Fender MUSTANG GTX50, MUSTANG GTX100 Users guide
MUSTANG GTX50
MUSTANG GTX100
EXPANDED OWNER’S MANUAL
REV. B
CONTENTS
Introduction 1
Control Panel 2
Rear Panel 3
Presets
Preset Basics 4
Editing and Saving Presets 5
Editing Preset Amplier Control Knob Settings 6
Replacing Preset Amplier Models 8
List of Amplier Models 9
List of Cabinet Models 10
Editing Eects 12
Editing Eects Settings 20
List of Eects Types 24
Menu Functions 28
Setlists 29
WiFi Use 32
Bluetooth Use 35
Built-in Tuner 37
Auxiliary and Headphone Jacks 38
USB Connectivity 38
Line Out and FX Send/Return 38
Footswitch Use
GTX-7 Footswitch 39
Looper 42
EXP-1 Expression Pedal 45
EQ & Amp Settings 49
Global EQ 49
Line Out/USB Gain 50
Preset Organizer 51
Restore Settings and Restore All 53
About this Amp 54
Cloud Presets 54
Backup/Restore for Presets and Setlists 56
Firmware Updates and Factory Restore 60
Fender Tone™ App 62
Specications 63
INTRODUCTION
This expanded owner’s manual is a thorough user’s guide to the features and functions of the Mustang
GTX50 and GTX100 ampliers.
As a complement to the Mustang GTX Quick Start Guide that comes with each amplier, this manual presents a deeper, more detailed look at Mustang GTX’s many versatile capabilities. This includes navigation and
modication of the many onboard presets, and comprehensive descriptions of the many amplier and eect
models. It also includes step-by-step and fully illustrated instructions for using Mustang GTX’s Setlist, WiFi,
Bluetooth, USB, onboard tuner, GTX-7 footswitch, EXP-1 Expression Pedal and looping functions.
Mustang GTX’s tonal possibilities are virtually endless, especially when paired with the Fender Tone™ app
(page 62). Be sure to check back regularly for rmware updates that improve and enhance the Mustang GTX
experience (see page 60). While this expanded manual presents the most current version of the ampliers, also
check back for updated manual versions as Mustang GTX grows and evolves.
Mustang GTX100 (left) and Mustang GTX50 (right).
1
CONTROL PANEL
The Mustang GTX top control panel consists of an instrument input, seven control knobs, display window, three
LAYER pushbuttons, ENCODER wheel, four UTILITY pushbuttons, 1/8” auxiliary input and 1/8” headphone output.
HOLD FOR
TUNER
Mustang GTX100 top panel shown; Mustang GTX50 panel shares same features.
A. INPUT: Plug instrument in here.
B. GAIN: Programmable control knob (see page 3) that aects gain setting in each preset.
C. VOLUME: Programmable control knob that aects amp model volume setting in each preset.
D. TREBLE: Programmable control knob that aects treble tone setting in each preset.
E. MIDDLE: Programmable control knob that aects midrange tone setting in each preset.
F. BASS: Programmable control knob that aects bass tone setting in each preset.
G. REVERB: Programmable control knob that aects reverb setting in each preset.
H. MASTER VOLUME: The only non-programmable knob; controls actual overall volume.
I. DISPLAY WINDOW: Shows preset in use and all its contents and parameters, amplier and eects
menus, and other functions (i.e., tuner, menu functions, etc.).
J. LAYER BUTTONS
PRESET LAYER: Highlights preset layer, where presets are chosen.
SIGNAL PATH LAYER: Highlights signal path in each preset, where amp models, eects types and order of
eects can be modied.
CONTROLS LAYER: Highlights controls layer, where control knob settings can be modied (except Master
Volume).
K. ENCODER: Multipurpose rotary control with press-switch function. For viewing, selecting and adjusting
Mustang GTX presets, controls and other functions.
L. UTILITY BUTTONS
X FX: Bypasses all eects.
SAVE: For saving preset modications and new presets.
MENU: For accessing WiFi, Bluetooth, Tuner, Global EQ, cloud presets and other functions (see page 28).
TAP/TUNER: For setting delay times and modulation rate settings; hold to access built-in tuner.
M. AUXILIARY INPUT, HEADPHONE OUTPUT: 1/8” auxiliary input for connecting external audio devices,
and 1/8” output for headphone use. Headphone output disables internal speaker(s).
