Roland Corporation GT-PRO Owner's Manual

Owner’s Manual

Thank you, and congratulations on your choice of the BOSS GT-PRO Guitar Effects Processor.

Before using this unit, carefully read the sections entitled:

• IMPORTANT SAFETY INSTRUCTIONS (page 2)

• USING THE UNIT SAFELY (page 3–4)

• IMPORTANT NOTES (page 5–6)

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.

■ Printing Conventions in This Manual

• Text or numerals enclosed in square brackets [ ] indicate bottons.

[WRITE] WRITE button

[SYSTEM] SYSTEM button

• EXP pedal is an abbreviation of “Expression pedal.”

• Reference such as (p. **) indicate pages in this manual to which you can refer.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Unplug this apparatus during lightning storms or when unused for long periods of time.

13. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

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.

NEUTRAL LIVE

For the U.K.

WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

USING THE UNIT SAFELY

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.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

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002a

• Do not open or perform any internal modifications on the unit.

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003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific 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” sheet.

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004

• Never use or store the unit in places that are:

• 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 floors);

or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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005

• This unit should be used only with a rack or stand that is recommended by Roland.

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006

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

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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 powercord plug must be unplugged from the outlet.

008a

• The unit should be connected to a power supply only of the type described in the operating instructions, or as marked on the rear side of unit.

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009

• 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 fire and shock hazards!

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010

This unit, either alone or in combination with an

• amplifier 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.

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011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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012a

• Immediately turn the power off, remove the power cord from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” sheet when:

• The power-supply cord, or the plug has been

damaged; or

• If smoke or unusual odor occurs

• 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.

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013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

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014

• Protect the unit from strong impact. (Do not drop it!)

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015

• Do not force the unit’s power-supply 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.

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016

• 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” sheet.

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023

• DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

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026

• Do not put anything that contains water (e.g., flower vases) 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.

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101a

• The unit should be located so that its location or position does not interfere with its proper ventilation.

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102a

• Always grasp only the plug on the power-supply cord when plugging into, or unplugging from an outlet.

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103a

• At regular intervals, you should unplug the power plug 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 fire.

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104

• 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.

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106

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

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107a

• Never handle the power cord or its plug with wet hands when plugging into, or unplugging from, an outlet.

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108a

• Before moving the unit, disconnect the power plug from the outlet, and pull out all cords from external devices.

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109a

• Before cleaning the unit, turn off the power and unplug the power cord from the outlet (p. **).

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110a

• Whenever you suspect the possibility of lightning in your area, pull the plug on the power cord out of the outlet.

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IMPORTANT NOTES

291b

In addition to the items listed under “IMPORTANT SAFETY

INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages

2 and 3, please read and observe the following:

Power Supply

301

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. 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 filter between this unit and the electrical outlet.

307

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

308

• Although the LCD and LEDs are switched off when the POWER switch is switched off, this does not mean that the unit has been completely disconnected from the source of power. If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. For this reason, the outlet into which you choose to connect the power cord’s plug should be one that is within easy reach and readily accessible.

Placement

351

• Using the unit near power amplifiers (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.

352a

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

352b

• 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 off.

354a

• 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.

355b

• When moved from one location to another where the temperature and/or humidity is very different, 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.

Maintenance

401a

• 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.

402

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

Repairs and Data

452

• 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 in another MIDI device (e.g., a sequencer), computer, 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.

Memory Backup

501b

• This unit contains a battery which powers the unit’s memory circuits while the main power is off. When this battery becomes weak, the message shown below will appear in the display. Once you see this message, have the battery replaced with a fresh one as soon as possible to avoid the loss of all data in memory. To have the battery replaced, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” sheet.

IMPORTANT NOTES

Additional Precautions

551

• 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 in another MIDI device (e.g., a sequencer) or computer.

552

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

553

• 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.

556

• When connecting / 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.

557

•A small amount of heat will radiate from the unit during normal operation.

558a

• To avoid disturbing your neighbors, 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 (especially when it is late at night).

559a

• 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.

561

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• 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 specifications, contact the manufacturer of the cable.

Handling CD-ROMs

801

• Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.

852a

• When exchanging audio signals through a digital connection with an external instrument, this unit can perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own compositions) that do not infringe on the copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-protection feature.)

853

• Do not use this unit 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 unit.

204

* Microsoft and Windows are registered trademarks of Microsoft Corporation.

206e

* Screen shots in this documents are reprinted with permission from Microsoft Corporation.

206j

* Windows® is known officially as: “Microsoft® Windows® operating system.”

207

* Apple and Macintosh are registered trademark of Apple Computer, Inc.

209

* MacOS is a trademark of Apple Computer, Inc.

220

* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

231

* OMS is a registered trademark of Opcode Systems, Inc.

232

* FreeMIDI is a trademark of Mark of the Unicorn, Inc.

Contents

IMPORTANT SAFETY INSTRUCTIONS ....... 2

USING THE UNIT SAFELY ........................ 3

IMPORTANT NOTES................................ 5

Main Features ..................................... 10

Names of Things and What They Do .... 11

Front Panel....................................................................11

Rear panel .....................................................................13

Signal Flow ...................................................................14

Chapter 1

Playing Sounds ................................... 15

Making the Connections..............................................15

Turning on the Power ..................................................16

Adjusting the Input Level ............................................17

Adjusting the Output Level .........................................17

Adjusting the SUB OUT Output Level ............................. 17

Selecting the MAIN OUT

Output Device (Amp) (Main Output Select)................ 17

Selecting the SUB OUT

Output Device (Amp) (Sub Output Select) ...................... 18

Turning Off the Power.................................................. 18

Chapter 2

Creating Your Own Favorite Tones (Patches)

