creating Sounds (Eects)

Setting the Eects

Use the left and right displays and knobs [1]--[8] to edit the settings of the internal eects.

Reference

For details on the basic procedures for manipulating eects, refer to ”Editing: Editing the Eects” (p. 16).

Specifying the Divider and Mixer Modes

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

Divider settings

1. Press the [EFFECT] button.

2. Use knob [4] to select “DIVIDER.”

3. Use knobs [5]–[8] and the PAGE [ ][ ] buttons to make

settings.

Dual mode settings

If you selected “DUAL” with knob [5]

Con-

Parameter Value Explanation

troller

Page 2

CH. A

[5]

DYNAMIC

CH. A

[6]

DYNAMIC SENS

[7] CH. A FILTER

CH. A CUTOFF

[8]

FREQ

Page 3

CH. B

[5]

DYNAMIC

CH. B

[6]

DYNAMIC SENS

[7] CH. B FILTER

CH. B CUTOFF

[8]

FREQ

OFF DYNAMIC will not be used.

POLAR+

POLAR-

0–100

OFF The lter will not be used.

LPF

HPF

100 Hz–2 kHz Cuto frequency

OFF DYNAMIC will not be used.

POLAR+

POLAR-

0–100

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.

Species the picking sensitivity.

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

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

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.

Species the picking sensitivity.

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

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

Quick Guide Overview Outputting Sound Eects Saving

Pedal Settings

Con-

Parameter Value Explanation

troller

Page 1

SINGLE

[5] MODE

DUAL

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

Use the two channels “A” and “B.”

Single mode settings

If you selected “SINGLE” with knob [5]

Con-

Parameter Value Explanation

troller

Page 1

[6] CH SELECT CH. A, CH. B Selects the channel to use.

System MIDI/USB Appendices

Page 28

Creating Sounds (Eects)

Mixer settings

1. Press the [EFFECT] button.

2. Use knob [4] to select “MIXER.”

3. Use knobs [5]–[7] to make settings.

Con-

Parameter Value Explanation

troller

STEREO

[5] MODE

L/R PAN

CH A/B

[6]

BALANC

[7] SPREAD 0–100

100:0–0:100

Using Amp Control

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.”

4. Use knob [5] to switch the setting on/o.

Con-

Parameter Value Explanation

troller

Page 4

GT-100

(AMP CONTROL jack)

OFF

Guitar Amp

[5] AMP CONTROL

(Channel switching jack)

GT-100

(AMP CONTROL jack)

By connecting your guitar amp’s channel switching jack to the GT100’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.

1. Press the [EFFECT] button.

2. Use knob [4] to select “MASTER SETTING”.

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.

3. Press the PAGE [ ] button to access page 4.

Page 29

Creating Sounds (Eects)

Using 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.

1. Press the [EFFECT] button.

2. Use knob [4] to select “SEND/RETURN.”

3. Use knobs [5]–[8] to make settings.

Con-

Parameter Value Explanation

troller

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.

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.

[5] MODE

NORMAL

DIRECT MIX

Quick Guide Overview Outputting Sound Eects Saving

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

BRANCH OUT

SEND

[7]

LEVEL

RETURN

[8]

LEVEL

0–200

the GT-100’s eect chain in front of reverb or delay, this allows you to use the SEND jack as a direct out.

Pedal Settings

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.

System MIDI/USB Appendices

Page 30

Saving a Tone

Saving a Patch (PATCH WRITE)

If you want to save the changes in the settings, carry out the Write procedure.

NOTE

The patch previously stored at the write destination will be lost once the write is executed.

1. Press the [WRITE] button.

2. Turn knob [4] to select “WRITE” (PATCH WRITE),

Exchanging Patches (PATCH EXCHANGE)

On the GT-100, you can “swap” or exchange the positions of two User patches. The following explains how this is done.

1. Select the exchange source patch.

2. Press the [WRITE] button.

3. Use knob [4] to select “EXCHG” (PATCH EXCHANGE).

4. Turn knob [5] to select the other user patch that you want

to exchange.

3. Turn knob [5] to select the write destination.

Turn the knob to change the write destination.

Assigning a name

To edit the patch name, use PAGE [ ][ ] buttons move the cursor and use knob [8] to change the character.

Controller Operation

Knob [6] Selects the type of characters

Knob [7]

Knob [8] Changes the character

PAGE [

][ ] button

[EZ TONE] button Deletes one character

[CTL/EXP] button Inserts one character

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

You’ll be returned to the Play screen.

Switches between lowercase/uppercase characters

Moves the cursor

4. Press the [WRITE] button once again.

The patch will be written.

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

button. You’ll be returned to the Play screen.

5. Press the [WRITE] button once again.

The patches will be exchanged.

Initializing Patches (PATCH INITIALIZE)

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

NOTE

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

1. Press the [WRITE] button.

2. Use knob [4] to select the “PATCH INITIALIZE” screen.

Page 31

Saving a Tone

3. Turn knob [5] to select the user patch that you want to

initialize.

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

button. You’ll be returned to the Play screen.

4. Press the [WRITE] button once again.

The patch will be initialized.

Storing Settings by Eect (Quick Setting Write)

In addition to storing settings in the form of patches, you can also store settings for individual eects.

Since you can use such stored settings in other patches, just like with the Preset Quick Setting, storing eects settings you like ahead of time User Quick Setting is a convenient way to create new patches.

4. Turn knob [6] to select the write destination (U01 – U10).

Assigning a name

To edit the patch name, PAGE [ ][ ] buttons to move the cursor and use knob [8] to change the character.

Controller Operation

Knob [7]

Knob [8] Changes the character

PAGE [

][ ] button

[EZ TONE] button Deletes one character

[CTL/EXP] button Inserts one character

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

You’ll be returned to the Play screen.

Switches between lowercase/uppercase characters

Moves the cursor

5. Press the [WRITE] button once again.

The Quick Setting will be written.

Copying or Swapping PREAMP Settings Between Channels

The PREAMP settings can be copied or exchanged between channels “A” and “B.”

1. Press the [WRITE] button.

2. Use knob [4] to select the “CH A/B UTILITY” screen.

Quick Guide Overview Outputting Sound Eects Saving

1. Press the [WRITE] button.

2. Use knob [4] to select the “QUICK SETTING WRITE” screen.

3. Turn knob [5] to select the eect whose settings you want

to store.

Eects that can be stored in memory

Each PREAMP channel

OD/DS

DELAY

CHORUS

REVERB

COMP

The PEDAL FX’s WAH and PEDAL BEND

SEND/RETURN

DIVIDER

Each FX1/FX2 eect

ASSIGN 1–8

3. Use knob [5] to select the Copy or Exchange function.

Indication Explanation

PREAMP&SP CH.A g B

PREAMP&SP CH.B g A

PREAMP&SP CH.A g B

CHAIN CH.A fg B

Copies the channel “A” PREAMP and SPEAKER settings to channel “B.”

Copies the channel “B” PREAMP and SPEAKER settings to channel “A.”

Exchanges the channel “A” PREAMP and SPEAKER settings with those of channel “B.”

Exchanges the channel “A” PREAMP and SPEAKER settings with those of channel “B,” and also exchanges the position of channel “A” and channel “B”.

Pedal Settings

System MIDI/USB Appendices

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

button. You’ll be returned to the Play screen.

4. Press the [WRITE] button once again.

The exchange or copy operation will be executed.

Page 32

Phrase Loop Play

Phrase Loop is a recorder function that lets you record up to 38 seconds (when using monaural recording) of audio, and play it back by operating a pedal. By layering sounds as you continue real-time recording and playback, you can create a wide variety of performances.

You can record a phrase loop with eects, or you can add eects after a loop has been recorded. Adding eects after-the-fact lets you create special eects with recorded performances.

* Recorded phrases are deleted when Phrase Loop is switched o

or when the power is turned o.

Reference

For more about Phrase Loop operation, refer to “Advanced: Phrase Loop” (p. 18).

Setting Phrase Loop

Phrase Loop oers a variety of modes. By changing the settings, you can use this function in various ways.

Setting procedure

Press the [SYSTEM] button.

Parameter Value Explanation

Page 1

The sound processed by the

PERFORM

[5] MODE

PATCH EDIT

MONO

[6] REC MODE

STEREO

[7] PLAY LEVEL 0–120

OFF

[8] PEDAL FUNC

PHRASE LOOP

eects will be 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).

Species the phrase playback volume.

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.

2. Turn knob [4] to select “PHRASE LOOP” in the left display.

3. Use knobs [5]–[8] to select the desired settings.

4. Press the [EXIT] button to return to the Play screen.

Page 33

Pedal Settings (Control/Expression)

Connect your foot switch to the SUB CTL 1, 2/SUB EXP jack as shown in the illustration, and set its POLARITY switch.

Cable: Stereo 1/4” phone type 1/4” phone type x 2

Cable: Stereo 1/4” phone type fg Stereo 1/4” phone type

When Connecting an FS-5U

Cable: 1/4” phone type

1/4” phone type

POLARITY switch

When Connecting Two FS-5Us When Connecting an FS-6

or or

MODE/POLARITY switch

3. Use knob [5]–[8] to set the parameter that you want to

Using Pedals to Control the

control.

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendix

Parameters

Here’s how to assign the parameters that will be controlled by the ACCEL/CTL, EXP, SUB EXP, SUB CTL1, and SUB CTL2 pedals.

For details on each pedal, refer to “Front Panel” (p. 20) and ”Rear Panel (Connections)” (p. 22).

Assigning the ACCEL/CTL, EXP SW, SUB CTL1, and SUB CTL2 Functions

1. Press the [CTL/EXP] button.

2. Turn knob [4] to select the pedal whose assignment you

want to specify.

Parameter Value Explanation

Page 1

You can assign a variety of functions, such as turning each eect on/o or switching the preamp

[5] FUNC

[6] MIN

[7] MAX

SOURCE

[8]

MODE

channel. For details on all parameters, download the “GT-100 Parameter Guide” (PDF le) located under “GT-100” in the list of “Owner’s Manuals” on the Roland website (http://www.roland.com/support/ en/).

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.

* To be able to apply an Accel eect (p. 19) using the ACCEL/CTL

control pedal, you need to set ACCEL/CTL FUNC to ACCEL, and set SOURCE MODE to MOMENT.

4. Press the [EXIT] button to return to the Play screen.

Page 34

Pedal Settings (Control/Expression)

Assigning the EXP and SUB EXP Pedal Functions

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

1. Press the [CTL/EXP] button.

2. Turn knob [4] to select the pedal whose assignment you

want to specify.

3. Use knob [5] to select the setting.

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.

[5] FUNC

PATCH LEVEL

[6]

MIN

PATCH LEVEL

[7]

MAX

PB/FV

WAH/FV

PATCH LEVEL

0–200

Pedal bend and foot volume will be assigned.

Wah and foot volume will be assigned.

Patch level will be assigned.

* This is shown only if PERFOR-

Species the minimum value.

* This is shown only if FUNC is set

Species the maximum value.

* This is shown only if FUNC is set

MANCE is set to SYSTEM.

to PATCH LEVEL.

to Patch Level.

Parameter Explanation

EXP PEDAL The GT-100’s [EXP] pedal

SUB EXP PEDAL

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

* 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 (p. 37).

4. Press the [EXIT] button to return to the Play screen.

Page 35

Assigning the [1]–[8] Knob

Pedal Settings (Control/Expression)

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendix

Switching Settings with the Number

Functions in the Play Screen

Here’s how to assign the functions of the [1] – [8] knobs when they are operated in the Play screen.

1. Press the [SYSTEM] button.

2. Turn knob [4] to select “KNOB SETTING”.

Pedals

The GT-100 includes a function that allows you to turn the tuner on and o, switch preamp channels, and perform other tasks by pressing the pedal with the same number as the currently selected patch.

* You can switch the following functions in any condition other

than the Manual Mode (p. 17).