2
PROGRAMMABLE CONTROL KNOBS
It’s important to note that all top control panel knobs except Master Volume (H) are, as described above,
“programmable.” That means that when a preset is rst selected, the physical position of a top control panel
knob may not indicate the actual setting contained in that preset (the actual setting appears in the display
window). Only the Master Volume control is not programmable—its physical position always indicates actual
overall volume. Once a programmable top control panel knob is turned, however, it and its digital counterpart within a preset become synchronized to the same value, as illustrated here:
ROCK & ROLL
TWIN
REVERB
REVERBFUZZ
Also note that an adjusted control knob setting can be saved in a new preset, or the original preset can be
overridden with the adjusted control knob setting. If the adjusted setting is not saved, the preset will revert
to its pre-programmed control knob settings when returning to the preset after leaving it, or when turning
the amplier o and back on again (see further info under “Editing and Saving Presets” pages 5-6).
REAR PANEL
Mustang GTX100 rear panel shown; Mustang GTX50 rear panel has identical features.
N. POWER: Turns amplier on and o.
O. IEC POWER INLET: Using the included power cord, connect to a grounded outlet in accordance with the
INPUT POWER voltage and frequency specied at the power inlet.
P. USB PORT: Amp connection point for USB audio recording.
Q. FOOTSWITCH: Connect the GTX-7 footswitch. MGT-4 footswitch or EXP-1 Expression Pedal here.
R. LINE OUT: Balanced line outputs for connection to external recording and sound reinforcement equipment.
S. FX SEND/RETURN: Right/left send and return for stereo external eects use. Eects added here are
“global” (not preset-specic) and act as the last elements in the signal path.
3
PRESET BASICS
ROCK & ROLL
PRESGAIN BASSMIDTREBVOL
REVERBFUZZ
TWIN
REVERB
AMPLIFIER
Mustang GTX comes with more than 100 sequentially numbered presets, and users can create and add even
more. Each preset has three “layers” that appear in the DISPLAY WINDOW. These are the PRESET LAYER (top),
SIGNAL PATH LAYER (middle) and CONTROLS LAYER (bottom); the three LAYER BUTTONS provide access to
each layer (see illustration below).
PRESET LAYER
SIGNAL PATH LAYER
CONTROLS LAYER
LAYER BUTTONS
Press to select corresponding layer
The PRESET LAYER is active when the amplier is rst turned on; the default setting is the rst preset (01).
To scroll through presets, turn the ENCODER (see illustration below); whichever preset is displayed becomes
active. Presets can also be selected by footswitch (see page 40).
ENCODER
ROCK & ROLL
TWIN
REVERB
The rst preset (01) is shown here in the PRESET LAYER.
REVERBFUZZ
PRES
The SIGNAL PATH LAYER of each preset consists of one of Mustang GTX’s many amplier models, and one or
more of dozens of eects and their order (or no eects in some cases). The amp model appears in the center
of the SIGNAL PATH LAYER display. Eects appear to either side of the amp model, representing their position
in the signal path—“pre” to the left of the amp model (placed “before” the amp) or “post” to the right of the
amp model (as in an eects loop). Select any of these items by turning the ENCODER; the selected item in the
SIGNAL PATH LAYER will have a white indicator arrow below it and text describing its position above it (see
illustration below).
Flanked by two eects, the amp model within the preset is selected here in the SIGNAL PATH
LAYER, as indicated by the white arrow and the word “amplier.”
4
The CONTROLS LAYER of each preset displays information on whatever amp or eect is highlighted in the
ROCK & ROLL
TWIN
REVERB
AMPLIFIER
PRES
REVERBFUZZ
TWIN
REVERB
ROCK & ROLL
PRES
REVERBFUZZ
SAVE
TWIN
REVERB
ROCK & ROLL
PRES
REVERBFUZZ
SIGNAL PATH LAYER. Amp control knob settings are displayed by default (see illustration below); eects control settings are displayed when an eect is highlighted in the SIGNAL PATH LAYER. Amp and eects controls
are selected by turning the ENCODER.
Close-up detail of the CONTROLS LAYER, in which the gain control for
the amp model within the preset is selected.
Each preset can be used as is. With many dierent amp models, eects types and control settings to choose
among, however, each preset’s SIGNAL PATH LAYER and CONTROLS LAYER settings can easily be modied
and saved for personally individualized sounds (see next section, “Editing and Saving Presets”).
A preset can also be moved to a dierent position or cleared from the list of presets. Further, the entire list of
presets can be restored to its factory state. To perform these functions, see “Preset Organizer” (page 51).