What is a Patch?...........................................................19

How to Switch Patches (Patch Change)..................... 19

Adjusting the Tones with the Knobs .......................... 20

Turning the Effect On and Off ..................................... 20

Setting the Effects Simply (QUICK FX) ......................21

Calling Up Existing Patch Settings............................. 21

Making More Precise Effect Settings .........................22

Changing the

Connection Order of Effects (Effect Chain) ............... 22

Naming Patches (Patch Name) ...................................23

.. 19

Chapter 3

Saving the Tones You Have Created .... 24

Storing Patches (Patch Write).....................................24

Copying Patches (Patch Copy) ................................... 24

Exchanging Patches (Patch Exchange) ..................... 25

Initializing Patches ....................................................... 25

Initializing Patches with a Tone Similar to What You

Have in Mind .................................................................26

Storing Settings by Effect (User Quick Settings)......26

Copying the

PREAMP/SPEAKER Settings to Another Channel .... 27

Chapter 4 Introduction to Effects and Parameters..28

PREAMP/SPEAKER (Preamp/Speaker Simulator) .... 28

OVERDRIVE/DISTORTION........................................... 31

DELAY ........................................................................... 32

Using the HOLD (Hold Delay) .......................................... 34

CHORUS........................................................................ 34

REVERB ........................................................................35

COMP (Compressor).................................................... 35

WAH............................................................................... 36

FX-1/FX-2....................................................................... 36

ACS (Advanced Compressor) ............................................ 37

LM (Limiter).......................................................................... 37

TW (Touch Wah) .................................................................. 37

AW (Auto Wah).................................................................... 38

TM (Tone Modify)................................................................ 38

GS (Guitar Simulator).......................................................... 38

TR (Tremolo)......................................................................... 39

PH (Phaser) ........................................................................... 39

FL (Flanger)........................................................................... 40

PAN........................................................................................ 40

VB (Vibrato) .......................................................................... 40

UV (Uni-V) ............................................................................ 41

RM (Ring Modulator) .......................................................... 41

SG (Slow Gear) ..................................................................... 41

DF (Defretter)........................................................................ 41

STR (Sitar Simulator) ........................................................... 42

FB (Feedbacker) .................................................................... 42

AFB (Anti-feedback) ............................................................ 43

HU (Humanizer) .................................................................. 43

SL (Slicer)............................................................................... 43

WSY (Wave Synth)............................................................... 44

SEQ (Sub Equalizer)............................................................. 44

FX-2 ...............................................................................45

HR (Harmonist).................................................................... 45

Creating Harmonist Scales (User Scale)............................ 46

PS (Pitch Shifter)................................................................... 46

PB (Pedal Bend) .................................................................... 47

OC (Octave)........................................................................... 47

RT (Rotary)............................................................................ 47

2CE (2 x 2 Chorus)................................................................ 48

AR (Auto Riff)....................................................................... 48

Creating Original Phrases (User Phrase).......................... 49

SYN (Guitar Synth) .............................................................. 49

AC (Acoustic Processor)...................................................... 50

SH (Sound Hold).................................................................. 51

SDD (Sub Delay)................................................................... 51

EQ (Equalizer)............................................................... 51

LOOP (External Effects Loop) 1/2............................... 52

PRE LOOP..................................................................... 53

AMP CTL (Amp Control) 1/2 ........................................ 54

MASTER ........................................................................ 54

NS (Noise Suppressor) ........................................................ 54

Patch Level ............................................................................ 55

Output.................................................................................... 55

Master BPM........................................................................... 55

FV (Foot Volume)................................................................. 55

FX CHAIN (Effect Chain).............................................. 56

Contents

NAME (Patch Name).....................................................56

ASSIGN..........................................................................56

Chapter 5

Creating Original Effects Types (Customize)

Customizing the COSM Preamps ...............................57

Customizing the Speakers ..........................................58

Customizing Overdrive/Distortion .............................. 59

Customizing Pedal Wah............................................... 60

.... 57

Chapter 6

Using Pedals to Control the Effects ....... 61

Notes on Setting the Pedal Functions........................ 61

Use-Specific Guide.......................................................61

Setting the Operation of the

External Foot Switch (CTL 1, 2, 3, 4 Function) .......... 62

Setting the Operation of the

External EXP Pedal (EXP1, 2 Function)...................... 63

Setting the Operation for an External MIDI Device (CC#7, CC#80, CC#1 Function)

Setting the FV (Foot Volume) Operation

for Individual Patches (EXP1/CC#7 Foot Volume) ....65

Setting External Controller Functions

to Individual Patches (Assign) .................................... 66

Quick Settings....................................................................... 66

Manual Settings.................................................................... 67

Internal Pedal System.......................................................... 70

...64

Chapter 7 Using the GT-PRO with

External MIDI Devices Connected ......... 72

What Can You Do with MIDI? ...................................... 72

Notes Regarding the MIDI Messages

That Can Be Transmitted and Received ........................... 73

Making the Settings for MIDI Functions.....................73

Transmitting and Receiving MIDI Data.......................75

Transmitting Data

to an External MIDI Device (Bulk Dump)........................ 75

Receiving Data

from an External MIDI Device (Bulk Load) ..................... 76

Setting the Program Change Map............................... 77

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

Changing Patch Numbers

on an External MIDI Device from the GT-PRO ........... 78

About MIDI ....................................................................79

How MIDI messages are transmitted and received........ 79

Main types of MIDI message used by the GT-PRO ........ 79

About the MIDI implementation....................................... 80

............. 78

Chapter 8

Using the GT-PRO Connected to the FC-200

Setting the Functions Related to the FC-200............. 81

Switching Operation of the

GT-PRO for Use with the FC-200 (FC-200 Mode) ........... 81

Setting the Operation of the

FC-200’s CTL Pedal (FC-200 CTL Pedal) .......................... 81

Limiting the Range of Banks

Allowed in Switching (FC-200 Bank Limit) ..................... 81

Setting the Timing for

Switching Patches (FC-200 Program Change Out) ......... 82

Switching Banks

with the Number Pedals (FC-200 Bank Change)............. 82

Transmitting Settings

for the GT-PRO to the FC-200 ..................................... 82

Connecting ............................................................................ 82

Transmitting Settings Data to the FC-200......................... 83

Controlling the GT-PRO with the FC-200 ................... 83

Connecting ............................................................................ 83

How to Switch Patches........................................................ 83

Using the FC-200’s CTL and EXP Pedals.......................... 84

Switching the Effect On and Off

with the FC-200’s Pedals (Manual Mode)................... 85

Switching to Manual Mode ................................................ 85

Selecting the Effect

to Be Switched On and Off With the Pedals .................... 85

Advanced Settings....................................................... 86

Automatically Setting the FC-200 with the Corresponding GT-PRO Settings When Turning On the GT-PRO