1. Press the [SYSTEM] button.

2. Turn knob [4] to select “PLAY OPTION.”

3. Use knobs [5]–[8] to select the functions of knobs [1]–[4].

4. Press the PAGE [ ] button to access the next page.

5. Use knobs [5]–[8] to select the functions of knobs [5]–[8].

3. Use knob [8] to select the value for NUM PEDAL SW.

Value Explanation

OFF Not used.

TUNER Switches the tuner on and o.

Ch. A/B Switches between preamp channels A and B.

OD SOLO Switches to tones suited to solo performance.

A/B SOLO Switches the preamp SOLO on and o.

A&B SOLO Switches SOLO on or o for both preamp channels A and B.

Page 36

Pedal Settings (Control/Expression)

Adjusting the [EXP] pedal

Although the GT-100’s [EXP] pedal has been set for optimum operation at the factory, extended use and the operating environment can result in the pedal going out of adjustment.

If you encounter problems such as being unable to fully cut o the sound with the volume pedal or being unable to switch the EXP PEDAL SW, you can use the following procedure to readjust the pedal.

1. Press the [SYSTEM] button.

2. Turn knob [4] to select “PDLCALIBRATION“ (PEDAL

CALIBRATION).

3. Press the heel end of the [EXP] pedal, and press the

[WRITE] button.

The screen will indicate “OK,” and then a screen like the following will appear.

4. Press the toe end of the [EXP] pedal, and press the

[WRITE] button.

The screen will indicate “OK,” and then a screen like the following will appear.

The PEDAL CALIBRATION screen appears.

5. Strongly press the toe end of the [EXP] pedal.

Verify that the EXP PEDAL SW indicator lights when you strongly press the toe end.

* If you want to change the lighting sensitivity of the EXP PEDAL

SW indicator, repeat step 5 while you adjust the THRESHOLD value with knob [5].

6. Press the [WRITE] button.

The screen will indicate “COMPLETE!”

Page 37

Pedal Settings (Control/Expression)

Setting Each Pedal Functions to Individual Patches (Assign)

You can set the [PHRASE LOOP] Pedal, [ACCEL/CTL], [EXP] pedal, EXP PEDAL SW and external pedals (footswitch and expression pedal) connected to the rear panel’s SUB CTL 1, 2/SUB EXP jacks for each individual patch. You can save up to eight separate settings per patch (using Assign numbers 1 through 8) that determine what parameters are controlled by which pedals.

* If you want to use the [PHRASE LOOP] pedal with the

assignment you specify, you must turn “PHRASE LOOP PEDAL FUNC” (p. 40) o. For other pedals, you must set “PREFERENCE” (p. 41) to “PATCH.”

* You can specify the individual parameter that will be controlled

by each pedal.

1. Press the [CTL/EXP] button.

2. Turn knob [4] to select “ASSIGN 1–8.”

3. Use knobs [5]–[8] to select the desired settings.

ASSIGN COMMON

Parameter Value Explanation

Page 1

[8] INPUT SENS 0–100

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

ASSIGN 1–8

Parameter Value Explanation

Page 1

ASSIGN ON/

[5]

OFF

[6] SOURCE

[7] SOURCE MODE

Page 2

TARGET

[5]

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 (p. 37) 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 , p. 38), modifying the parameter specied by TARGET (p. 37).

Reference

For more detailed information on the parameters that can be set using Internal Pedal, refer to “INT PDL TRIGGER (Internal Pedal Trigger)” (p. 41), “INT PDL TIME (Internal Pedal Time)” (p. 38), and “INT PDL CURVE (Internal Pedal Curve)” (p. 38).

Wave Pedal

If SOURCE is set to “WAVE PEDAL” the virtual expression pedal will cyclically modify the parameter specied by TARGET (p. 37) in a xed wave form.

The value changes in a curve

When the trigger occurs

Reference

For more detailed information on the parameters that can be set using Wave Pedal, refer to “WAVE RATE (Wave Pedal Rate)” (p. 38) and “WAVEFORM (Wave Pedal Form)” (p. 38).

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”(p. 37).

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

Page 40

Making Global Settings (System Settings)

Settings that are shared by the entire GT-100 are called “system settings.”

Reference

For details, refer to “Editing: Basic Operation” (p. 12).

List of Settings

Item Parameter Value Explanation

Specifying the Output Device You’re Using (OUTPUT SELECT)

OUTPUT SELECT

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

JC-120, SMALL AMP,

SELECT

COMBO AMP, STACK AMP, JC-120 RETURN, COMBO RETURN, STACK RETURN, LINE/PHONES

Refer to “Specify the type of amp you’ve connected” (p. 9).

INPUT

GLOBAL EQ

TOTAL

Adjusting the Input Level from Your Guitar

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

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

Adjusting the Overall Tone (Global EQ)

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

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

MID Q 0.5–16

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

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

Adjusting the Overall Noise Suppressor, Reverb, and Output Level (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.

Control the threshold level of the noise suppressor used by each patch. This does not aect the

NS THRESH -20–+20 dB

REVERB 0–200 %

MAIN OUTPUT LEVEL -10 dB, +4 dB

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

Making Phrase Loop (p. 32) Settings

Here are various settings for the Phrase Loop function. Refer to “Setting Phrase Loop” (p. 32)

Page 41

Making Global Settings (System Settings)

Item Parameter Value Explanation

Making the PLAY OPTION Settings

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

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.

If the EXP PEDAL’s FUNC (p. 34) 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.

Selects the function that will be recalled when you press the pedal of the same number as the currently selected patch (p. 35).

PLAY OPTION

BANK CHANGE MODE

EXP PEDAL HOLD

KNOB LOCK OFF, ON Species whether knob operations will be disabled. If this is ON, knob operations will be disabled.

NUM PEDAL SW

BANK EXTENT MIN U01–U50, P01–P50 Sets the lower limit for the banks.

BANK EXTENT MAX U01–U50, P01–P50 Sets the upper limit for the banks.

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

WAIT

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

OFF The operational status of the EXP PEDAL’s FUNC (p. 34) is not carried over when patches are switched.

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

Assigning the [1]–[8] Knob Functions in the Play Screen

Here you can assign the desired parameters to knobs [1]–[8] in the Play Screen (p. 35).

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

KNOB 1

KNOB SETTING

KNOB 2

KNOB 3

KNOB 4

KNOB 5

KNOB 6

KNOB 7

KNOB 8

OFF, parameter name

For details on all parameters, refer to the “GT-100 Parameter Guide” (PDF le) which you can download from the Roland website (http://www.roland.com/support/en/) under “GT-100” in the list of “Owner’s Manuals.”

Specifying Whether Settings Will Be Shared by All Patches

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.

OUTPUT SELECT PATCH, SYSTEM

PREFERENCE

PREAMP PATCH, SYSTEM1–3

ACCEL/CTL PATCH, SYSTEM

EXP PATCH, SYSTEM

EXP SW PATCH, SYSTEM

SUB CTL1 PATCH, SYSTEM

SUB CTL2 PATCH, SYSTEM

SUB EXP 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. 37), that

setting will be ignored. In the case of the ACCEL/CTL pedal, in addition to the above, settings for Manual mode (p. 17) will also be ignored.

Quick Guide Overview Outputting Sound Eects Saving

Pedal Settings

System MIDI/USB Appendices

LCD

PEDAL CALIBRATION

Adjusting the Contrast (Brightness) of the LCD Screen

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

CONTRST LEFT

CONTRST RIGHT

1–16 Higher values increase the brightness.

Adjusting the [EXP] pedal

You can readjust the [EXP] pedal so that it will operate optimally. Refer to “Adjusting the [EXP] pedal” (p. 36).

THRESHOLD 1–16 Adjusts the sensitivity at which the EXP PEDAL SW will respond.

Page 42

Making Global Settings (System Settings)

Item Parameter Value Explanation

Auto O Settings

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.

AUTO OFF

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.”

NOTE

When the power is turned o, any settings you were editing will be lost. You must save settings that you want to keep.

OFF The power will not turn o automatically.

AUTO OFF

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

Restoring the Factory Settings (Factory Reset)

Initializes the GT-100 to its factory-set condition. Refer to “Restoring the Factory Settings (Factory Reset)” (p. 50).

* When you execute “Factory Reset,” the settings you made will be lost. If you want to keep your data, save it to your computer as described in “Transmit-

ting Data to an External MIDI Device (Bulk Dump)” (p. 48).

FACTORY RESET

FROM

SYSTEM System parameter settings

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

Page 43

USB-Related Settings

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

Making Global Settings (System Settings)

Quick Guide Overview Outputting Sound Eects Saving

USB

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

MIX

Level

MIX

Level

USB IN-OUT MODE: REAMP

GT-100

USB IN

INPUT

Reference

For details on USB connection, refer to “Using the GT-100 Connected to a Computer Via USB” (p. 49).

INPUT

Level

USB OUT

Eect Chain

OUTPUT

Level

OUTPUT

Pedal Settings

Parameter Value Explanation

Setting the USB audio ow

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

NORMAL

USB IN-OUT MODE

DRY OUT

REAMP

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ectprocessed 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.

Setting the MIX LEVEL

MIX LEVEL

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

0–200 % 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.

Setting the INPUT LEVEL

INPUT LEVEL

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

System MIDI/USB Appendices

Page 44

Making Global Settings (System Settings)

Parameter Value Explanation

OUTPUT LEVEL

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

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

Setting the Direct Monitor

Setting the OUTPUT LEVEL

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

DIR. MONITOR

* 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

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).

Controlling the Direct Monitor Setting from a Computer

DIR. MONITOR CMD

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

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

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

MIDI-Related Settings

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

Reference

For details on MIDI, refer to “Using the GT-100 with External MIDI Devices Connected” (p. 47).

MIDI SETTING

Parameter Value Explanation

Setting the MIDI Receive Channel

RX CHANNEL

This sets the MIDI channel used for receiving MIDI messages.

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

Setting the MIDI Omni Mode

OMNI MODE

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

OFF Information is received on the channel specied by the Rx Channel setting.

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

Setting the MIDI Transmit Channel

TX CHANNEL

This sets the MIDI channel used for transmitting MIDI messages.

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

RX Transmits on the same channel as the RX CHANNEL.

Setting the MIDI Device ID

DEVICE ID

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

1–32 Sets the MIDI Device ID.

Setting the MIDI Sync Clock

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

SYNC CLOCK

Master BPM setting. To enable setting of the Master BPM, set to “INTERNAL.”

* When synchronizing performances to the MIDI Clock signal from an external MIDI device, timing problems in the performance may occur due to

errors in the MIDI Clock.

AUTO

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

Operations are synchronized to the MIDI Clock 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.

Page 45

Making Global Settings (System Settings)

Parameter Value Explanation

Selecting the Connector That Will Receive MIDI Messages

MIDI IN SELECT

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

MIDI messages will be received via the USB port.

USB (AUTO)

MIDI CONNECTOR MIDI messages will be received from the MIDI IN connector.

* If the USB port is not connected to a computer, MIDI messages will be received from the MIDI IN

connector.

Sending Program Change Messages

PC OUT

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 simultaneously with Program Change messages.

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

ON Program Change messages are simultaneously output when patches are switched.

Enabling/Disabling the Program Change Map Settings (MIDI Map Select)

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

MAP SELECT

“Setting the Program Change Map” (p. 47).

FIX

PROG

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.

Sending [PHRASE LOOP] Pedal Operations as Control Change Messages

PH.LOOP OUT

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 [PHRASE LOOP] pedal operation data is output as Control Change messages.

Quick Guide Overview Outputting Sound Eects Saving

ACC/CTL OUT

EXP OUT

EXP SW OUT

SUB CTL1 OUT

SUB CTL2 OUT

Sending [ACCEL/CTL] Pedal Operations as Control Change Messages

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 [ACCEL/CTL] pedal operation data is output as Control Change messages.