EDITING AND SAVING PRESETS
Within each preset, the amplier control knob settings, amp models, and eects types and parameters can
be tailored to individual preference. When a preset is selected, the box containing its number is blue, indicating that no edits have been made to it (see illustration below).
When edits to a preset have been made, the box containing the preset number changes to red, and the SAVE
utility button illuminates (see illustration below).
5
If an edited setting is not saved, the preset will revert to its previous settings when returning to the preset after leaving it, or when turning the amplier o and back on again. To save a preset edit, press the illuminated
SAVE utility button to get three options (see illustration below): SAVE (keep preset as edited), RENAME (save
preset with a new name in its current position) and SAVE AS NEW (save preset in a new position with a new
name). Turn the ENCODER to highlight an option; press it to select one.
SAVE
SAVE AS
RENAME
SAVE
To enter a new preset name after choosing RENAME or SAVE AS NEW, use the ENCODER to spell out a new
name of your choice. Press the ENCODER once to activate the cursor; turn it to choose a character (see illus-
tration below). Press ENCODER again to enter that character and move to the next. Repeat until new name is
complete; press the SAVE utility button to keep completed new name, or press the top LAYER button (corresponding with onscreen prompt “back”) to return to the previous screen. Note that when choosing SAVE AS
NEW, the preset will be saved in the next available open position (“101” in the illustration below).
101
NEW PRESET NAME
back
SAVE
X
A favorite preset can be saved quickly and conveniently to a “FAVORITES Setlist” (see page 31). Also, note that
Mustang GTX includes cloud-based backup and restore functions for presets (see page 56).
EDITING PRESET AMPLIFIER CONTROL KNOB SETTINGS
As noted in the “Control Panel” section above, users can change a preset’s amplier control knob settings by
turning the physical control knobs on the top panel (except for Master Volume). This synchronizes the modied settings of the physical control knobs with their corresponding digital counterparts.
These settings can also be changed by editing the digital control knob positions within the CONTROLS
LAYER, which displays the controls specic to the amp in use. To do this, rst access the CONTROLS LAYER by
pressing its LAYER BUTTON (see illustration below).
ROCK & ROLL
AMPLIFIER
TWIN
REVERB
Press the bottom LAYER BUTTON to access the CONTROLS LAYER for the amp model within the preset.
REVERBFUZZ
PRES
6
Once in the CONTROLS LAYER, turn and press the ENCODER to scroll through and select a specic digital
amp control knob. Then turn the ENCODER again to change that control’s setting. When a control setting is
changed, the box containing the preset number changes from blue to red (indicating that a preset edit has
been made), and the SAVE utility button illuminates. With the new control setting in place, further edits can
then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below).
ROCK & ROLL
AMPLIFIER
TWIN
REVERB
Turn the ENCODER to scroll among amp model control knobs.
ROCK & ROLL
AMPLIFIER
TWIN
REVERB
REVERBFUZZ
REVERBFUZZ
Press the ENCODER to select an amp model control knob for adjustment.
ROCK & ROLL
AMPLIFIER
TWIN
REVERB
REVERBFUZZ
Turn the ENCODER again to adjust the selected amp model control knob to preference.
Additional amp and control settings can be found by continuing to scroll through the CONTROLS LAYER of
various amp models within the presets. These consist of “deeper” parameters including sag, bias and gate
controls. Dierent speaker cabinet models are also included. Scroll through, select, adjust and save these
additional parameters in the same manner described directly above (see illustrations below).
ROCK & ROLL
AMPLIFIER
TWIN
REVERB
’65
OFF PRE
TWIN
CAB GATE
POS
Close-up detail showing additional amp and control settings found in the CONTROLS LAYER; in this
case for the Twin Reverb amp model.
MATCH
SAG
REVERBFUZZ
0.0%
BIAS
ROCK & ROLL
AMPLIFIER
’65
OFF PRE
TWIN
CAB GATE
TWIN
REVERB
POS
MATCH
SAG
REVERBFUZZ
0.0%
BIAS
Scroll among, select and adjust additional CONTROLS LAYER amp
and control settings using the ENCODER.
7
REPLACING PRESET AMPLIFIER MODELS
ROCK & ROLL
REVERBFUZZ
TWIN
REVERB
AMPLIFIER
’57 DELUXE
STUDIO PREAMP
’57 CHAMP
’57 TWIN
’57 BANDMASTER
’57 DELUXE
’57 CHAMP
STUDIO PREAMP
’57 TWIN
’57 BANDMASTER
ROCK & ROLL
FUZZ
’57
DELUXE
AMPLIFIER
SAVE
REVERB
To replace an amplier model within a preset, access the SIGNAL PATH LAYER by pressing its LAYER BUTTON.