Manual Mode........................................................................ 87

Connecting an

External MIDI Device in FC-200 Mode............................. 87

.....81

................... 87

Chapter 9 Using the GT-PRO

Connected to a Computer Via USB ........88

Before Connecting with USB ...................................... 88

About the Included Software ............................................. 88

Driver Mode.......................................................................... 88

Switching the Driver Mode ................................................ 88

Setting USB-Related Functions .................................. 89

Setting the Digital Audio Signal Input/Output .............. 89

Direct Monitor Settings ....................................................... 89

Recording the GT-PRO’s Output with a Computer ... 90 Applying Effects

with the GT-PRO to a Computer’s Audio Playback .. 90

Running the GT-PRO from a Computer ..................... 91

Contents

Chapter 10

Other Features .................................... 92

Controlling Various Parameters

Through the Guitar Volume.........................................92

Switching Preamp Channels

A and B Dynamically with the Guitar Volume ............... 92

Using the Guitar Volume to Change

Selected Effect Parameters (Assign Source) ..................... 93

Adjusting the Overall Sound

to Match the Usage Environment (Global).................94

Adjusting the overall sound ............................................... 94

Main Global EQ.................................................................... 94

Total NS ................................................................................. 94

Total REVERB....................................................................... 94

Sub Global EQ ...................................................................... 95

Setting the Output Destination .......................................... 95

Output Channel.................................................................... 95

USB/Digital Out................................................................... 95

Adjusting the Display Contrast (LCD Contrast) ........ 96

Switching the

Sounds Input to the GT-PRO (Input Select)...............96

Adjusting the Tone of the Sounds Input

to the GT-PRO (Input Level/Input Presence) .............97

Keeping Effect Sounds Playing After Patches

Are Switched (Patch Change Mode)...........................97

Using the Identical

Preamp Settings in All Patches (Preamp Mode) .......98

Setting the System Preamp ................................................. 98

Limiting the Patches

That Can Be Switched (Patch Extent) ........................98

Changing the EXP Pedal Mode

When Patches are Switched (Assign Hold) ............... 99

Setting the Knob Functions (Knob Mode) .................99

Switching the Output/Input Level ............................. 100

MAIN OUT Level............................................................... 100

SUB OUT Level................................................................... 100

LOOP 1/2 SEND Level ..................................................... 100

LOOP 1/2 RETURN Level................................................ 100

Checking the Effect Level with the Level Meter ...... 100

Tuning the Guitar (Tuner/Bypass) ............................ 101

Turning the Tuner Function On....................................... 101

About the Display During Tuning .................................. 101

How to Tune ....................................................................... 101

Changing the Tuner Settings............................................ 101

Appendices ....................................... 103

Restoring the Factory Settings (Factory Reset)......103

List of Factory Settings ...................................................... 103

MIDI Implementation Chart........................................105

Specifications ............................................................. 106

GT-PRO Software System Requirements ....................... 108

Installing &

Setup the USB Driver ......109

Driver installation

and settings (Windows) ......................110

About the Driver Modes............................................. 110

Installing the Special Driver ...................................... 111

Windows XP users ............................................................. 111

Windows 2000 users .......................................................... 114

Windows Me/98 users ...................................................... 117

Installing the OS-standard Driver ............................. 118

Windows XP/2000 users................................................... 118

Windows Me users ............................................................ 119

Windows 98 users .............................................................. 120

Driver settings ............................................................ 123

About the input and output devices ............................... 123

Input/output device settings ........................................... 124

Software settings ................................................................ 125

Driver installation

and settings (Macintosh).....................126

About the Driver Modes............................................. 126

Installing the Special Driver ...................................... 127

Mac OS X users................................................................... 127

Driver settings .................................................................... 128

Mac OS 9 users.................................................................... 129

Installing the OS-standard Driver ............................. 136

Mac OS X users................................................................... 136

Mac OS 9 users.................................................................... 138

Setting the Special Driver’s Functions

Adjusting the audio latency ...................................... 141

Using ASIO Direct Monitor ........................................ 141

Troubleshooting .................................143

Error Messages .......................................................... 143

Problems when using the GT-PRO........................... 143

Problems with the sound .................................................. 143

Other Problems................................................................... 144

Problems related to the USB Driver ......................... 145

Problems when using the USB Driver...................... 147

Deleting the Special Driver........................................ 151

Patch List............................................152

■ User Patch............................................................... 152

■ Preset Patch............................................................ 156

.....141

Index .................................................160

Main Features

Professional Guitar Effects System

Everything that has gone into the GT-PRO, from the use of only the finest analog parts, to the quality AD/DA converter for superior wide dynamic range, to the balanced XLR and digital (coaxial) output connectors, is geared toward providing the absolute best in sound, offering the pro guitarist an effects processor of unprecedented quality that is worthy of the name “PRO.”

Highly Evolved COSM Amp/Speakers

The GT-PRO includes amp/speaker systems that can be used simultaneously, utilizing COSM amp/speakers featuring 46 different amp types, including newly modeled amps. You can combine amps flexibly in a variety of ways; for example, by mixing two amps together or setting them up in a stereo arrangement. What’s more, you can customize the amp and speaker combinations, giving you the freedom to create your own original amp types.

A Variety of COSM Effects

You can actually combine and use up to an amazing fifteen different effects simultaneously, connecting them in any sequence you prefer to create an incredible spectrum of sound variations.

The GT-PRO features a wide variety of newly developed effects including “stereo dual delay,” “spring & modulation reverb,” “sitar simulator,” “wave synth,” and more. The GT-PRO includes Quick FX for rapid and efficient control of numerous different functions, EZ Tone, and an amazing array of other great features. Representing a culmination of all of BOSS’s guitar effects technology, the GT-PRO truly is the ultimate guitar multi-effects device.

Solo Switch/Dynamic Sense/Internal Pedal System

The COSM amps feature a Solo Switch for each channel, which instantly imparts a feeling of greater power the moment it is switched on. Additionally, Dynamic Sense provides seamless switching between two COSM amps in response to the nuances of your picking. You can even control the different effects with the guitar volume knob.

The “Internal Pedal System,” which allows you to operate the pedals automatically, and other features all work to help you increase the expressiveness of your performances.