Sending [EXP] Pedal Operations as Control Change Messages

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 operation data is output as Control Change messages.

Sending EXP Pedal Sw Operations as Control Change Messages

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

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

Sending External Footswitch Operations as Control Change Messages

This sets the controller number when operation data from the footswitch 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

OFF Control Change messages are not output.

CC#1–CC#31, CC#64–CC#95

This sets the controller number when SUB CTL1 pedal operation data is output as Control Change messages.

This sets the controller number when SUB CTL2 pedal operation data is output as Control Change messages.

Pedal Settings

System MIDI/USB Appendices

Page 46

Making Global Settings (System Settings)

Parameter Value Explanation

Sending External Expression pedal Operations as Control Change Messages

SUB EXP OUT

MIDI PROGRAM CHG MAP BANK 0–3

Parameter Value Explanation

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 external SUB EXP Pedal operation data is output as Control Change messages.

Setting the Program Change Map

PC#1–PC#128

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.”

“Setting the Program Change Map” (p. 47)

U01-1–U50-4, P01-1–P50-4 This sets the patch number (U01-1 through P50-4) for the corresponding Program Change number.

MIDI BULK DUMP

Parameter Value Explanation

Transmitting Data to an External MIDI Device

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 “Transmitting Data to an External MIDI Device (Bulk Dump)” (p. 48).

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

Page 47

Using the GT-100 with External MIDI Devices Connected

What Can You Do with MIDI?

You can perform the following operations using MIDI with the GT-100.

MEMO

The use of MIDI requires that the MIDI channels of the connected devices match. If the MIDI channel settings are not correct, the GT-100 will be unable to exchange data with other MIDI devices.

For information on how to set the MIDI channel, see “MIDIRelated Settings” (“MIDI-Related Settings” (p. 44)).

Operating From the GT-100

Outputting Program Change Messages

When a patch is selected on the GT-100, a Program Change message corresponding to the patch number is transmitted simultaneously. The external MIDI device then switches its settings according to the Program Change message it receives.

When PC OUT (p. 45) is set to OFF, no Program Change messages will be output.

Transmitting GT-100

Receiving Control Change Messages

MEMO

You can control specied parameters during a performance by having the GT-100 receive Control Change messages. Parameters to be controlled are set with “Assign” (p. 37).

Receiving Tempo Data

The GT-100 can receive tempo data from an external device.

Receiving Data

The GT-100 can receive data transmitted from another GT-100, as well as data that’s been stored on a sequencer.

Setting the Program Change Map

MEMO

When setting MIDI OMNI MODE (p. 44) to “OMNI OFF”, be sure to have the MIDI RX CHANNEL (p. 44) set beforehand to the match the transmit channel of the external MIDI device.

Quick Guide Overview Outputting Sound Eects Saving

MIDI OUT

MIDI IN

Receiving external MIDI device

Outputting Control Change Messages

Data describing the actions of the [ACCEL/CTL] Pedal, [EXP] pedal, EXP PEDAL SW, and external devices connected to the SUB CTL 1, 2/SUB EXP jack are output as Control Change messages. Such messages can be used to (among other things) manipulate the parameters of an external MIDI device.

The Control Change numbers that will be output can be set under “MIDI SETTING” (“MIDI SETTING” (p. 44)).

Remotely Controlling the GT-100 Using an External MIDI Device

1. Press the [SYSTEM] button.

2. Turn knob [4] to select “PROGRAM CHG MAP“ (MIDI -

PROGRAM MAP).

3. Use PAGE [ ][ ] buttons to select one of the choices

“BANK 0” – “BANK 3.”

4. Turn knob [5] to select the Program Change number.

Program Change number Patch number

PC#1–PC#128 U01-1–U50-4, P01-1–P50-4

Pedal Settings

System MIDI/USB Appendices

Switching Patch Numbers

When the GT-100 receives Program Change messages from the external MIDI device, its patches are simultaneously switched.

MEMO

You can set up the correspondence between MIDI Program Change messages and the GT-100’s patches using the Program Change Map (p. 46). You may need to work on these correspondences when you want to line up some eects in combination with other MIDI devices.

Page 48

Using the GT-100 with External MIDI Devices Connected

5. Use knob [8] to select the patch number.

* In order to activate the use of a Program Change Map, you need

to set MAP SELECT (p. 45) to “PROG.” When this is set to “FIX,” the settings for the Program Change Map will be ignored.

Transmitting external MIDI device

MIDI OUT

MIDI IN

Receiving GT-100

Transmitting Data to an External MIDI Device (Bulk Dump)

With the GT-100, you can use Exclusive messages to set another GT-100 to the same settings or to save eect sound settings to MIDI sequencers and other such devices. This transmission of data is referred to as bulk dump.

Transmitting the Data

1. Press the [SYSTEM] button.

2. Turn knob [4] to select “B.DUMP” (MIDI - BULK DUMP).

3. Turn knobs [5] and [8] to select the range of data (FROM,

TO)that you want to transmit.

Knob Parameter Value Explanation

SYSTEM System parameter settings

[5]

FROM

[8]

QUICK Settings for User Quick Setting

U01-1–U50-4

TEMP

Settings for Patch Number U01-1 through U50-4

Settings for the patch that is currently selected

Making Connections

MEMO

For instructions on operating the sequencer, refer to the owner’s manual for the sequencer you are using.

* If you want to save your settings to sequencer or DAW software

on your computer, refer to “Using the GT-100 Connected to a Computer Via USB” (p. 49).

When Transmitting Data to Another GT-100

Connect as shown in the gure below, and match the Device ID for the transmitting and receiving devices.

Transmitting GT-100

MIDI OUT

MIDI IN

Receiving GT-100

4. Press the [WRITE] button.

Bulk data transmission will begin.

Page 49

Using the GT-100 Connected to a Computer Via USB

Before Connecting with USB

Exchanging MIDI Messages between the

Quick Guide Overview Outputting Sound Eects Saving

With the GT-100, you can use USB to transmit both digital audio signals between the GT-100 and your computer.

Installing the USB Driver

Just by connecting the GT-100 to your PC/Mac with a USB cable, audio signal can be transferred bidirectionally via USB.

By using the specialized driver, you can record, play back, and edit audio with high-quality sound and stable timing (p. 47).

You can download the special GT-100 driver from the Roland local website.

You must install the dedicated driver before you make USB connections.

The program and procedures for installing the driver vary according to the operating environment; carefully read the Readme included in the downloaded le.

What is a USB Driver?

A USB driver is software that acts as a go-between in transferring data between computer applications (such as recording software and sequencer software) and the USB device when the computer and USB device are connected using a USB cable.

The USB driver transmits data from the applications to the USB device, and conversely, passes messages from the USB device to the applications.

Application Software

USB Driver

Computer

Computer and the GT-100

If you connect the GT-100 to your PC/Mac by a USB cable, you can transfer MIDI message bidirectionally via USB. Set the GT-100’s “MIDI IN SELECT” (p. 45) to “USB (Auto).” On your computer, set the MIDI input/output ports to “GT-100.”

However, MIDI message transfer via GT-100’s MIDI connectors become inactivated in this situation.

Reference

For more on MIDI-related settings, refer to “MIDI-Related Settings” (p. 44)

Connecting the Computer

Make connections as shown in the illustration below.

Receiving Bulk Data That Was Saved on the Computer

Bulk data transmitted from MIDI sequencer software can be received by the GT-100 to restore its settings.

Set the GT-100’s Device ID to the same number that was used when the data was transmitted to the MIDI sequencer (p. 44).

1. Transmit the data from the computer.

* For instructions on operating the sequencer, refer to the owner’s

manual for the sequencer you are using.

MEMO

• When data is being received, the message “BULK DATA RECEIVING...” appears on the display.

• Keep the power on while the bulk data is being received.

• If the message “MIDI BUFFER FULL” appears, check the connections and reduce the tempo of the transmitting MIDI device.

Pedal Settings

System MIDI/USB Appendices

GT-100

Transmitting/Receiving Audio Signals Between a Computer and the GT-100

The GT-100’s sound can be recorded on a computer, and sound from the computer can be played through the GT-100. You can change the audio signal ow to suit your purpose.

Reference

• For more about USB settings, refer to “USB-Related Settings” (p.

43).

• For details on how to switch the audio input on the computer software, refer to the manual for the software you’re using.

Page 50

Restoring the Factory Settings (Factory Reset)

Restoring the GT-100’s system settings (System parameters) to their original factory default settings is referred to as “Factory Reset.”

Not only can you return all of the settings to the values in eect when the GT-100 was shipped from the factory, you can also specify the items to be reset.

* When you execute “Factory Reset,” the settings you made will

be lost. If you want to keep your data, you must save it on a computer as described in “Transmitting Data to an External MIDI Device (Bulk Dump)” (p. 48).

* PEDAL CALIBRATION won’t be initialized as the result of a

“Factory Reset” (p. 36).

1. Press the [SYSTEM] button.

2. Turn knob [4] to select “FACTORY RESET.”

4. Press the [WRITE] button.

5. To execute the Factory Reset, press the [WRITE] button.

When the Factory Reset is completed, you’ll be returned to the Play screen.

If you decide to cancel without executing, press the [EXIT] button.

3. Use knobs [5] and [8] to specify the areas that will be

returned to their factory-set state.

Knob Parameter Value Explanation

SYSTEM System parameter settings

[5]

FROM

[8]

QUICK

U01-1–U50-4

Settings for User Quick Setting

Settings for Patch Number U01-1 through U50-4

Page 51

Appendices

GT-100 Eects Guide

GT-100 Eects List

This is a list of the eects built into the GT-100.

* 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.

Eect Explanation

COMP

(Compressor)

OD/DS

(Overdrive/Distortion)

PREAMP

EQ (Equalizer)

FX1

FX2

DELAY

CHORUS

REVERB This eect adds reverberation to the sound.

NS1

NS2

DIVIDER

MIXER

SEND/RETURN

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

This eect distorts the sound to create long sustain. It provides 21 types of distortion and custom settings. For the types of distortion that can be selected for OD/DS, refer to “OD/DS Type List.”

COSM technology simulates dierent preamp characteristics, speaker sizes, and cabinet shapes. For the amp types that can be selected for the preamp, refer to “Preamp Type List.”

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

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. For the eects that can be selected for FX1 and FX2, refer to “FX1/FX2 Eect List.”

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

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

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.

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.

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.

Eect Explanation

PEDAL FX is an eect used to control WAH or PEDAL

PEDAL FX

FOOT VOLUME

ACCEL FX

USB

MASTER SETTING These settings are applied to the overall patch.

BEND with the [EXP] pedal. The SUB EXP pedal cannot be used for this control.

FOOT VOLUME 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.

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.

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

How to obtain a PDF of the Parameter Guide

For a list of all eects’ parameters, download “GT-100 Parameter Guide” (PDF le) from “GT-100” in the “Owner’s Manuals” list on the Roland website (http://www.roland. com/support/en/).

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendices

Page 52

Appendices

OD/DS Type List

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

Category Type Explanation

This is a booster with unique characteristics 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.

A fuzz sound with rich harmonic content.

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.

This models an Electro-Harmonix Big Mu π.

Custom OD/DS

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

ADVANCED

VINTAGE

CUSTOM

MID BOOST

CLEAN BOOST

TREBLE BOOST

CRUNCH

NATURL OD (NATURAL OD)

WARM OD This is a warm overdrive.

FAT DS A distortion sound with thick distortion.

LEAD DS

METAL DS

OCT FUZZ

BLUES OD

OD-1

T-SCREAM This models an Ibanez TS-808.

TURBO OD

DIST

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

Preamp Type List

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

Category Type Explanation

NATURL CLEAN (NATURAL CLEAN)

FULL RANGE

COMBO CRUNCH

STACK CRUNCH

ADVANCED

HiGAIN STACK

POWER DRIVE

EXTREM LEAD (EXTREME LEAD)

CORE METAL

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

VINTAGE

BG LEAD

BG DRIVE

MS1959 I

MS1959 I+II

R-FIER VINTAGE

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 the sound of the Roland JC-120.