The preset amp model will be highlighted. Press the ENCODER to access and scroll through a menu of amp
models; select a new amp model by pressing the ENCODER again. When a new amp model is selected, the
box containing the preset number changes from blue to red (indicating that a preset edit has been made),
and the SAVE utility button illuminates (see illustrations below). With the new amp model in place, further edits
can then be made or the SAVE utility button can be pressed to keep completed edits. Note that pressing the
PRESET LAYER button corresponding to the circled “X” in the DISPLAY WINDOW closes the amp menu.
To replace preset amp model highlighted in the SIGNAL PATH LAYER (as indicated here by the white arrow below it and the
label “amplier” above it) with a dierent amp model, rst press ENCODER to access a menu of other amp models.
Turn ENCODER to scroll through menu of amp models.
Press ENCODER again to select a new amp model for the preset.
With the new amp model in place, continue editing other parameters
or press the illuminated SAVE utility button to keep completed edits.
8
LIST OF AMPLIFIER MODELS
This table lists all the preset amp models in Mustang GTX, with a brief description of each. Mustang GTX
amps will be continually revised and updated; this manual indicates current amp models in use.
Studio Preamp Direct-to-mixing-desk studio purity with clean, uncolored tonal response
’57 Champ® Small but mighty late-’50s Fender recording great
’57 Deluxe™ Medium-power late-’50s Fender tweed classic known for thick, compressed overdrive
’57 Twin Original-era 2x12” tweed classic prized for clean-to-dirty versatility
’57 Bandmaster Triple-speaker Fender narrow-panel tweed classic known for crisp highs
’59 Bassman® One of Fender’s greatest tweed amps, which began life as a bass amp before being adopted by countless guitarists
’61 Deluxe
’65 Princeton® Mid-’60s Fender studio favorite with the snappy tone of a single 10” speaker
’65 Deluxe Reverb® Highly popular mid-’60s Fender with great tone whether clean or dirty, cranked in countless clubs
’65 Twin Reverb® An indispensable mid-’60s stage-and-studio favorite prized for producing the Fender clean tone
’65 Super Reverb® Mid-’60s Fender with the distinctive snap of four 10” speakers
Excelsior An elegantly eccentric modern-day Fender model with the distinctive thump of a 15” speaker
’66 GA-15 Inspired by a 1966 Gibson GA-15RVT Explorer, known for its cavernous “full-wet” reverb setting
’60s Thrift Inspired by the garage-classic 1960s Sears Silvertone prized by retro/alternative players
British Watts Inspired by the original 100-watt Hiwatt DR103, which is the classic cleaner-tone British stack
’60s British Inspired by the Vox AC30, which powered the British Invasion and produced remarkable clean and dirty tone
’70s British Inspired by a late-’60s/early-’70s Marshall Super Lead, the amp that powered the dawn of hard rock
From the “Brown Panel” era of the Fender Deluxe, this amp splits the dierence between tweed and “Black Panel”
models
’80s British Inspired by the Marshall JCM800, which produced quintessential ’80s metal tone
British Colour Inspired by the “sludgy” majesty of the Orange OR120
Super-Sonic Modern Fender amp with two cascading preamp gain stages for pronounced sustain
’90s American Based on the Mesa Dual Rectier, which featured distinctive distortion that shaped the “nu-metal” sound
Metal 2000 Modern high-gain scorch based on the EVH® 5150
IIC+Clean Inspired by the clean channel of the Mesa/Boogie Mark IIC+MB
IIC+Lead Quintessential mid-’80s metal tones inspired by the Mesa/Boogie Mark IIC+MB lead channel
Acoustasonic, Bassbreaker, Bassman, Blues Junior, Champ, Deluxe, Deluxe Reverb, Excelsior, Princeton, Showman, Super Reverb, Super-Sonic, Twin Reverb and Vibro-King are trademarks of FMIC. All other non-FMIC product names and trademarks appearing in this manual are the property of their respective owners and are used solely to identify the products
whose tones and sounds were studied during sound model development for this product. The use of these products and trademarks does not imply any aliation, connection, sponsorship, or approval between FMIC and with or by any third party.
III
9
LIST OF AMPLIFIER MODELS (CONT’D.)