External Loop & Amp Control

The GT-PRO provides three external loop setups for connecting external effects processors. In addition to rearranging the order in which the GT-PRO’s effects are connected, if two sets of connectors are used in Stereo mode you can communicate powerfully using external spacial effects.

The GT-PRO is also equipped with two amp control jacks, allowing you to switch channels for a connected preamp and centralize control of foot-switch-operated external devices from the GT-PRO.

FC-200 Mode, Numerous Connectors

The GT-PRO includes an FC-200 mode, which lets you integrate an FC-200 MIDI foot controller (sold separately), giving you true freedom in controlling your effects–with no rack size concerns–for functionality far surpassing that of floor type devices.

What’s more, the rear panel input and direct tune out jacks provide greater ease in connecting with rack systems.

The USB connector also enables you to connect the GT-PRO to a computer, and you can make detailed edits from the computer with the included GT-PRO Editor/Librarian software. The GT-PRO achieves the flexibility needed for use anywhere, whether it be on stage, in a studio, or even for home recording.

COSM (Composite Object Sound Modeling)

Composite Object Sound Modeling (COSM) is BOSS/Roland’s innovative and powerful sound modeling technology. COSM analyzes the many factors that make up the original sound, such as the electrical and physical characteristics of the original, and then produces a digital model that can reproduce the same sound.

Names of Things and What They Do

Front Panel

fig.002-010

24 2825 26

1 3

2 5

20421 22 27 29

7 8 9

10 11 12

15 16 17 18 19

1. INPUT

INPUT Jack

The guitar is connected here.

INPUT LEVEL Knob

Adjusts the level of the signals input through the INPUT jacks (both front and rear).

PEAK Indicator

Indicates the status of the input level. This indicator lights at 6 dB before the level at which distortion begins.

2. OUTPUT

PHONES Jack

Connect headphones here.

* The output from the PHONES jack is a mix of the output

from the MAIN OUT jacks and SUB OUT jacks.

MAIN Volume Knob

Adjusts the volume level of the output from the MAIN OUT jacks.

SUB Volume Knob

Adjusts the volume level of the output from the SUB OUT jacks (1/4” phone type).

* The output from the SUB OUT (XLR type) connector is set

at a fixed level, regardless of the position of the SUB volume knob.

3. Display

A variety of information about the GT-PRO appears here. The left display shows the bank number.

5. PREAMP/SPEAKER

TYPE Knob

Selects the preamp type.

GAIN Knob

Adjusts the degree of preamp distortion.

BASS Knob

Adjusts the sound quality of the preamp’s lowfrequency range.

MIDDLE Knob

Adjusts the sound quality of the preamp’s midrange frequency.

TREBLE Knob

Adjusts the sound quality of the preamp’s highfrequency range.

PRESENCE Knob

Adjusts the sound quality of the preamp’s ultra high frequency range.

LEVEL Knob

Adjusts the preamp volume level.

PREAMP/SPEAKER On/Off Button

Press to change the settings.

TYPE VARIATION Button

Switches the type variation.

CHANNEL Button

This switches between preamp Channels A and B.

SOLO Button

This switches the Solo switch (p. 29) on and off.

4. PATCH/VALUE Dial

Use this when switching patches and changing the values of settings.

SPEAKER Button

Selects the speaker type.

Names of Things and What They Do

6. COMP On/Off Button

Press to change the settings.

7. OS/DS On/Off Button

Press to change the settings.

8. WAH On/Off Button

Press to change the settings.

9. EQ On/Off Button

Press to change the settings.

10.

DELAY On/Off Button

Press to change the settings.

11.

CHORUS On/Off Button

Press to change the settings.

21.

OUTPUT SELECT Button

Allows you to select an output appropriate for the connected device. Be sure to make this selection before you start to perform.

22.

SYSTEM Button

Use for making settings for the GT-PRO’s overall operating environment. The indicator lights when the GT-PRO is connected to your computer.

23.

EXIT Button

Use this to undo operations.

24.

WRITE Button

Press to store settings.

12.

REVERB On/Off Button

Press to change the settings.

13.

FX-1 On/Off Button

Press to change the settings.

14.

FX-2 On/Off Button

Press to change the settings.

15.

AMP CTL 1 On/Off Button

This switches the Amp Control 1 on and off.

16.

AMP CTL 2 On/Off Button

This switches the Amp Control 2 on and off.

17.

PRE LOOP On/Off Button

This switches the Pre Loop on and off.

18.

LOOP 1/2 On/Off Button

Press to change the settings.

19.

ASSIGN On/Off Button

Press to change the settings.

25.

SHIFT Button

Switches the Shift function on and off. While Shift is activated, values change in units of ten when you turn the PATCH/VALUE dial. The function of certain buttons also changes if they are pressed while Shift is activated.

26.

TUNER/BYPASS Button

Press to use the tuner functions.

27.

NAME/FX CHAIN Button

Use for naming patches (p. 23), or setting the effect chain (p. 22).

28.

MASTER Button

Press to change the settings.

29.

PATCH LEVEL Knob

Adjusts the volume level of the currently selected patch.

30.

POWER Switch

Turns the power on and off.

20.

PARAMETER Buttons

Press to select parameters. To jump to the main parameters, hold down one of these buttons while you press the other. With items for which there aren’t that many parameters, the GT-PRO jumps to the last (or initial) parameter.

Rear panel

fig.00-0220

Names of Things and What They Do

1 2 3 4 8

1. AMP CTL 1 Jack/AMP CTL 2 Jack

When using the AMP CONTROL function (p. 54), connect to the jack used for switching guitar amp channels.

2. CTL 3/4/EXP PEDAL 2 Jack

Connect the optional foot switches (such as the FS-6/ FS-5U) or expression pedal (such as the EV-5) here.

* With the factory settings, no function is assigned.

3. CTL 1/2 Jack

Connect the optional foot switches (such as the FS-6/ FS-5U) here.

5 6 7

10.

* The SUB OUT R/L connectors are unaffected by the SUB

11.

14 1512 13

SUB OUT Connectors R/L

There are XLR type connectors that provide balanced output. Connect to amps, mixers, or other devices.

volume knob (p. 17) and SUB OUT Level (p. 100). Signals are always output at a fixed level (+4 dBu).