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.

Page 53

Appendices

Category Type Explanation

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.

This is a custom preamp.

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

VINTAGE

CUSTOM

R-FIER MODERN

T-AMP LEAD

SLDN

5150 DRIVE

FX1/FX2 Eects List

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

SUB OD/DS

GRAPHIC EQ

(Graphic Equalizer)

PARA EQ

(Parametric Equalizer)

TONE MODIFY This changes the tone of the connected guitar.

GUITAR SIM

(Guitar Simulator)

SLOW GEAR

DEFRETTER This simulates a fretless guitar.

WAVE SYNTH

SITAR SIM.

(Sitar Simulator)

OCTAVE

PITCH SHIFTER

HARMONIST

SOUND HOLD

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.

The limiter attenuates loud input levels to prevent distortion.

This eect distorts the sound to create long sustain. It provides 21 types of distortion. For the types of distortion that can be selected for OD/DS, refer to “OD/DS Type List.”

* “CUSTOM” is not available.

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

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

This simulates the sound of the sitar.

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

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 harmonics 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.

Eect Name Explanation

This processor allows you to change the sound

AC. PROCESSOR

(Acoustic Processor)

PHASER

FLANGER

TREMOLO

ROTARY

UNI-V

PAN

SLICER

VIBRATO

RING MOD.

HUMANIZER This can create human vowel-like sounds.

2X2 CHORUS

SUB DELAY

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-airplanelike character to the sound.

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

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

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.

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.

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

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

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.

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendices

Page 54

Appendices

GT-100 Preset Patch List

Path # Patch Name Explanation DIVIDER PREAMP A PREAMP B ACCEL/CTL PU

P01-1 Hi GAIN STACK

P01-2 Hi GAIN LEAD

P01-3 COMBO CRUNCH

P01-4 NATURAL CLEAN

P02-1 POWER DRIVE

P02-2 CRUNCH LEAD

P02-3 STACK CRUNCH

P02-4 TWEED CLEAN

P03-1 SINGLE COILROCK

P03-2 BG LEAD

P03-3 ROLLING TONE

P03-4 MixSLICE & ACCEL

P04-1 ZEE ZEE POP

HARMONY

P04-2

LEADinAm

P04-3 VINTAGE OVERDRV

P04-4 COMP PedalWAH

P05-1 MODERN METAL

P05-2 OD-1 +STACK

P05-3 PedalWAH CRUNCH Crunch sound with pedal wah.

P05-4 TIGHT CLEAN

P06-1 70s US HARDROCK A retro hard rock sound from the 70s.

P06-2 CHORUS LEAD Metal sound with chorus, usable for either backing or lead.

P06-3 JONNY'S BEEN BAD Classic rock’n’roll tone. The CTL pedal switches to a lead tone.

P06-4 CLEAN STACK

P07-1 DS <-> MTL ZONE Use the CTL pedal to switch between distortion and Metal Zone.

P07-2 R-FIER LEAD

P07-3 BEE BEE THRILL Combo amp sound suitable for blues leads.

P07-4 CLEAN SUSTAIN

P08-1 POWER CHORD! A drive sound, simple yet with presence.

P08-2 COMBO LEAD

P08-3 JAZZ FIELD

P08-4 E.GTR-> AcGUITAR

The powerful and fat sound of a high-gain amp stack. Ideal for backing or ris.

The mid-boost lead sound of a stack amp. The CTL pedal turns SOLO on.

The sound of a combo amp featuring extremely direct and sensitive touch response, with the low-frequency range reduced appropriately.

An all-around sound usable for everything from solos to rhythm. With a broad range and good sustain from the high frequencies to the low frequencies.

A straightforward and powerful drive sound that lets the character of the guitar come through.

Switch between stack crunch sounds with dierent gain for backing and solo.

Use the CTL pedal to switch between a tweed amp’s clean tone and a mid-boost lead tone.

A hard crunch sound, ideal for punchy rhythm playing. The CTL pedal boosts the GAIN and MID.

A tube amp sound typical of the late 70s through the 80s. The CTL pedal switches to a lead tone with chorus applied.

A sound with a touch of crunch, ideal for rhythm. The CTL pedal boosts the GAIN and MID.

Clean sound with the addition of a pitch shifter and slicer. The ACCEL pedal raises the overall pitch.

Rhythm tone for classic rock. The CTL pedal increases the gain and volume.

Sustaining harmony tone, ideal for fusion solos.

Vintage OD-1 sound. The CTL pedal selects a sound appropriate for solos.

Pedal wah sound with compression. The CTL pedal switches to a lead sound.

An extremely heavy metal sound, usable for anything from rhythm to lead.

A hard rock sound with phaser and OD-1 applied before the distortion.

Extremely hard clean tone, ideal for rhythmic muted chording. The CTL pedal applies phaser and chorus.

The sound of an amp stack. The CTL pedal switches between clean and crunch.

Hard distortion sound, ideal for metal ris. The CTL pedal switches to a lead sound.

A clean sound with good sustain. The CTL pedal switches to a stack crunch sound.

A combo amp lead sound. You can use the ACCEL pedal for feedback performance.

An aggressive jazz tone. The CTL pedal switches to a sound for soloing.

Transforms the sound of an electric guitar to the sound of an acoustic guitar.

SINGLE: Ch. A

DUAL FULL RANGE NATURAL CLEAN ACCEL (S-BEND) H

SINGLE: Ch. A

SINGLE: Ch. B

SINGLE: Ch. A

HiGAIN STACK HiGAIN STACK

EXTREME LEAD POWER DRIVE A&B SOLO H

COMBO CRUNCH COMBO CRUNCH DIV CH SELECT H

NATURAL CLEAN COMBO CRUNCH DIV CH SELECT S/H

POWER DRIVE POWER DRIVE

COMBO CRUNCH COMBO CRUNCH

STACK CRUNCH STACK CRUNCH

TWEED TWEED DIV CH SELECT H

STACK CRUNCH STACK CRUNCH DIV CH SELECT S

BG LEAD BG LEAD DIV CH SELECT S/H

NATURAL CLEAN COMBO CRUNCH DIV CH SELECT H

POWER DRIVE POWER DRIVE

NATURAL CLEAN COMBO CRUNCH FX2 (HARMONIST) S/H

JC-120 NATURAL CLEAN

NATURAL CLEAN COMBO CRUNCH DIV CH SELECT H

EXTREME LEAD EXTREME LEAD

STACK CRUNCH MS1959 I FX1 (PHASER) H

COMBO CRUNCH COMBO CRUNCH DIV CH SELECT H

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT S/H

STACK CRUNCH POWER DRIVE

NATURAL CLEAN NATURAL CLEAN

NATURAL CLEAN STACK CRUNCH

STACK CRUNCH STACK CRUNCH DIV CH SELECT S/H

NATURAL CLEAN JC-120 DIV CH SELECT S/H

R-FIER VINTAGE R-FIER VINTAGE DIV CH SELECT S/H

VO LEAD COMBO CRUNCH DIV CH SELECT H

NATURAL CLEAN STACK CRUNCH DIV CH SELECT S/H

HiGAIN STACK HiGAIN STACK

COMBO CRUNCH COMBO CRUNCH

BG LEAD BG LEAD

FULL RANGE NATURAL CLEAN

DIV CH SELECT, DELAY

DIV CH SELECT, CHORUS

DIV CH SELECT, DELAY

OD/DS SOLO, COMP, DELAY

DIV CH SELECT, DELAY

DIV CH SELECT, OD/DS

DIV CH SELECT, DELAY

ACCEL (FEEDBACKER)

DIV CH SELECT, COMP, DELAY, REVERB LEVEL

DIV CH SELECT, FX1 (GUITAR SIM)

S/H

Page 55

Appendices

Path # Patch Name Explanation DIVIDER PREAMP A PREAMP B ACCEL/CTL PU

P09-1 METAL MONEY The metal sound of the 90s.

P09-2 OVERDRV LEAD A simple overdrive sound.

P09-3 TWIN CRUNCH Crunch sound from a Twin Reverb.

P09-4 BRIGHT RHYTHM A bright clean sound. The CTL pedal applies chorus.

P10-1* STEREO STACK

P10-2 FINGER LEAD

P10-3 TWEED BLUES Classic blues sound from a tweed amp.

P10-4 SUPER CLEAN Transparently clean sound. Ideal for arpeggios or chording.

P11-1 WALL OF DIST Power chords produce a wall of distortion.

WAH LEAD

P11-2

>CRUNCH

P11-3 DIAMOND ECHO A clean sound with echo. DUAL STACK CRUNCH STACK CRUNCH

P11-4 SAFARI USA Tremolo sound suitable for the surf music of the 60s.

P12-1* STEREO HardRi A modern hard rock sound appropriate for ring. DUAL POWER DRIVE EXTREME LEAD CHORUS H

P12-2 TUESDAYS LEAD A sound with phaser lightly applied.

MidRANGE

P12-3

CRUNCH

P12-4 MILD PHASER A mild phaser sound. The CTL pedal applies a panning delay.

P13-1 DIRTY DS&TR CLN

P13-2 SQUARE LEAD

DUAL MTL/

P13-3

CRUNCH

P13-4 COMP CHORUS A clean stereo chorus sound.

P14-1 AMBIENT DIRTY OD Drive sound with added room ambience.

P14-2 SMOOTH LEAD Classic lead tone for rock, also ideal for sweep-picking.

P14-3 ATTACKY CRUNCH

P14-4 CLEAN ROTARY

P15-1 METAL FLANGER Metal sound with anger applied.

P15-2 MATCH LEAD An extremely smooth lead tone. Ideal for fusion solos.

P15-3 LIMITED CRUNCH

P15-4 FAT COMP CLEAN

P16-1 Hi:BG LD Lo:1959

P16-2 FUSION 335

P16-3 80s JAZZ FUSION A fusion lead tone using stereo chorus.

P16-4 MILD JAZZTONE

BOSSTONE

P17-1

DRV-SOLO

P17-2 MidBOOST COMBO The crunch sound of a mid-boosted combo amp.

The sound of two high-gain amps set up in stereo, suitable for ring.

Fat sound that still remains sensitive to the nuances of your touch. Ideal for bluesy fusion.

The CTL pedal switches between a wah lead from a boosted “TWEED” and a crunch backing sound.

Crunch sound with a boosted mid-range.

The CTL pedal switches between lo- distortion and clean tremolo sound.

Distortion sound with extreme sustain. Use the ACCEL pedal to apply pitch bend.

A sound that combines core metal and crunch. DUAL COMBO CRUNCH CORE METAL

A crunch sound with a sense of attack. The CTL pedal applies mid boost.

A clean sound with a rotary eect applied. The CTL pedal switches between fast and slow.

A crunch tone that will sound smooth and rened when playing chords.

A clean sound with boosted mid-range and compressor applied. The CTL pedal applies chorus.

With both an edgy low range as well as good sustain in the mid and high ranges, this sound can be used for ring and lead without switching.

A lead tone of 70s fusion. The CTL pedal boosts the gain and volume.

Used with humbuckers, this produces a mild jazz tone. Also suitable for nger-picking.

One of the rock sounds of the late 70s. The CTL pedal switches to a sound for soloing.