BB15 Low Based on the low gain structure setting of the Bassbreaker 15
BB15 Med Based on the medium gain structure setting of the Bassbreaker 15
BB15 High Based on the high gain structure setting of the Bassbreaker 15
FBE-100 Inspired by both lead channels (BE and HBE) of the Friedman BE-100
Dual Showman Based on the ’60s/’70s all-tube Fender classic used on big stages everywhere
Tube Preamp Direct-to-mixing-desk studio purity with increased tube console-like harmonic coloration
Acoustasonic
Acoustic Sim
Blues Junior Based on the highly popular warm-toned, moderately powered 1x12” Fender combo with overdrive and FAT switch
Vibro-King Modern Fender classic with touch-sensitive dynamics and distinctive natural overdrive
JC-120 Clean Based on the super-bright clean channel of the classic Roland JC-120 Jazz Chorus
Jubilee Clean Based on the clean channel of the Marshall Silver Jubilee 50-watt head
Jubilee Rhythm Based on the Marshall Silver Jubilee 50-watt head with rhythm clip switch engaged
Jubilee Lead Based on the lead channel of the Marshall Silver Jubilee 50-watt head
Uber Ideal for heavy, aggressive music as inspired by the super-high-gain lead channel of the Bogner Uberschall head
For use with piezo-equipped electric/acoustic guitars. Based on the preamp of Fender’s award-winning Acoustason-
ic amps; exible string-dynamics feature with selectable notch frequency
Six distinctive acoustic guitar simulations for transforming electric guitar with great-sounding acoustic tone. Paired
with Acoustasonic preamp for additional tone shaping
LIST OF CABINET MODELS
This table lists all the preset speaker cabinet models in Mustang GTX, with a brief description of each. Mustang GTX cabinets will be continually revised and updated; this manual indicates current amp models in use.
None Amp circuitry uncolored by speaker simulation
’57 Champ® Based on a late-’50s Fender recording great featuring a low-power 8” speaker with notably snappy tone
’57 Deluxe™ Based on a medium-power late-’50s Fender tweed classic featuring a single 12” alnico-magnet speaker
’65 Twin Based on a prized mid-’60s Fender classic with two 12” ceramic-magnet Jensen® speakers
’57 Bandmaster Based on a late-’50s Fender narrow-panel classic with three 10” Jensen® P10R speakers
’59 Bassman® Based on one of Fender’s greatest original-era tweed amps, with four 10” Jensen® P10R speakers
’61 Brown Based on an early-’60s Fender model featuring a single 12” Oxford speaker with distinct midrange
Acoustasonic, Bassbreaker, Bassman, Blues Junior, Champ, Deluxe, Deluxe Reverb, Excelsior, Princeton, Showman, Super Reverb, Super-Sonic, Twin Reverb and Vibro-King are trademarks of FMIC. All other non-FMIC product names and trademarks appearing in this manual are the property of their respective owners and are used solely to identify the products
whose tones and sounds were studied during sound model development for this product. The use of these products and trademarks does not imply any aliation, connection, sponsorship, or approval between FMIC and with or by any third party.
10
LIST OF CABINET MODELS (CONT’D.)