GND LIFT Switch

This disconnects the 1: GND pin from the input’s ground. Switch this to “ON” if humming or other noise from ground loops becomes a problem. The GT-PRO is normally used with this set to OFF.

4. EXP PEDAL 1 Jack

Connect an optional expression pedal (such as the EV-

5) here.

* With the factory settings, this is automatically set for use as

a foot volume (p. 55).

5. MIDI IN/OUT/THRU Connectors

Connect an FC-200 (p. 81) or other external MIDI device here to transmit and receive MIDI information.

6. USB Connector

Use a USB cable to connect this connector to your computer to exchange data between the GT-PRO and the computer.

7. DIGITAL OUT Connector

Outputs digital audio signals.

8. LOOP 1/2 SEND/RETURN Jacks

When using LOOP 1/2 (p. 52), connect these to external effects processors.

9. SUB OUT Jacks R/L (MONO)

There are 1/4” phone jacks that output unbalanced signals. Connect to amps, mixers, or other devices.

12.

MAIN OUT Jacks R/L (MONO)

There are 1/4” phone jacks that output unbalanced signals.

13.

PRE LOOP SEND/RETURN Jacks

When using PRE LOOP (p. 53), connect these to external effects processors.

14.

DIRECT OUT/TUNER OUT Jack

Signals input through the INPUT jacks (front and rear) are output as is without change. Use these jacks when connecting tuners and similar devices.

15.

INPUT Jack

The guitar is connected here. Additionally, when the GT-PRO is installed in a system rack, signals sent to the GT-PRO from other rack-type equipment are input here.

* This jack cannot be used simultaneously with the INPUT

jack on the front panel. The front panel INPUT jack takes precedence.

Names of Things and What They Do

Signal Flow

Computer

Control IN (MIDI)

Control OUT (MIDI)

GT-PRO IN (Audio)

GT-PRO OUT (Audio)

USB

Recorder etc.

Headphones

USB Mix Level

Guitar Amp

PHONES

DIGITAL OUT

MAIN

VOLUME

USB

Mixer

)

SUB OUT L/R

1/4” Phone Jack

(

MAIN OUT L/R

SUB

VOLUME

MAIN

SUB

Channel

USB Mix

MAIN

SUB

Output

Channel

Out

Digital

Tuner

(XLR Connector)

DIRECT OUT/TUNER OUT

Audio signal

Control or MIDI signal

External

Effects Processor

Guitar Amp

External

Effects Processor

External

Effects Processor

RETURN

SEND 2

RETURN

SEND 1

AMP CTL 2

AMP CTL 1

RETURN

SEND

Pedal

Out Level

(=USB In) (=Guitar In)

EXP PEDAL 1

CTL PEDAL 1, 2

Pedal

USB/Digital

CONTROL

(from USB)

CTL PEDAL 3, 4/

EXP PEDAL 2

(Front)

Tuner

MULTI EFFECTS

Loop 1/2

(You can change the order in which the effects are connected)

BYPASS

Pre

Loop

(Rear)

GUITAR IN

Expression

Foot Switch

Guitar

Chapter 1 Playing Sounds

Making the Connections

fig.01-0010

Guitar

Front Panel

Digital Recorder etc.

Stereo

Headphones

Mixer

Tuner etc.

-5

CENT

Chapter 1

MIDI Sequencer etc.

EXP Pedal

(Roland EV-5 etc.)

MIDI OUTMIDI IN

MIDI Foot Controller

Roland FC-200

Foot Switch

(FS-6 etc.)

EXP Pedal

(Roland EV-5 etc.)

External Effects Processor External Effects Processor

Guitar Amp

INPUT INPUTOUTPUT OUTPUT

External Effects Processor

Computer

INPUTOUTPUT

Chapter 1 Playing Sounds

* To prevent malfunction and/or damage to speakers or other

devices, always turn down the volume, and turn off the power on all devices before making any connections.

* Raise the amp volume only after turning on the power to all

connected devices.

* When outputting in mono, connect the cable to the MAIN

OUT L (MONO) jack.

* Use only the specified expression pedal (Roland EV-5 or

Roland FV-300L; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

* This instrument is equipped with balanced (XLR) type

connectors. Wiring diagrams for these connectors are shown below. Make connections after first checking the wiring diagrams of other equipment you intend to connect.

fig.XLRJack

* When using the unit with an expression pedal connected to the

EXP PEDAL 1 and EXP PEDAL 2 jack, set Minimum Volume to the “MIN” position.

* When using the unit with a foot switch (the optional FS-6)

connected to the CTL 1/2 jack and CTL 3/4 jack, set the MODE switch and POLARITY switch as shown below.

fig.01-0020

* When using the unit with a foot switch (the optional FS-5U)

connected to the SUB EXP PEDAL/SUB CTL 1,2 jack, set the polarity switch as shown below.

fig.01-0030

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

• When using the unit with the EXP pedals connected to

the EXP PEDAL 1 jack and EXP PEDAL 2 jack, make

the settings given on p. 63 and p. 65.

• When using the unit with the foot switches connected

to the CTL 1/2 jack and CTL 3/4 jack, make the

settings given on p. 62.

• For more on using the AMP CTL 1 jack and AMP CTL 2

jack, refer to p. 54.

• For more on using the LOOP 1/2 SEND/RETURN

jacks, refer to p. 52.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Turning on the Power

Once the connections have been completed (p. 15), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

1. Before turning on the power, confirm the following.

• Are all external devices properly connected?

• Is the volume on the GT-PRO, your amp, and all other

connected devices turned down to the minimum level?

2. Switch ON the POWER switch on the GT-PRO’s front

panel.

The display changes, showing the following. A few seconds later, the unit enters the ordinary performance mode.

The screen that appears at this point is called the “Play screen.”

fig.01-0050d

Polarity Switch

* You can use the special (optional Roland) PCS-31 connector

cord to connect two foot switches.

fig.01-0040

PCS-31

White Red

* Upon power-up, the patch most recently selected when the

power was last turned off is selected.

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

(a few seconds) after power up is required before the unit will operate normally.

3. Next, turn on the power to any external effects

processors, then to the guitar amp (power amp).

Chapter 1 Playing Sounds

Chapter 1

Adjusting the Input Level

Use the INPUT LEVEL knob to adjust the input level to suit your guitar.

fig.01-0060

1. Play your guitar at the maximum loudness that you will

produce in normal playing.