SINGLE: Ch. A

SINGLE: Ch. B

SINGLE: Ch. A

DUAL POWER DRIVE EXTREME LEAD DELAY, OD/DS H

SINGLE: Ch. A

DUAL COMBO CRUNCH COMBO CRUNCH OD/DS, DELAY H

SINGLE: Ch. B

SINGLE: Ch. A

DUAL BG LEAD MS1959 I OD/DS, DELAY H

SINGLE: Ch. A

CORE METAL CORE METAL DIV CH SELECT S/H

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT H

CLEAN TWIN CLEAN TWIN REVERB S

FULL RANGE NATURAL CLEAN

STACK CRUNCH MS1959 I OD/DS S/H

TWEED NATURAL CLEAN OD/DS S/H

FULL RANGE NATURAL CLEAN DIV CH SELEC T S/H

STACK CRUNCH BG DRIVE CHORUS S

TWEED DELUXE CRUNCH

TWEED STACK CRUNCH DIV CH SELECT S

TWEED TWEED

COMBO CRUNCH COMBO CRUNCH

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT H

COMBO CRUNCH DELUXE CRUNCH DIV CH SELECT H

FULL RANGE COMBO CRUNCH ACCEL (S-BEND) S/H

NATURAL CLEAN POWER DRIVE DIV CH SELECT S/H

STACK CRUNCH MS1959 I REVERB H

5150 DRIVE T-AMP LEAD DIV CH SELECT H

NATURAL CLEAN NATURAL CLEAN

MATCH DRIVE MATCH DRIVE DIV CH SELECT H

COMBO CRUNCH MATCH DRIVE DIV CH SELECT H

JC-120 – CHORUS S

NATURAL CLEAN DELUXE CRUNCH DIV CH SELECT H

NATURAL CLEAN JC-120 OD/DS H

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT H

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT S/H

COMBO CRUNCH MS1959 I DELAY S/H

DELAY, FX2 (PITCH SHIFTER), REVERB LEVEL

PEDAL FX (WAH), OD/DS, DELAY

LED ON/OFF, DELAY F.BACK

DIV CH SELECT, FX1 (PHASER), DELAY

DIV CH SELECT, DELAY

FX1 (PITCH SHIFTER), OD/DS, DELAY

DIV CH SELECT, FX2 (ROTARY) SPEED SELECT

DIV CH SELECT, DELAY

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendices

S/H

Page 56

Appendices

Path # Patch Name Explanation DIVIDER PREAMP A PREAMP B ACCEL/CTL PU

P17-3 COUNTRY PICKIN' A classic country rock sound.

P17-4 DLY TIME TAP CTL

P18-1 LATE 80s HdRockRf

P18-2 ITS JUST A PHASE

P18-3 LOOSE ROPE A lead tone for modern country.

FUNKY GT FOR

P18-4

HumB

P19-1 LATE 80s METAL RF Slash metal sound of the 80s. The CTL pedal switches to JC Clean.

P19-2 ROADS Sound with delay applied, ideal for leads in 70s rock.

P19-3 BLACK PANEL Vintage clean sound. The CTL pedal applies mid-boost.

P19-4 NORWEGIN GROVE Sound that adds the distinctive buzz drone of a sitar.

P20-1 Hi:JC120 Lo:STACK

FRANKLY

P20-2

SWEEPING

P20-3 FUSIONY Fusion lead tone with pan delay.

NATURAL

P20-4

JAZZTONE

DUAL MIC

P21-1*

StereoMS

P21-2 MELLOW LEAD Bluesy sound with warm overdrive.

P21-3 BASIC BLUES Crunch sound with compressor, ideal for blues or classic rock.

P21-4 DEEP CS StCHORUS

P22-1* DUAL ST Hi GAIN Stereo high-gain sound produced by two amps. DUAL T-AMP LEAD R-FIER VINTAGE CHORUS H

P22-2 OUT DELAY Lead tone using a long stereo delay.

P22-3 T-SCREAM TWEED Tweed amp sound notable for its mellow tube distortion.

P22-4 ELCTRIC PIANO Clean sound of the 70s with a soft phaser.

P23-1 FAT DRY MIX MS Crisp and bold drive sound.

P23-2 ROYAL LEAD British lead tone of the 70s and 80s.

P23-3 TIGHT CRUNCH A tight combo crunch sound.

P23-4 REGGIE The sound of 70s funk. The CTL pedal boosts the gain.

P24-1 METAL ACOUSTIC A sound that combines metal and acoustic. DUAL FULL RANGE CORE METAL CHORUS, DELAY S

FEEDBACK

P24-2

CONTROL

P24-3 70s BRITROCK An early British stack tone that’s ideal for leads.

P24-4 CHORDS SO SWEET

P25-1 BARK TONE

P25-2 LEAD DREAMER

P25-3 1959 CRUNCH Crunch sound based on MS1959.

P25-4 CLEAN MACHINE Crystal-clean sound. Ideal for rhythm in styles such as country.

P26-1 REIGN IN THRASH Slash metal sound of the 80s. Ideal for ring.

P26-2 1969 XPERIENC

Clean sound with a delay that can be synchronized to the rhythm by tapping.

Suitable for simple hard rock. The CTL pedal turns the SOLO switch on.

Phaser sound, ideal for 70s rock ris. The CTL pedal boosts the gain and volume.

Sound that won’t distort even when playing through humbuckers. Also suitable for clean muted chords.

The low range is assigned to a high-gain stack, and the mid and high ranges to a JC-120.

The fusion rhythm tone of the 90s. The CTL pedal boosts the gain and volume for soloing.

Sweet and tight jazz sound.

Stereo sound produced by a two-mic setup. DUAL MS1959 I MS1959 I A&B SOLO H

A rich sound that uses a combination of several modulation-type eects.

Pressing the ACCEL pedal allows you to perform feedback with the sound of a high-gain tube amp.

Clean tone with beautiful stereo panning. The CTL pedal adds a touch of crunch.

70s rock sound with phaser. The CTL pedal makes the sound suitable for leads and also turns on a delay.

A high-gain lead with auto wah applied. The ACCEL pedal produces a unique sound using S.Bend.

Psychedelic rock sound of the 1969 Woodstock festival. Intense distortion produced using fuzz.

SINGLE: Ch. A

SINGLE: Ch. B

SINGLE: Ch. A

DUAL JC-120 HiGAIN STACK DELAY S/H

SINGLE: Ch. A

DUAL TWEED EXTREME LEAD ACCEL (S-BEND) S

CLEAN TWIN – OD/DS S

NATURAL CLEAN JC-120 DELAY TAP H

MS1959 I COMBO CRUNCH A/B SOLO H

MS1959 I+II MS1959 I+II

DELUXE CRUNCH – OD/DS S

NATURAL CLEAN NATURAL CLEAN CHORUS, COMP H

JC-120 CORE METAL DIV CH SELECT H

NATURAL CLEAN CORE METAL DIV CH SELECT H

CLEAN TWIN – OD/DS S

FULL RANGE NATURAL CLEAN

POWER DRIVE POWER DRIVE DIV CH SELEC T H

SLDN SLDN DIV CH SELECT H

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT H

NATURAL CLEAN JC-120 DIV CH SELECT H

COMBO CRUNCH COMBO CRUNCH DIV CH SELECT H

NATURAL CLEAN HiGAIN STACK DIV CH SELECT S/H

R-FIER MODERN COMBO CRUNCH FX2 (SUB DELAY) S/H

TWEED –

NATURAL CLEAN – FX2 (PAN) S

MS1959 I+II STACK CRUNCH A&B SOLO H

VO LEAD COMBO CRUNCH DELAY H

COMBO CRUNCH COMBO CRUNCH

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT S

SLDN EXTREME LEAD

PRO CRUNCH COMBO CRUNCH DIV CH SELECT H

NATURAL CLEAN HiGAIN STACK DIV CH SELECT S

CORE METAL CORE METAL

5150 DRIVE – ACCEL (S-BEND) H

MS1959 I – OD/DS, DELAY H

JC-120 COMBO CRUNCH DIV CH SELECT S

SLDN SLDN

DIV CH SELECT, DELAY

DIV CH SELECT, DELAY, CHORUS

FX1 (SUB OD/DS), DELAY

DIV CH SELECT, DELAY, CHORUS

ACCEL (FEEDBACKER)

DIV CH SELECT, DELAY

S/H

Page 57

Appendices

Path # Patch Name Explanation DIVIDER PREAMP A PREAMP B ACCEL/CTL PU

P26-3 CRUNCH DELAY

P26-4 FUNKY DELICK A sound that’s ideal for 16-beat muted chording in funk or fusion

P27-1 CHAINED UP A ri tone used in classic rock. The CTL pedal adds a anger.

MAHOGANY

P27-2

FLASHBAC

P27-3 PLEXI RHYTHM A rhythm tone used in classic rock.

P27-4 LEAD PICKIN' Vintage country lead sound.

P28-1 BLUES BUDDY

P28-2 MONEY StillWah

P28-3 KING OF BLUES A sound that’s ideal for blues leads.

P28-4 SPINNER A clean rotary sound.

P29-1 LOVE SUMMER A sound used by fusion players of recent years.

P29-2 1984 DRIVIN' Drive sound reminiscent of 80s hard rock.

P29-3* ROUGH'N' DIRTY Dirty rock sound. Ideal for backing or ris. DUAL POWER DRIVE R-FIER VINTAGE

CLN TWIN

P29-4

SOUTHERN

P30-1 METAL CORN

P30-2 CREAMY SET A bluesy sound of the late 60s that combines MS1959 with FUZZ.

P30-3 T.WAH TWEED The sound of a tweed amp with touch wah.

P30-4 COMP CLEAN A clean sound with compression. Ideal for rhythm or ris.

P31-1 STACK LEAD

P31-2 70s T.WAH LD A lead sound of the 70s using touch wah.

P31-3 DirtyOle TWEED

P31-4 MinneapolisFNK An extremely clean sound, ideal for rhythm chording. DUAL – – CHORUS S

P32-1 TWEED BLUES 2 The classic sound of Texas blues.

NY LEAD

P32-2

MODULATE

P32-3 SQUEEZE BLUES GT A bluesy sound with ambience included.

P32-4 TOUCH WAH CLN Strongly modulated chorus and touch-wah. Good for arpeggios.

P33-1 BLADE METAL An extremely sharp metal tone.

PROGRESS

P33-2

SmoothLD

P33-3 CRUNCH FLANGER A cool anger sound suitable for arpeggios.

P33-4* JS SIG. CLEAN A clean sound for guitar instrumentals of the 80s. DUAL BG DRIVE NATURAL CLEAN ACCEL (S-BEND) S

P34-1 GREAT ROCK A hard rock tone used in the 80s and 90s.

P34-2 SLIDE FOR ST Ideal sound for playing slide guitar with single coil pickups.

P34-3 ROTARY CRUNCH Standard rotary sound for rock.

P34-4 FULLERTN DRIVE Light American crunch sound of the late 50s. DUAL PRO CRUNCH TWEED CHORUS S

P35-1 DRAGON METAL Ideal modern metal sound for humbucking pickups.

P35-2 SLIDE FOR LP Ideal sound for playing slide guitar with humbucking pickups.

American crunch sound with chorus and delay applied. Also suitable for country styles.

A wide-ranged lead tone of the late 70s. DUAL TWEED EXTREME LEAD ACCEL (S-BEND) S/H

Crunch rhythm sound for blues. The CTL pedal switches to a lead sound.

A lead tone with a mued sound. Turn the EXP SW on to use pedal wah.

Clean sound that’s great for country rock ris.

The ideal sound for heavy metal ring. The CTL pedal boosts the gain and volume.

A stack amp sound with sustained distortion. Suitable for both backing and soloing.

The sound of a small combo amp with a bit of overdrive. Great for blues or funk.

A lead sound with a strongly modulated anger. Also usable for cool jazz fusion.

Use the CTL pedal to switch between a lead tone with a soft attack and a clean tone with a gorgeous chorus.