’65 Princeton® Based on a mid-’60s Fender studio favorite with the snappy tone of a single 10” Jensen® C10R speaker
’65 Deluxe Based on a popular mid-’60s Fender mainstay with a single 12” Jensen® ceramic speaker
Excelsior Based on a nonconventional modern Fender amp with a distinctively thumping 15” Special Design speaker
’66 GA-15 Inspired by the single 10” CTS speaker in the 1966 Gibson GA-15RVT Explorer
1x12 EV Based on an open-back Mesa/Boogie Mark IIC+ bubinga cabinet with a single 12” EVM12L speaker
1x12 BB15 Based on Fender’s open-back Bassbreaker 15 cabinet with a single12” Celestion® V-Type speaker
2x12 Blue Inspired by the pair of 12” Celestion® Alnico Blue speakers in the venerable Vox AC30
4x12 75W Inspired by the 75-watt Marshall JCM800 cabinet with four 12” Celestion® G12T75 speakers
4x12B 75W Brighter version of the Marshall JCM800 4x12” cabinet directly above
1x12 Super-Sonic Birch-ply Fender combo cabinet with a single 12” Celestion® Vintage 30 speaker
2x12 Super-Sonic Birch-ply Fender combo cabinet with two 12” Celestion® Vintage 30 speakers
4x12 RCT Based on a closed-back Mesa Boogie Rectier cabinet with four 12” Celestion® Vintage 30 speakers
4x12 GB Based on a Marshall cabinet with four 12” Celestion® Greenback speakers
4x12B GB Brighter version of the 4x12” Marshall cabinet directly above
4x12 V30 Based on a Fender Super-Sonic cabinet with four 12” Celestion® Vintage 30 speakers
4x12B V30 Brighter version of the 4x12” Fender Super-Sonic cabinet directly above
4x12 SOL Based on a closed-back Soldano cabinet with four 12” Eminence® Legend speakers
4x12 FRD Based on a closed-back Friedman 4x12” cabinet with Celestion® Greenback speakers
4x12B FRD Brighter version of the 4x12” Friedman cabinet model directly above
2x15 D130 Based on a Fender Dual Showman cabinet with the distinctive attack of two 15” JBL® D130F speakers
2x12 Jubilee Based on a small Marshall slanted cabinet with two Celestion® G12-75 speakers
Blues Junior Based on the Fender open-back combo cabinet with a single 12” Celestion® A-Type speaker
1x12 LTD Based on the Fender Blues Junior LTD open-back cabinet with a single 12” Jensen® speaker
2x12 JC Based on the classic Roland JC-120 Jazz Chorus 2x12” open-back combo
3x10 VKING Based on the Fender Vibro-King cabinet with three 10” speakers
4x10 SUP Based on the Fender Super Reverb cabinet with four 10” Jensen® speakers
4x12 Uber Based on the Bogner Uberkab cabinet with four12” Celestion® speakers
Acoustasonic, Bassbreaker, Bassman, Blues Junior, Champ, Deluxe, Deluxe Reverb, Excelsior, Princeton, Showman, Super Reverb, Super-Sonic, Twin Reverb and Vibro-King are trademarks of FMIC. All other non-FMIC product names and trademarks appearing in this manual are the property of their respective owners and are used solely to identify the products
whose tones and sounds were studied during sound model development for this product. The use of these products and trademarks does not imply any aliation, connection, sponsorship, or approval between FMIC and with or by any third party.
11
EDITING EFFECTS
ROCK & ROLL
TWIN
REVERB
REVERB
FUZZ
POST FX 1
TWIN
REVERB
AMPLIFIER
STUDIO TWIN
02
In addition to amp models, each preset also features various combinations of eects. Eects can be edited in
several ways—they can be bypassed, replaced, moved, added or deleted. Further, the individual settings
of each eect can be modied. Each option is explained below and on the following pages.
Editing the types of eects in use and their position in the signal path happens in the SIGNAL PATH LAYER. To
do this, rst access the SIGNAL PATH LAYER by pressing its corresponding LAYER BUTTON, which will automatically highlight the amplier model in use rst. To highlight an eect, turn the ENCODER in either direction (see illustrations below). The eect will be highlighted with a white arrow below it and a label above it.
ROCK & ROLL
AMPLIFIER
TWIN
REVERB
To access eects, rst press the middle LAYER BUTTON to enter SIGNAL PATH LAYER.
REVERBFUZZ
Turn the ENCODER in either direction to highlight an eect (as indicated
here by the white arrow below it and label above it).
For each preset, note that a placeholder symbol consisting of a plus sign (+) in a circle appears at the right and
left ends of the SIGNAL PATH LAYER (see illustration below). This symbol indicates an open slot into which an effect can be moved or added (see “Adding an Eect,” page 16). In many presets that include one or more eects,
the user must scroll to the far right or far left using the ENCODER in order to see this symbol.
Close-up detail—of a dierent preset that doesn’t include one or more eects—in which open slots that eects can be
placed in are marked by a placeholder symbol consisting of a plus sign in a circle at both ends of the SIGNAL PATH LAYER.
12
ROCK & ROLL
TWIN
REVERB
REVERB
FUZZ
POST FX 1
LEVEL DECAY
DWELL DIFF TONE
BYPASSING AN EFFECT
ADD FX
BYPASS
DELETE
MOVE
REPLACE
ROCK & ROLL
TWIN
REVERB
REVERB
FUZZ
BYPASS
SAVE
There are two ways to bypass eects. The rst is a general on-o feature that simply turns o all eects in all
presets with a single press of a button. The second lets users bypass specic individual eects within a preset.
To turn o all Mustang GTX eects in every preset (and turn them back on), press the X FX utility button.