2. Adjust the INPUT LEVEL knob until the PEAK

indicator lights briefly.

* The PEAK indicator will light 6 dB before clipping level (the

level where distortion begins).

* If the input level is too high, the GT-PRO will not produce the

desired effects.

When using the GT-PRO with different guitars, you can

conveniently adjust the input levels for each patch with

the INPUT LEVEL knob and adjust for the volume

differences between each guitar with SYS: Input Level.

Refer to “Adjusting the Tone of the Sounds Input to the GT-PRO (Input Level/Input Presence)” (p. 97)

Adjusting the Output Level

Adjust the GT-PRO’s output level.

fig.01-0070

• The level of the output from the MAIN OUT jacks is

adjusted with the MAIN volume knob.

Adjusting the SUB OUT Output Level

• The level of the output from the SUB OUT jacks (1/4”

phone type) is adjusted with the SUB volume knob.

* The output from the SUB OUT (XLR type) connector is set

at a fixed level, regardless of the position of the SUB volume knob.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The output from the PHONES jack is a mix of the output from the MAIN OUT and SUB OUT.

When using headphones, use both the MAIN and SUB knobs as required to adjust the volume level.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Selecting the MAIN OUT Output Device (Amp) (Main Output Select)

Select the type of device connected to the MAIN OUT jack.

fig.01-0080

1. Press [OUTPUT SELECT].

The Main Output Select settings screen appears.

fig.01-0090d

2. Turn the PATCH/VALUE dial to select the type of

device connected to the MAIN OUT jack.

Value Explanation

JC-120

SMALL AMP

COMBO AMP

* Depending on you guitar amp, you may be able to obtain good

results with the “JC-120” setting.

STACK AMP

JC-120 Return

COMBO Return

STACK Return

LINE/PHONES

* When using the speaker simulator, set this to LINE/PHONES.

3. Press [EXIT] to return to the Play screen.

Use this setting when connecting to Roland’s JC-120 guitar amp.

Use this setting when connecting to small guitar amp.

Use this setting when connecting to the guitar input of a combo amp other than the JC-120 guitar amp (where the amp and speaker or speakers are combined in a single unit).

Use this setting when connecting to the guitar input of a stack-type guitar amp (where the amp and speaker or speakers are separated).

Use this setting when connecting to RETURN of a JC-120.

Use this setting when connecting to RETURN with a combo amp.

Use this setting when connecting to RETURN of a stack amp or rack mounted power amp. Set to STACK Return also when using a guitar power amp and speaker cabinet combination.

Use this setting when using headphones or when connecting to a multi-track recorder for recording.

Chapter 1 Playing Sounds

Selecting the SUB OUT Output Device (Amp) (Sub Output Select)

Select the type of device connected to the SUB OUT jack/ connector.

fig.01-0081

132

1. Press [OUTPUT SELECT].

2. Press PARAMETER [ ] [ ] so that

“SUB: Output Sel.” is displayed.

fig.01-0100d

Turning Off the Power

1. Before turning off the power, confirm the following.

• Is the volume on the GT-PRO, your amp, and all other

connected devices turned down to the minimum level?

2. Turn off the power to any external effects processors,

then to the guitar amp (power amp) and other devices.

3. Turn the GT-PRO’s power off.

* If you need to turn off the power completely, first turn off the

POWER switch, then unplug the power cord from the power outlet. Refer to “Power Supply” (p. 5).

Guitar Tuning

You can use the GT-PRO’s built-in “tuner function” to tune your guitar.

For instructions on using this function, refer to “Tuning the Guitar (Tuner/Bypass)” (p. 101).

3. Turn the PATCH/VALUE dial to select the type of

device connected to the SUB OUT jack/connector.

* The types of devices that can be selected are the same as those

in Main Output Select.

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

To derive the maximum performance from the GT-PRO, be sure to make the correct setting for Main Output Select and Sub output Select, the one that’s most suitable for your setup.

* The speaker simulator (p. 28) is enabled only when Main

Output Select/Sub Output Select is set to LINE/ PHONES.

* You cannot change the tone with Main Output Select/

Sub Output Select when PREAMP/SPEAKER On/Off (p. 28) is set to Off.

Chapter 2 Creating Your Own Favorite Tones (Patches)

What is a Patch?

The GT-PRO can store 400 combinations (or “sets”) of effects and parameter settings.

Each of these sets is called a “Patch,” with patches organized by Bank (1–40) and Number (1–10) as shown below.

fig.02-0010

Bank 40

7 8 9

7 8 9 10

2 3 4 5

7 8 9 10

7 8 9

2 3 4 5

Bank 20

Bank 1

7 8 9 10

2 3 4 5

Number

2 3 4 5

Bank 21

2 3 4 5

7 8 9

2 3 4 5

7 8 9 10

2 3 4 5

7 8 9 10

User Banks (1–20)

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

A “U” appears in the right display when a User patch is being used.

fig.02-0020d

How to Switch Patches (Patch Change)

Chapter 2

Whenever you’re at the Play screen, you can turn the PATCH/VALUE dial to change patches.

fig.02-0040d

Bank Bank - Number

To switch banks at a time, press [SHIFT] so its indicator is lighted (Shift: ON), then rotate the PATCH/VALUE dial.

* Use the setting on p. 98 when you want to set the upper limit

for patches that can be selected with the PATCH/VALUE dial.

* Unconfirmed changes in settings are cleared when patches are

switched. If you want to save changed settings, carry out the Write procedure (p. 24).

You can also set the unit so certain effects continue to be

used with a following patch after you switch patches. For

details, refer to “Keeping Effect Sounds Playing After

Patches Are Switched (Patch Change Mode)” (p. 97).

If the Patch Does Not Switch

On the GT-PRO, you cannot switch patches in any screen other than the Play screen. Press [EXIT] to return to the Play screen (p. 16).

Preset Banks (21–40)

The Preset banks contain effect settings that really help bring out the special characteristics of the GT-PRO. The patches in these banks are called “Preset patches.” Although you cannot overwrite the Preset patches with your own settings, you can change (edit) a Preset patch’s settings, then save the result as a User patch.