SINGLE: Ch. A

SINGLE: Ch. B

SINGLE: Ch. A

DUAL TWEED PRO CRUNCH ACCEL (S-BEND) S

SINGLE: Ch. A

SINGLE: Ch. B

SINGLE: Ch. A

COMBO CRUNCH COMBO CRUNCH DIV CH SELECT S

DELUXE CRUNCH EXTREME LEAD DIV CH SELECT S/H

5150 DRIVE 5150 DRIVE

PRO CRUNCH STACK CRUNCH

CLEAN TWIN CLEAN TWIN DIV CH SELECT S

CLEAN TWIN CLEAN TWIN DIV CH SELECT S/H

POWER DRIVE EXTREME LEAD DIV CH SELECT S/H

DELUXE CRUNCH – FX2 (SUB DELAY) S

NATURAL CLEAN COMBO CRUNCH DIV CH SELECT S/H

NATURAL CLEAN NATURAL CLEAN DIV CH SELECT H

HiGAIN STACK 5150 DRIVE DIV CH SELECT H

CLEAN TWIN DELUXE CRUNCH DIV CH SELECT S

R-FIER MODERN CORE METAL DIV CH SELECT H

MS1959 I STACK CRUNCH OD/DS H

TWEED TWEED DIV CH SELECT S/H

NATURAL CLEAN COMBO CRUNCH DIV CH SELECT S

POWER DRIVE EXTREME LEAD

STACK CRUNCH MS1959 I FX1 (T. WAH) H

TWEED NATURAL CLEAN OD/DS S

BG DRIVE JC-120

TWEED CLEAN TWIN OD/DS H

NATURAL CLEAN JC-120 FX1 (T. WAH) H

R-FIER MODERN – OD/DS H

BG LEAD COMBO CRUNCH DIV CH SELECT H

COMBO CRUNCH NATURAL CLEAN DIV CH SELEC T S/H

MS1959 I HiGAIN STACK DIV CH SELECT S/H

TWEED TWEED DIV CH SELECT S

STACK CRUNCH –

T-AMP LEAD EXTREME LEAD DIV CH SELECT H

PRO CRUNCH PRO CRUNCH DIV CH SELECT H

DIV CH SELECT, FX1 (FLANGER)

DIV CH SELECT, DELAY

ACCEL (S-BEND), DELAY LEVEL

DIV CH SELECT, DELAY

DIV CH SELECT, OD/DS

LED ON/OFF, FX2 (ROTARY) SPEED SELECT

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendices

S/H

Page 58

Appendices

Path # Patch Name Explanation DIVIDER PREAMP A PREAMP B ACCEL/CTL PU

P35-3 70sSMALL AMP The drive sound produced by a small amp of the 70s.

P35-4 BUTTERSCOT.CRN

P36-1 HARD RK FLANGE The anger sound of 80s metal.

P36-2 MID 70s S.O.S. Enjoy sound-on-sound with a two-beat delay.

P36-3 MS DRY CRUNCH Bold crunch sound suitable for humbucking pickups.

UNMATCHD

P36-4

COMBO

P37-1 VAN FLANGE The anger sound of 80s hard rock.

P37-2 VIBRATO LEAD Use the CTL pedal to apply arm-style vibrato.

P37-3* STEREO RIFF Stereo amp sound appropriate for heavy ris. DUAL POWER DRIVE HiGAIN STACK CHORUS H

P37-4* GREAT WideOpen

P38-1 RECTOSARIUS A modern rock sound.

P38-2 Hi GAIN LEAD 2

P38-3 COLLEGE ROCK Crunch sound suitable for chordal ris.

P38-4 TheULTRA CLEAN

P39-1 UFOBJECT The classic sound of 70s hard rock.

HARMONY

P39-2

LEADinEm

P39-3 AG +CRUNCH Sound appropriate for melodious metal leads. DUAL FULL RANGE COMBO CRUNCH

P39-4 SUPER MODULATE

P40-1 RIPPIN'

P40-2 OCTAFUZZ LEAD

P40-3 TapDELAY STEREO Stereo pan delay. You can tap the CTL pedal to set the delay time.

P40-4 PH FOR RHYTHM A light phaser sound that’s ideal for muted chords.

P41-1* PASADENA PLEXI

P41-2 Hi GAIN +CRUNCH A sound that combines a high-gain amp and a combo amp. DUAL COMBO CRUNCH EXTREME LEAD DELAY H

UK COMBO

P41-3

ForCHORD

P41-4 SLOWGEAR ECHO

P42-1 60s FUZZ LEGEND Reproduces the combination of a late 60s fuzz and distorted amp.

P42-2 MidBOOST STACK

P42-3 70s PUB ROCK Produces a sharp sound when used with single coil pickups.

P42-4 DEEP DEFRETER

P43-1 CALIFORNIA! American sound of the 70s with compressor and phaser.

P43-2 JP LEAD SCOTTISH A big fat lead sound. DUAL R-FIER MODERN HiGAIN STACK ACCEL (S-BEND) S/H

ROCKABIL50s

P43-3

ECHO

P43-4 RESO PH CLEAN A clean phaser sound with the resonance turned up.

P44-1 SHRED FZ

P44-2 JP METAL UNISON

This sound adds a nice amount of distortion to an ideal rhythm tone.

The sound of a fat and extremely clean combo amp. DUAL MATCH DRIVE COMBO CRUNCH CHORUS S

Clean sound with stereo panning that creates the impression of a broad horizon.

A smooth high-gain lead sound. Fat distortion can be obtained even with single coil pickups.

English clean tone with chorus and deep reverb. Appropriate for 80s pop.

Sound appropriate for melodious metal leads.

Clean sound with modulation applied. Also eective when used in the intro.

Fantasy-like sound with deep delay. The ACCEL pedal applies ring modulator.

A fuzz sound with a unique character. Also useable even if the volume of your guitar is lowered.

The hard rock sound of the late 70s. Phaser and delay are applied to a fat British overdrive.

A deeply distorted combo amp sound, suitable for playing chords.

A pleasant echo sound using Slow Gear. The CTL pedal applies distortion.

The sound of a mid-boosted stack amp. The ACCEL pedal allows feedback performance.

Produces a sound reminiscent of a fretless guitar. Suitable for playing single notes.

Reproduces the sound of the 50s with a tape echo and spring reverb.

A fuzz sound with a rich overtone structure. Ideal for backing or for solos.

Produces a unison sound with one octave below. Ideal for ris or single notes.

SINGLE: Ch. A

DUAL PRO CRUNCH MS1959 I+II CHORUS S

SINGLE: Ch. A

DUAL TWEED VO LEAD ACCEL (S-BEND) S

SINGLE: Ch. A

DUAL NATURAL CLEAN NATURAL CLEAN OD/DS H

SINGLE: Ch. A

DUAL STACK CRUNCH HiGAIN STACK ACCEL (S-BEND) S/H

SINGLE: Ch. A

DUAL NATURAL CLEAN NATURAL CLEAN OD/DS S/H

SINGLE: Ch. A

DUAL 5150 DRIVE R-FIER VINTAGE ACCEL (S-BEND) S/H

DELUXE CRUNCH COMBO CRUNCH DIV CH SELECT S

5150 DRIVE R-FIER MODERN DIV CH SELECT S/H

VO LEAD COMBO CRUNCH BPM TAP S

MS1959 I STACK CRUNCH OD/DS H

R-FIER MODERN –

STACK CRUNCH COMBO CRUNCH

R-FIER VINTAGE R-FIER MODERN

EXTREME LEAD POWER DRIVE A/B SOLO S/H

COMBO CRUNCH MATCH DRIVE DIV CH SELECT S

FULL RANGE JC-120 DIV CH SELEC T S/H

MS1959 I+II HiGAIN STACK

NATURAL CLEAN COMBO CRUNCH FX2 (HARMONIST) H

EXTREME LEAD – ACCEL (RING MOD) H

CLEAN TWIN COMBO CRUNCH FX2 (UNI-V) S

COMBO CRUNCH NATURAL CLEAN DELAY TAP S

CLEAN TWIN PRO CRUNCH FX2 (PAN), CHORUS S

VO LEAD COMBO CRUNCH DIV CH SELECT H

STACK CRUNCH COMBO CRUNCH OD/DS S

MS1959 I COMBO CRUNCH

DELUXE CRUNCH COMBO CRUNCH DIV CH SELECT S

NATURAL CLEAN JC-120 FX2 (SUB DELAY) S

DELUXE CRUNCH – DIV CH SELECT S

COMBO CRUNCH COMBO CRUNCH DIV CH SELECT S

NATURAL CLEAN JC-120 FX1 (PAN) S

COMBO CRUNCH VO DRIVE DELAY H

ACCEL (S-BEND), DELAY

LED ON/OFF, FX1 (VIBRATO) TRIGGER

DIV CH SELECT, DELAY

LED ON/OFF, PREAMP B MIC LEVEL

ACCEL (FEEDBACKER)

S/H

Page 59

Appendices

Path # Patch Name Explanation DIVIDER PREAMP A PREAMP B ACCEL/CTL PU

NATURAL

P44-3

OVER-DRV

P44-4 VIBRATO CLEAN

P45-1* LA TR RIFF Straight sound and tremolo sound are generated in stereo. DUAL COMBO CRUNCH COMBO CRUNCH CHORUS H

P45-2 PedalBND LEAD

P45-3 MODERN VO DRIVE Play chords to get sparkling crunch sound.

P45-4 NEW OLESFUNK Ideal for funky muted chording of the American South.

P46-1 80s HARDROCK Rock sound of the 80s using a stereo chorus.

P46-2 SLOWGEAR LEAD

P46-3 SLOW AUTO PAN

P46-4 UK COMBO CLEAN

P47-1 80s NEW WAVE 80s sound that combines a doubling delay with a chorus.

P47-2 WAVE SYNTH Transforms a guitar sound into a synth sound. Use with single notes.

P47-3 CRNCH 4 RHYTHM

P47-4 PIEZO-> AcGUITAR Transforms sound from a piezo pickup into acoustic sound.

P48-1 LATIN ROCK

REVERSE

P48-2

HARMONY

P48-3 D'CLEAN DIRT

P48-4 E SITAR SIMULATE

P49-1* STEREO R-FIER A high-gain stereo sound suitable for low-pitched ring. DUAL R-FIER MODERN R-FIER VINTAGE DELAY H

P49-2 ACCEL RING MOD Press the ACCEL pedal to produce a metallic sound.

PH CRNCH>DS

P49-3

CHOD

P49-4 ACCEL TWIST Press the ACCEL pedal to produce a fantasy-like sound.

P50-1 METAL GtwithBASS Core metal sound that adds a suitable bass tone to your ris. DUAL CORE METAL –

P50-2 ACCEL LSR BEAM

P50-3 MATCH CRUNCH Crunch sound ideal for use with the rear single coil pickup.

P50-4 ACCEL WARP Press the ACCEL pedal to produce a fantasy-like sound.

Drive sound ideal for rock’n’roll. The CTL pedal switches to a dry sound.

Clean sound with an enjoyably wavering tape echo. Use the CTL pedal to add vibrato.

This lets you play leads that make eective use of pedal bend pitch change.

A smooth lead sound using Slow Gear. Also eective on soundeect phrases.

Produces a slow auto-pan eect. The CTL pedal continuously changes the rate.

The clean sound of a combo amp. The CTL pedal switches to a lead sound.

Crunch sound for funky rock. Suitable for use with the rear single coil pickup.

Combines a sweet lead sound using stereo delay with a rotary clean sound.

Distorted lead sound with harmony added by eective use of reverse delay.

Sound that combines clean and overdrive. A nice t with alternative rock.

A sound reminiscent of an electric sitar. Usable with single notes or chords.

A lightly phased crunch sound is combined with intense distortion.

Press the ACCEL pedal to generate a sound reminiscent of a laser beam.