There is no option to save; this is merely a quick way to turn all eects o and back on. When the X FX utility
button is pressed it will illuminate, and a blue “bypass” label will appear above each eect (see illustration
below). If specic individual eects have already been bypassed in a preset, use of the X FX utility button will
not turn them back on.
FX
ROCK & ROLL
TWIN
REVERB
The “X FX” utility button illuminates when pressed, bypassing all eects in all
presets (as indicated by blue “BYPASS” labels above each eect).
To bypass specic individual eects within a preset, highlight it in the SIGNAL PATH LAYER and press the
ENCODER. Select “BYPASS” from the menu of eects placement options and press the ENCODER again. The
SIGNAL PATH LAYER will then indicate that the eect has been bypassed; the box containing the preset number will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button
will illuminate. With the eect now bypassed, further edits can then be made or the SAVE utility button can
be pressed to keep completed edits (see illustrations below).
BYPASSBYPASS
REVERBFUZZ
To bypass a highlighted eect, rst press the ENCODER to access the menu of eects placement options.
Turn ENCODER to highlight “BYPASS” in eects placement options menu, then press the ENCODER to select it.
With the eect bypassed (as indicated here by white arrow below it and blue box containing the label “BYPASS”
above it), continue editing other parameters or press the illuminated SAVE utility button to keep completed edits.
13
ROCK & ROLL
TWIN
REVERB
REVERB
FUZZ
POST FX 1
ADD FX
BYPASS
DELETE
MOVE
REPLACE
MODULATION
STOMPBOX
DELAY
REVERB
TOUCH WAH
WAH
RANGER BOOST
OVERDRIVE
GREENBOX
REPLACING AN EFFECT
To replace an eect, highlight the eect to be replaced in the SIGNAL PATH LAYER and press the ENCODER.
Select “REPLACE” from the menu of eects placement options and press the ENCODER again. Select one the four
eects categories that will appear—Stomp Box, Modulation, Delay or Reverb—and press the ENCODER to access
the eects in that category. Scroll through the eects and press the ENCODER to select one as a replacement.
The SIGNAL PATH LAYER will then display the new eect and indicate that the original eect has been replaced;
the box containing the preset number will change from blue to red (indicating that a preset edit has been
made), and the SAVE utility button will illuminate. With the eect now replaced, further edits can then be made
or the SAVE utility button can be pressed to keep completed edits (see illustrations below and on next page).
Note that pressing the PRESET LAYER button corresponding to the circled “X” in the DISPLAY WINDOW closes
the eects placement option and eects category menus; pressing it when it corresponds to the label “back”
(as on the eects menu) returns the user to the previous screen.
To replace a highlighted eect, rst press the ENCODER to access the menu of eects placement options.
Turn the ENCODER to highlight “REPLACE” in eects placement options menu, then press the ENCODER to select it.
Turn the ENCODER to highlight one of four eects categories, then press ENCODER to select eects category.
back
Turn the ENCODER to highlight a replacement eect, then press ENCODER to select it.
14
ROCK & ROLL
TWIN
REVERB
REVERB
FUZZ
POST FX 1
ADD FX
BYPASS
DELETE
MOVE
REPLACE
ROCK & ROLL
FUZZ
TWIN
REVERB
POST FX 1
RANGER
BOOST
SAVE
With the eect replaced (as indicated here by white arrow below it and label above it), continue editing other
parameters or press the illuminated SAVE utility button to keep completed edits.
MOVING AN EFFECT
To move an eect to a dierent position in the signal path, highlight the eect to be moved in the SIGNAL
PATH LAYER and press the ENCODER. Select “MOVE” from the menu of eects placement options and press
the ENCODER again. An orange box will appear around the selected eect name, along with a blinking white
arrow indicating that the eect is ready to be moved. Turn the ENCODER to reposition the selected eect;
press the ENCODER to place the eect in a new position.
The SIGNAL PATH LAYER will then display the eect in its new position; the box containing the preset number
will change from blue to red (indicating that a preset edit has been made), and the SAVE utility button will illuminate. With the eect now moved, further edits can then be made or the SAVE utility button can be pressed
to keep completed edits (see illustrations below and on next page).
To move a highlighted eect, rst press the ENCODER to access the menu of eects placement options.
Turn the ENCODER to highlight “MOVE” in eects placement options menu, then press the ENCODER to select it.
ROCK & ROLL
TWIN
REVERB
The selected eect, highlighted with a white arrow below it and label above it, appears in an orange box indi-
cating that it is ready to be moved to a dierent position in the signal path by turning the ENCODER.