A “P” appears in the right display when a Preset patch is being used.

fig.02-0030d

* When the GT-PRO is set to FC-200 mode (p. 81), the banks

are indicated by numbers one less than the normal numbers (User: 0–19; Preset: 20–39).

Chapter 2 Creating Your Own Favorite Tones (Patches)

Adjusting the Tones with the Knobs

The GT-PRO panel features eight knob controls. These knobs let you make adjustments or changes to the selected patch’s tone quickly and easily.

fig.02-0050

Turning the Effect On and Off

The GT-PRO’s internal effects are switched on and off with button controls. The indicator for an effect’s ON/OFF button lights up when the effect is enabled.

* [AMP CTL1], [AMP CTL2], and [PRE LOOP] are switched

fig.02-0060

Knob Explanation

PREAMP/SPEAKER

TYPE

* After pressing [TYPE VARIATION], you can select variations by

turning the knob to the type you want.

GAIN

BASS

MIDDLE

TREBLE

PRESENCE

LEVEL

PATCH LEVEL

Adjusts the overall volume level. The volume increases as the knob is turned to the right.

When you want to save a tone created with the knob

controls, proceed as described in “Storing Patches (Patch

Write)” (p. 24).

If the power is turned off, or if the tone is switched

(Patch Change; p. 19) before you’ve carried out the Write

procedure, the newly created tone will be discarded.

Selects the preamp type.

Adjusts the degree of preamp distortion. The distortion gets stronger as the knob is turned to the right.

Adjusts the sound quality of the preamp’s low-frequency range. The low frequencies are boosted as the knob is turned to the right.

Adjusts the sound quality of the preamp’s midrange. The midrange frequencies are boosted as the knob is turned to the right.

Adjusts the sound quality of the preamp’s high-frequency range. The high frequencies are boosted as the knob is turned to the right.

Adjusts the sound quality of the preamp’s Ultra-high-frequency range. The high frequencies are boosted as the knob is turned to the right.

Adjusts the preamp volume level. The volume increases as the knob is turned to the right.

1. Press the ON/OFF button for the effect you want to be

* With FX-1 and FX-2, the settings for the currently selected

fig.02-0070d

2. Press the ON/OFF button again to switch the effect on

3. To select another effect to be switched on and off,

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

5. If you want to save a tone with the settings you’ve

* If you want to name the patch or edit the name, proceed to

on and off when pressed once.

able to switch on and off.

The settings for the selected effect appear in the display.

effect are shown.

or off.

The effect name flashes in the display when that effect is disabled.

repeat Steps 1 and 2.

made, proceed as described in “Storing Patches (Patch Write)” (p. 24).

“Naming Patches (Patch Name)” (p. 23) before you save.

The [ASSIGN] indicator lights when any of the Assigns

1–12 (p. 66) is on.

* If you want to name the patch or edit the name, proceed to

“Naming Patches (Patch Name)” (p. 23) before you save.

Chapter 2 Creating Your Own Favorite Tones (Patches)

Setting the Effects Simply (QUICK FX)

Each effect includes prepared sample settings called “Quick Settings.”

You can easily create new effect sounds just by selecting and combining these Quick Settings.

fig.02-0080

1 14

1. Press the on/off button for the effect with the settings

you want to change.

The parameters for the selected effect appear in the display.

During editing, the most recently edited parameter appears (except PPEAMP/SPEAKER).

2. Press PARAMETER [ ] so that the Quick Setting

select screen appears in the display.

fig.02-0090d

Calling Up Existing Patch Settings

Just as with the Quick Settings, you can call up and use only the specific effect settings you need from the User and Preset patches.

When there is a Preset patch you want to use as material, this allows you to create patches simply and easily without any need to make detailed settings.

fig.02-0100

1 14

1. Press the on/off button for the effect with the settings

you want to change.

The parameters for the selected effect appear in the display.

2. Press PARAMETER [ ] so that the Quick Setting

select screen appears in the display.

fig.02-0110d

Chapter 2

3. Rotate the PATCH/VALUE dial to select the Quick

Setting you want.

U**: User Quick Setting (p. 26)

P**: Preset Quick Setting

* “---: User Setting” indicates that the effect indicated in the

upper row of the display is set to be saved to the currently selected patch, or that the settings are currently being modified.

* When FX-1 or FX-2 has been selected in Step 1, the settings

for the effect selected by means of the FX1/FX2 Select parameter (p. 36, p. 45) are switched.

* When Preamp/Speaker has been selected in Step 1, you can

choose different type of settings for channel A and B.

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

5. If you want to save a tone with the settings you’ve

made, proceed as described in “Storing Patches (Patch Write)” (p. 24).

* If you want to name the patch or edit the name, proceed to

“Naming Patches (Patch Name)” (p. 23) before you save.

3. Use the PATCH/VALUE dial to select the patch with

the settings you want to call up.

* Patches are displayed following the Quick Settings.

fig.02-0120d

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

5. If you want to save a tone with the settings you’ve

made, proceed as described in “Storing Patches (Patch Write)” (p. 24).

* If you want to name the patch or edit the name, proceed to

“Naming Patches (Patch Name)” (p. 23) before you save.

Chapter 2 Creating Your Own Favorite Tones (Patches)

Making More Precise Effect Settings

Each effect comprises several different kinds of parameters. You can more precisely create the sounds you want by editing each of these parameters individually.

* For more detail of the each effect parameters, refer to “Chapter

4 Introduction to Effects and Parameters” (p. 28).

fig.02-0130

1 16

1. Press the on/off button for the effect with the settings

you want to change.

The parameters for the selected effect appear in the display.

2. Press PARAMETER [ ] [ ] to select the

parameter whose settings are to be changed.

When more than one parameter is shown in the display, press PARAMETER [ ] [ ] to move the cursor to the parameter to be set.

You can jump to the core parameters by pressing

PARAMETER [ ] (or [ ]) while holding down

PARAMETER [ ] (or [ ]). With items for which

there aren’t that many parameters, the GT-PRO jumps to

the last (or first) parameter.

3. Rotate the VALUE dial to change the value of a setting.

Changing the Connection Order of Effects (Effect Chain)

Here’s how you can change the order in which the effects are connected.

fig.02-0140

1. Press [NAME/FX CHAIN] twice.

The effect chain screen appears.

fig.02-0150d

* Effects are shown in lowercase letters when turned off.