SINGLE: Ch. A

DUAL EXTREME LEAD EXTREME LEAD ACCEL (S-BEND) H

DUAL STACK CRUNCH JC-120 ACCEL (S-BEND) S/H

SINGLE: Ch. A

TWEED COMBO CRUNCH OD/DS, DELAY S

NATURAL CLEAN JC-120

POWER DRIVE COMBO CRUNCH ACCEL (S-BEND) H

VO DRIVE VO LEAD DIV CH SELECT S

CLEAN TWIN NATURAL CLEAN CHORUS S

BG LEAD BG DRIVE A/B SOLO, DELAY H

NATURAL CLEAN COMBO CRUNCH

COMBO CRUNCH NATURAL CLEAN FX2 (PAN) RATE S

VO DRIVE VO LEAD DIV CH SELECT S/H

COMBO CRUNCH JC-120 OD/DS S

FULL RANGE COMBO CRUNCH ACCEL (S-BEND) S/H

COMBO CRUNCH MS1959 I FX1 (T. WAH) S

FULL RANGE NATURAL CLEAN

BG DRIVE STACK CRUNCH DIV CH SELECT H

NATURAL CLEAN COMBO CRUNCH DELAY H

NATURAL CLEAN –

COMBO CRUNCH STACK CRUNCH DIV CH SELECT S

NATURAL CLEAN –

BG LEAD BG LEAD

MATCH DRIVE COMBO CRUNCH OD/DS, EQ, DELAY S

NATURAL CLEAN –

LED ON/OFF, FX1 (VIBRATO) TRIGGER

FX1 (SLOW GEAR), FX2 (SUB DELAY)

CHORUS, FX1 (GUITAR SIM)

ACCEL (RING MOD), DELAY LEVEL, REVERB LEVEL

ACCEL (TWIST), REVERB LEVEL

DELAY, COMP LEVEL, PREAMP A SOLO

ACCEL (LASER BEAM), DELAY LEVEL, REVERB LEVEL

ACCEL (WARP), REVERB LEVEL, DELAY LEVEL

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendices

S/H

* Patches with an “*” following the patch number have their mixer (p. 28) mode set to PAN L/R. For other patches, the mode is set to STEREO.

* DIVIDER = Divider setting (p. 27)

• SINGLE: Ch. A = Divider MODE is SINGLE and CH SELECT is CH. A

• SINGLE: Ch. B = Divider MODE is SINGLE and CH SELECT is CH. B

• DUAL = Divider MODE is DUAL

* PU=Pickup

• S=This patch is good for single-coil pickups.

• H=This patch is good for humbucking pickups.

• P=This patch is good for piezo pickups.

Page 60

Appendices

Signal Flow

Guitar Amp

External

Footswitch

Audio Signal

Control or MIDI Signal

[EXP] Pedal,

CTL

AMP

SUB EXP

SUB CTL 1, 2/

EXP PEDAL SW

Pedals

Control

Headphones

PHONES

LEVEL

MAIN OUT

LEVEL

USB MIX

Guitar Amp

OUTPUT

O

+4dBu

-10dBu

THRU

GLOBAL

PATCH

MASTER

LEVEL

OUTPUT

MUTE

BYPASS

LEVEL

Mixer

Loop

Phrase

DIR.MONITOR

TUNER

TUNER OUTPUT

(PERFORM)

External

External MIDI

device

Computer

Expression

Pedal

External Eect

MIDI In

MIDI Out

MIDI In

MIDI Out

Audio In

Audio Out

Processor

RETURN

SEND

MIDI

USB

OUT

LEV

RETURNLEV

SEND LEV

USB IN-OUT MODE

REAMP

NORM

USB IN LEVEL

DRY OUT

REAMP

NORM

Guitar

ACC

NS2 FV S/R USB

NS1

REV PDL

DRY OUT

INPUT

REAMP

CHO

DLY

FX2

OD EQ FX1

CMP

NORM

DRY OUT

Ch A

PREAMP

Ch B

PREAMP

DIVIDER MIXER

Tuner EXP Pedal

MULTI EFFECTS

(You can change the order in which the eects are connected)

Loop

Phrase

(PATCH EDIT)

*1 When “USB” is at the tail end of the FX CHAIN, MASTER EQ and GLOBAL EQ will be applied.

AUX IN

Page 61

Troubleshooting

Problem Items to check Action

Problems with the sound

Are the connection cables broken? Try using a dierent set of connection cables.

Is the GT-100 correctly connected to the other devices? Check connections with the other devices (p. 22).

Is the connected amp/mixer turned o, or the volume lowered?

Is the [OUTPUT LEVEL] knobs lowered? Adjust the OUTPUT LEVEL knobs to an appropriate position (p. 24).

No sound / volume too low

Sound from devices connected to the INPUT jack is not heard in the headphones

The volume level of the instrument connected to INPUT, AUX IN, and RETURN jacks are too low

Oscillating sound occurs

No change in preamp tone even after switching patches

Unable to change parameters with the knobs

Error Messages

Display Problem Action

MIDI BUFFER FULL!

MIDI OFFLINE! Transmissions from the connected device have been

USB OFFLINE!

DATA WRITE ERROR! Writing to the memory for storage of user data failed. The unit may be damaged. Consult the nearest Roland service center.

OUT OF RANGE! SET AGAIN The [EXP] pedal cannot be calibrated.

KNOB IS LOCKED! The knobs are locked. Turn “KNOB LOCK” o (p. 41).

PREFERENCE IS SYSTEM! The “PREFERENCE” (p. 41) is set to “SYSTEM.”

PEDAL FUNC IS PHRASE LOOP! The “PEDAL FUNC” (p. 32) is set to “PHRASE LOOP.”

The data cannot be processed correctly due to the high volume of MIDI messages.

interrupted. This message also appears when the power to the connected device has been turned o. It does not indicate damage.

Reduce the volume of MIDI messages transmitted to the GT-100.

Reduce the tempo of the transmitting MIDI device.

Check to make sure no cable is disconnected and that there are no shorts.

Conrm the calibration by carrying out the procedure once more (p. 36).

If the message continues to appear even after the calibration is correctly performed, it may indicate damage or malfunction. Consult your Roland dealer or contact Roland Service Center.

If the preference is set to “SYSTEM,” the patch assignment and manual mode settings will be ignored. If you want to enable the settings of the patch, change the preference for the corresponding parameter to “PATCH”.

If the phrase loop pedal function is set to “PHRASE LOOP,” the patch assignment and manual mode settings will be ignored. If you want to enable the settings of the patch, set the “PHRASE LOOP PEDAL FUNC” to “OFF”.

Page 63

Main Specications

BOSS GT-100: Amp Eects Processor

24 bits + AF method

AD Conversion

DA Conversion 24 bits

Sampling Rate 44.1 kHz

Program Memories 400: 200 (User) + 200 (Preset)

Nominal Input Level

Input Impedance

Nominal Output Level

Output Impedance

Dynamic Range 100 dB or greater (IHF-A)

Displays Graphic LCD (132 x 64 dots, backlit LCD) x 2

Connectors

Power Supply DC 9 V

Current Draw 600 mA

Dimensions

Weight 4.8 kg / 10 lbs 10 oz (excluding AC Adaptor)

Accessories AC Adaptor , USB Cap, Owner’s Manual

Options (sold separately)

* AF method (Adaptive Focus method)

This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (S/N) ratio of the A/D and D/A converters.

INPUT: -10 dBu

RETURN: -10 dBu

AUX IN: -20 dBu

INPUT: 1 M ohm

RETURN: 100 k ohms

AUX IN: 47 k ohms

OUTPUT: -10 dBu/+4 dBu

SEND: -10 dBu

OUTPUT: 2 k ohms

SEND: 2 k ohms

INPUT jack (1/4-inch phone type)

AUX IN jack (Stereo miniature phone type)

OUTPUT jacks L/MONO, R (1/4-inch phone type)

PHONES jack (Stereo 1/4-inch phone type)

EXT LOOP jacks SEND, RETURN (1/4-inch phone type)

AMP CONTROL jack (1/4-inch phone type)

SUB CTL 1, 2/SUB EXP jack (1/4-inch TRS phone type)

USB port

MIDI connectors IN, OUT

DC IN jack

542 (W) x 271 (D) x 80 (H) mm 21-3/8 (W) x 10-11/16 (D) x 3-3/16 (H) inches

Maximum height:

542 (W) x 271 (D) x 102 (H) mm 21-3/8 (W) x 10-11/16 (D) x 4-1/16 (H) inches

Footswitch BOSS FS-5U

Dual Footswitch BOSS FS-6

Expression Pedal BOSS FV-500L, BOSS FV-500H, Roland EV-5

Appendices

Quick Guide Overview Outputting Sound Eects Saving Pedal Settings System MIDI/USB Appendices

* 0 dBu = 0.775 Vrms

* In the interest of product improvement, the specications and/or appearance of this unit are subject to change without prior notice.

Page 64

Index

A/B SOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

A&B SOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

ACC/CTL OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

[ACCEL/CTL] pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Accel Eect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

ACT RANGE HI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

ACT RANGE LO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Amp Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

AMP CTL jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

ASSIGN ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

AUTO OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

AUX IN jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

BPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Bulk Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Ch. A/B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

CH A/B BALANC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

CH. A CUTOFF FREQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH. A DYNAMIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH. A DYNAMIC SENS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH. A FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH. B CUTOFF FREQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH. B DYNAMIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH. B DYNAMIC SENS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH. B FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CH SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Control Change Messages . . . . . . . . . . . . . . . . . . . . . . . 47

Control/Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

[CTL/EXP] button . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, 37

DC IN jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

DEVICE ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

DIR. MONITOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

DIR. MONITOR CMD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Divider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Dual mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

[EFFECT] button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 19

Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 27

Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

EXP OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

[EXP] pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 36

EXP PEDAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

EXP PEDAL SW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

EXP SW OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

EXT LOOP SEND/RETURN jack . . . . . . . . . . . . . . . . . . . . 22

EZ (Easy) Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12, 14

[EZ TONE] button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42, 50

FROM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

FUNC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

FX1/FX2 Eects List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

GLOBAL EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Grounding Terminal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

GT-100 Eects List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

INPUT jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

INPUT SENS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Internal Pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

INT PDL CURVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

INT PDL TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

INT PDL TRIGGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Knob Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

KNOB SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

LCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

LIFT/GND switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Loop Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Manual Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

MAP SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Master BPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 25

Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

MIDI BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

MIDI IN SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

MIDI jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

MIDI PROGRAM MAP BANK 0–3 . . . . . . . . . . . . . . . . . . 46

MIDI SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27, 28, 32

OD/DS Type List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

OD SOLO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

OMNI MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

OUTPUT jacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

OUTPUT LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 40

Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

PATCH EXCHANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

PATCH INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

PATCH LEVEL MAX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

PATCH LEVEL MIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

PATCH WRITE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

PC#1–PC#128 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

PC OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

PEDAL CALIBRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

PEDAL FUNC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Pedal Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

PH.LOOP OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

PHONES jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Phrase Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

[PHRASE LOOP] pedal . . . . . . . . . . . . . . . . . . . . . . . . 18, 32

PLAY LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

PLAY OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Play screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11, 21

[POWER] switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Preamp Type List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

PREFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Preset Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Program Change Map . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Program Change Messages . . . . . . . . . . . . . . . . . . . . . . 47

Quick Setting Write . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

REC MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

RETURN LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

RX CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Saving a Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Security Slot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SEND LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Send/Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Single mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

SOLO SW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

SOURCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

SOURCE MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

SPREAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

SUB CTL 1, 2/SUB EXP jack . . . . . . . . . . . . . . . . . . . . . . . 22

SUB CTL1 OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

SUB CTL2 OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

SUB EXP OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

SUB EXP PEDAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Switching the Unit On . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

SYNC CLOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

[SYSTEM] button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

TARGET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

TARGET CATEGORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

TARGET MAX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

TARGET MIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

TEMPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

TO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

TOTAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

TUNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

TX CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

USB audio ow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

USB Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

USB IN-OUT MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

USB port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

User Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

WAVEFORM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Wave Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

WAVE RATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

[WRITE] button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13, 30

Page 65

For the U.K.

For EU Countries

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE: BROWN:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

This product complies with the requirements of EMC Directive 2004/108/EC.