POST FX 1
REVERBFUZZ
15
ROCK & ROLL
TWIN
REVERB
FUZZ
REVERB
PRE FX 2
After moving the selected eect by turning the ENCODER, press the
ENCODER to select its new position in the signal path.
ROCK & ROLL
FUZZ
PRE FX 2
REVERB
TWIN
REVERB
SAVE
With the eect moved to a new position (as indicated here by white arrow below it and label above it), contin-
ue editing other parameters or press the illuminated SAVE utility button to keep completed edits.
ADDING AN EFFECT
There are two ways to add an eect.
In the rst method, highlight one of the two placeholder plus-sign symbols in the SIGNAL PATH LAYER by
turning the ENCODER. The circle containing the plus-sign symbol will turn green. Press the ENCODER to see
a menu of four eects categories—Stomp Box, Modulation, Delay and Reverb. Highlight a category by turning the ENCODER, then press the ENCODER to access the eects in that category. Scroll through the eects
and press the ENCODER to select an eect.
The SIGNAL PATH LAYER will then display the newly added eect in a green box with a blinking white arrow
below it and a label above it, indicating that the eect can be moved to a dierent position (if preferred) by
turning and then pressing the ENCODER.
When an eect is added, the box containing the preset number will change from blue to red (indicating that
a preset edit has been made), and the SAVE utility button will illuminate. With the eect now added, further
edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations
below and on next page). Note that pressing the PRESET LAYER button corresponding to the circled “X” in the
DISPLAY WINDOW closes the eects category and eect menus; pressing it when it corresponds to the label
“back” returns the user to the previous screen.
ROCK & ROLL
TWIN
REVERB
FUZZ
To add an eect, highlight the placeholder plus-sign symbol by turning the ENCODER to it. The circle contain-
ing the plus-sign symbol will turn green. Press the ENCODER to access a menu of four eects categories.
16
TOUCH WAH
WAH
COMPRESSOR
SIMPLE COMP
RANGER BOOST
ROCK & ROLL
TWIN
REVERB
FUZZ
WAH
BABY
POST FX 1
ROCK & ROLL
TWIN
REVERB
FUZZ
WAH
SAVE
POST FX 1
BABY
MODULATION
STOMPBOX
DELAY
REVERB
Select an eects category by scrolling to it and pressing the ENCODER.
back
Select an eect by scrolling to it and pressing the ENCODER.
The newly added eect, highlighted with a white arrow below it and label above it, appears in a green box indi-
cating that it can be left in place or moved to a dierent position in the signal path by turning the ENCODER.
ROCK & ROLL
FUZZ
PRE FX 2
WAH
TWIN
REVERB
BABY
After moving the newly added eect by turning the ENCODER,
press the ENCODER to select its new position in the signal path.
With the added eect in position (as indicated here by white arrow below it and label above it), continue edit-
ing other parameters or press the illuminated SAVE utility button to keep completed edits.
17
In the second method of adding an eect, highlight an existing eect in the SIGNAL PATH LAYER and press
ADD FX
BYPASS
DELETE
MOVE
REPLACE
MODULATION
STOMPBOX
DELAY
REVERB
TOUCH WAH
WAH
COMPRESSOR
SIMPLE COMP
RANGER BOOST
the ENCODER. Select “ADD FX” from the menu of eects placement options and press the ENCODER again.
Select one the four eects categories that will appear and press the ENCODER to access the eects in that
category. Scroll through the eects and press the ENCODER to select an eect.
The SIGNAL PATH LAYER will then display the newly added eect in a green box with a blinking white arrow
below it and a label above it, indicating that the eect can be moved to a dierent position (if preferred) by
turning and then pressing the ENCODER.
When an eect is added, the box containing the preset number will change from blue to red (indicating that a
preset edit has been made), and the SAVE utility button will illuminate. With the eect now added, further edits can then be made or the SAVE utility button can be pressed to keep completed edits (see illustrations below
and on next page).
ROCK & ROLL
TWIN
REVERB
POST FX 1
REVERBFUZZ
LEVEL DECAY
DWELL DIFF TONE
In another way to add an eect, highlight an existing eect within a preset by turning the
ENCODER to it and pressing the ENCODER to see a menu of four eects categories.
Select “ADD FX” in the eects placement options menu by scrolling to it and pressing the ENCODER.
Select an eects category by scrolling to it and pressing the ENCODER.
back
Select an eect by scrolling to it and pressing the ENCODER.
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