NEUTRAL LIVE

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna. – Increase the separation between the equipment and receiver. – Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. – Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

This equipment requires shielded interface cables in order to meet FCC class B limit. Any unauthorized changes or modifications not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment.

For Canada

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

For C.A. US (Proposition 65

WARNING

This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead.

For the USA

DECLARATION OF CONFORMITY

Compliance Information Statement

Model Name :

Type of Equipment :

Responsible Party :

Address :

Telephone :

GT-100 Guitar Effects Roland Corporation U.S. 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700

)

Page 66

For EU Countries

For China

Page 67

Information

AFRICA

EGYPT

Al Fanny Trading O ce

9, EBN Hagar Al Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: (022)-417-1828

REUNION

MARCEL FO-YAM Sarl

25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429

SOUTH AFRICA

T.O.M.S. Sound & Music (Pty)Ltd.

2 ASTRON ROAD DENVER JOHANNESBURG ZA 2195, SOUTH AFRICA TEL: (011) 417 3400

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24 Londonderry Road, Ottery 7800 Cape Town, SOUTH AFRICA TEL: (021) 799 4900

ASIA

CHINA

Roland Shanghai Electronics Co.,Ltd.

5F. No.1500 Pingliang Road Shanghai 200090, CHINA TEL: (021) 5580-0800

Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE)

3F, Soluxe Fortune Building 63 West Dawang Road, Chaoyang District, Beijing, CHINA TEL: (010) 5960-2565

HONG KONG

Tom Lee Music

11/F Silvercord Tower 1 30 Canton Rd Tsimshatsui, Kowloon, HONG KONG TEL: 852-2737-7688

Parsons Music Ltd.

8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 852-2333-1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra Mahalaxmi Flats Compound O . Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051

INDONESIA

PT. Citra Intirama

Ruko Garden Shopping Arcade Unit 8 CR, Podomoro City Jl.Letjend. S.Parman Kav.28 Jakarta Barat 11470, INDONESIA TEL: (021) 5698-5519/5520

KOREA

Cosmos Corporation

1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855

MALAYSIA/ SINGAPORE

Roland Asia Paci c Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

TAIWAN

ROLAND TAIWAN ENTERPRISE CO., LTD.

9F-5, No. 112 Chung Shan North Road Sec. 2 Taipei 104, TAIWAN R.O.C. TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

100-108 Soi Verng Nakornkasem, New Road,Sumpantawong, Bangkok 10100, THAILAND TEL: (02) 224-8821

VIET NAM

VIET THUONG CORPORATION

386 CACH MANG THANG TAM ST. DIST.3, HO CHI MINH CITY, VIET NAM TEL: (08) 9316540

OCEANIA

AUSTRALIA/ NEW ZEALAND

Roland Corporation Australia Pty.,Ltd.

38 Campbell Avenue Dee Why West. NSW 2099, AUSTRALIA

For Australia TEL: (02) 9982 8266 For New Zealand TEL: (09) 3098 715

CENTRAL/LATIN AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055 (1123) Buenos Aires, ARGENTINA TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park Wildey, St.Michael, BARBADOS TEL: (246) 430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 211 Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9 Medellin, COLOMBIA TEL: (574) 3812529

COSTA RICA

JUAN Bansbach Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211

CURACAO

Zeelandia Music Center Inc.

Orionweg 30 Curacao, Netherland Antilles TEL: (305) 5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3 Ens.La Esperilla Santo Domingo, DOMINICAN REPUBLIC TEL: (809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma Guayaquil - ECUADOR TEL: (593-4) 2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final Alameda Juan Pablo II, Edi cio No.4010 San Salvador, EL SALVADOR TEL: 262-0788

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala, GUATEMALA TEL: (502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, HONDURAS TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle 97232 Le Lamentin, MARTINIQUE F.W.I. TEL: 596 596 426860

Gigamusic SARL

10 Rte De La Folie 97200 Fort De France MARTINIQUE F.W.I. TEL: 596 596 715222

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F., MEXICO TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, NICARAGUA TEL: (505) 277-2557

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101

PARAGUAY

Distribuidora De Instrumentos Musicales

J.E. Olear y ESQ. Manduvira Asuncion, PARAGUAY TEL: (595) 21 492147

PERU

Audionet

Distribuciones Musicales SAC Juan Fanning 530 Mira ores Lima - PERU TEL: (511) 4461388

TRINIDAD

AMR Ltd

Ground Floor Maritime Plaza Barataria TRINIDAD W.I. TEL: (868) 638 6385

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335

VENEZUELA

Instrumentos Musicales Allegro,C.A.

Av.las industrias edf.Guitar import #7 zona Industrial de Turumo Caracas, VENEZUELA TEL: (212) 244-1122

EUROPE

BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811

CROATIA

ART-CENTAR

Degenova 3. HR - 10000 Zagreb, CROATIA TEL: (1) 466 8493

CZECH REP.

CZECH REPUBLIC DISTRIBUTOR s.r.o

Voctárova 247/16 180 00 Praha 8, CZECH REP. TEL: (2) 830 20270

DENMARK

Roland Scandinavia A/S

Skagerrakvej 7 Postbox 880 DK-2100 Copenhagen, DENMARK TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial Finland

Vanha Nurmijarventie 62 01670 Vantaa, FINLAND TEL: (0) 9 68 24 020

GERMANY/AUSTRIA

Roland Elektronische Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090

GREECE/CYPRUS

STOLLAS S.A. Music Sound Light

155, New National Road Patras 26442, GREECE TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

2045. Törökbálint, FSD Park 3. ép., HUNGARY TEL: (23) 511011

IRELAND

Roland Ireland

E2 Calmount Park, Calmount Avenue, Dublin 12, Republic of IRELAND TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd. Kontor Norge

Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo, NORWAY TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

ul. Kty Grodziskie 16B 03-289 Warszawa, POLAND TEL: (022) 678 9512

PORTUGAL

Roland Systems Group EMEA, S.L. Branch O ce Porto

Edifício Tower Plaza Rotunda Eng. Edgar Cardoso 23, 9ºG 4400-676 Vila Nova de Gaia, PORTUGAL TEL: (+351) 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1, 535500 Gheorgheni, ROMANIA TEL: (266) 364 609

RUSSIA

Roland Music LLC

Dorozhnaya ul.3,korp.6 117 545 Moscow, RUSSIA TEL: (495) 981-4967

SERBIA

Music AP Ltd.

Sutjeska br. 5 XS - 24413 Palic, SERBIA TEL: (024) 539 395

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18. SK - 940 01 Nové Zámky, SLOVAKIA TEL: (035) 6424 330

SPAIN

Roland Systems Group EMEA, S.L.

Paseo García Faria, 33-35 08005 Barcelona, SPAIN TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE

Mårbackagatan 31, 4 tr. SE-123 43 Farsta, SWEDEN TEL: (0) 8 683 04 30

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 975-9987

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a. Nedecey Str. 30 UA - 89600 Mukachevo, UKRAINE TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha Building Road 3931, Manama 339, BAHRAIN TEL: 17 813 942

IRAN

MOCO INC.

Jadeh Makhsous Karaj (K-9), Nakhe Zarin Ave. Jalal Street, Reza Alley No.4 Tehran 1389716791, IRAN TEL: (021)-44545370-5

ISRAEL

Halilit P. Greenspoon & Sons Ltd.

8 Retzif Ha'alia Hashnia St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666

JORDAN

MUSIC HOUSE CO. LTD. FREDDY FOR MUSIC

P. O. Box 922846 Amman 11192, JORDAN TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI & SONS CO.

Al-Yousi Service Center P.O.Box 126 (Safat) 13002, KUWAIT TEL: 00 965 802929

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine Bldg., Achra eh, P. O.Box: 16-5857 Beirut, LEBANON TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1 Al Noor Street, Ruwi SULTANATE OF OMAN TEL: 2478 3443

QATAR

AL-EMADI TRADING & CONTRACTING CO.

P.O. Box 62, Doha, QATAR TEL: 4423-554

SAUDI ARABIA

aDawliah Universal Electronics APL

Behind Pizza Inn Prince Turkey Street aDawliah Building, PO BOX 2154, Alkhobar 31952, SAUDI ARABIA TEL: (03) 8643601

SYRIA

Technical Light & Sound Center

PO Box 13520 Bldg No.49 Khaled Abn Alwalid St. Damascus, SYRIA TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.33 Beyoglu, Istanbul, TURKEY TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg., No. 14, Ground Floor, Dubai, U.A.E. TEL: (04) 3360715

NORTH AMERICA

CANADA

Roland Canada Ltd. (Head O ce)

5480 Parkwood Way Richmond B. C., V6V 2M4, CANADA TEL: (604) 270 6626

Roland Canada Ltd. (Toronto O ce)

170 Admiral Boulevard Mississauga On L5T 2N6, CANADA TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

As of Feb. 1, 2011 (ROLAND)

Page 68

* 5 1 0 0 0 2 4 5 4 0 - 0 2 *

Boss Audio Systems GT-100 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Main Features

Contents

Quick Guide

Panel Descriptions

Front Panel

About the Play Screen

Rear Panel (Connections)

Outputting Sounds

Tuning the Guitar (TUNER)

Adjusting the Output Level

Using the Metronome

Selecting a Tone (Patch Change)

How a Patch Is Structured

Using the Pedal to Select the Patch

Using the Knobs to Select a Patch

Specifying the Divider and Mixer Modes

Using Amp Control

Using Send/Return

Saving a Tone

Saving a Patch (PATCH WRITE)

Exchanging Patches (PATCH EXCHANGE)

Initializing Patches (PATCH INITIALIZE)

Copying or Swapping PREAMP Settings Between Channels

Phrase Loop Play

Setting Phrase Loop

Pedal Settings (Control/Expression)

Assigning the ACCEL/CTL, EXP SW, SUB CTL1, and SUB CTL2 Functions

Assigning the EXP and SUB EXP Pedal Functions

Adjusting the [EXP] pedal

Setting Each Pedal Functions to Individual Patches (Assign)

Virtual expression pedal system (Internal Pedal / Wave Pedal)

Input Level

Making Global Settings (System Settings)

List of Settings

Specifying the Output Device You’re Using (OUTPUT SELECT)

Adjusting the Input Level from Your Guitar

Adjusting the Overall Tone (Global EQ)

Adjusting the Overall Noise Suppressor, Reverb, and Output Level (Total)

Making Phrase Loop (p. 32) Settings

Making the PLAY OPTION Settings

Assigning the [1]–[8] Knob Functions in the Play Screen

Specifying Whether Settings Will Be Shared by All Patches

Adjusting the Contrast (Brightness) of the LCD Screen

Adjusting the [EXP] pedal

Restoring the Factory Settings (Factory Reset)

USB-Related Settings

Setting the MIX LEVEL

Setting the INPUT LEVEL

Setting the Direct Monitor

Setting the OUTPUT LEVEL

Controlling the Direct Monitor Setting from a Computer

MIDI-Related Settings

Setting the MIDI Receive Channel

Setting the MIDI Omni Mode

Setting the MIDI Transmit Channel

Setting the MIDI Device ID

Setting the MIDI Sync Clock

Selecting the Connector That Will Receive MIDI Messages

Sending Program Change Messages

Enabling/Disabling the Program Change Map Settings (MIDI Map Select)

Sending [PHRASE LOOP] Pedal Operations as Control Change Messages

Sending [ACCEL/CTL] Pedal Operations as Control Change Messages

Sending [EXP] Pedal Operations as Control Change Messages

Sending EXP Pedal Sw Operations as Control Change Messages

Sending External Footswitch Operations as Control Change Messages

Sending External Expression pedal Operations as Control Change Messages

Setting the Program Change Map

Transmitting Data to an External MIDI Device

Using the GT-100 with External MIDI Devices Connected

What Can You Do with MIDI?

Operating From the GT-100

Setting the Program Change Map

Remotely Controlling the GT-100 Using an External MIDI Device

Transmitting Data to an External MIDI Device (Bulk Dump)