2. Use the PATCH/VALUE dial or PARAMETER [ ]

[] to move the cursor to the point where you want to have an effect inserted.

* “DGT” indicates output to the DIGITAL OUT connector/

USB connector.

3. Press the ON/OFF button for the effect you want to

insert.

The selected effect is inserted at the cursor position.

* Use [MASTER] to set the Noise Suppressor, use [ASSIGN] to

set the Foot Volume, and use [OUTPUT SELECT] to set the Digital Out.

2 13

3 35

4. Repeat Steps 2 and 3 for any other parameter settings

you want to change.

5. If you further want to change parameter settings in any

other effects, repeat Steps 1 through 4.

6. Press [EXIT] to return to the Play screen.

7. If you want to save a tone with the settings you’ve

made, proceed as described in “Storing Patches (Patch Write)” (p. 24).

* If you want to name the patch or edit the name, proceed to

“Naming Patches (Patch Name)” (p. 23) before you save.

4. If you want to change the sequence further, repeat

Steps 2 and 3.

* Effects can be switched on and off even while making the

settings for the connection order. With effects appearing to the left and right of the cursor, the ON/OFF button corresponding to the effect can be pressed to turn them on/off.

5. Press [EXIT] to return to the Play screen.

6. If you want to save the sequence you’ve set up, proceed

as described in “Storing Patches (Patch Write)” (p. 24).

* If you want to name the patch or edit the name, proceed to

“Naming Patches (Patch Name)” (p. 23) before you save.

Chapter 2 Creating Your Own Favorite Tones (Patches)

Naming Patches (Patch Name)

Each patch can be given a name (Patch Name) consisting of up to sixteen characters. You’ll probably want to take advantage of this feature by assigning names that suggest the sound you’ll obtain, or the song in which it’ll be used.

fig.02-0160

3 1

1. Press [NAME/FX CHAIN].

The patch name setting screen appears.

fig.02-0170d

Cursor

2. Press PARAMETER [ ] [ ] to move the cursor to

the text area you want to edit.

Chapter 2

3. Rotate the PATCH/VALUE dial to change the

characters.

You can use the following functions when changing text characters.

Button Function

INS

DEL

CAPS

4. If you want to edit names further, repeat Steps 2 and 3.

5. Press [EXIT] to return to the Play screen.

6. If you want to save a patch name, proceed as described

in “Storing Patches (Patch Write)” (p. 24).

Inserts a blank space at the cursor position.

Deletes the character at the cursor position and shifts the characters following it to the left.

Switches the character at the cursor position between upper and lower case.

Chapter 3 Saving the Tones You Have Created

Storing Patches (Patch Write)

When you want to keep a tone created with the Quick Settings or a tone with altered parameter values, use the “Write procedure” to save it to a User patch.

fig.03-0010

1,3

1. Press [WRITE].

The screen for specifying the save-destination User patch appears in the display.

fig.03-0020d

Destination user Patch

Copying Patches (Patch Copy)

You can copy a Preset or User patch to another User patch.

fig.03-0030

2,4

1. Select the copy-source patch.

Refer to “How to Switch Patches (Patch Change)” (p. 19).

2. Press [WRITE].

The screen for specifying the copy-destination patch number appears in the display.

fig.03-0040d

Destination User Patch

2. Rotate the PATCH/VALUE dial to select the save-

destination User patch.

* This step is unnecessary if the current User patch is

acceptable.

* To cancel the Write procedure, press [EXIT]. The Play screen

returns to the display.

* You can also use the procedure described in “How to Switch

Patches (Patch Change)” (p. 19) to select the save destination.

3. Press [WRITE].

The GT-PRO switches to the write-destination patch, and you’re returned to the Play screen.

* The sound of the patch previously stored at the write

destination will be lost once the write is executed.

3. Rotate the PATCH/VALUE dial to select the copy-

destination User patch.

* To cancel the copy, press [EXIT]. The Play screen returns to

the display.

* You can also use the procedure described in “How to Switch

Patches (Patch Change)” (p. 19) to select the copy destination.

4. Press [WRITE].

The GT-PRO switches to the copy-destination patch, and you’re returned to the Play screen.

* The sound of the patch previously stored at the copy

destination will be lost once the copy is executed.

Chapter 3 Saving the Tones You Have Created

Exchanging Patches (Patch Exchange)

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

fig.03-0050

4 3

2,5

1. Select the exchange source patch.

Refer to “How to Switch Patches (Patch Change)” (p. 19).

2. Press [WRITE].

3. Press PARAMETER [ ].

The content of the display changes, and the GT-PRO is ready for the exchange destination User patch to be specified.

fig.03-0060d

Destination User Patch

Initializing Patches

You can return (initialize) the User patches to their original standard settings.

This is convenient when you want to create a new patch from scratch.

fig.03-0070

2,4

1. Select the User patch you want to initialize.

Refer to “How to Switch Patches (Patch Change)” (p. 19).

2. Press [WRITE].

3. Press PARAMETER [ ] twice.

The screen for specifying the initialize-destination patch number appears in the display.

fig.03-0080d

Destination User Patch

Chapter 3

4. Rotate the PATCH/VALUE dial to select the exchange

destination User patch.

* To cancel the exchange, press [EXIT]. The Play screen returns

to the display.

* You can also use the procedure described in “How to Switch

Patches (Patch Change)” (p. 19) to select the exchange destination.

5. Press [WRITE].

The patch stored in the exchange source memory location and the patch stored in the exchange destination memory location are exchanged, and you’re returned to the Play screen.

* You can use the PATCH/VALUE dial to change the selection

of the User patch to be initialized.

* To cancel the initialization, press [EXIT]. The Play screen

returns to the display.

4. Press [WRITE].

The GT-PRO switches to the initialized patch, and the Play screen returns to the display.

* The tones stored in patches are lost once the initialization is

executed.

Chapter 3 Saving the Tones You Have Created

Destination Effect

Initializing Patches with a Tone Similar to What You Have in Mind

If you already have a clear idea about the kind of sound you want to create, you can save yourself a lot of trouble by starting out with a patch that is relatively similar to what you have in mind, then tweak its settings until you arrive at what you want. In addition to the patches actually used in performances, the GT-PRO also offers a collection of sample settings that are a great help in creating new patches. These are called “EZ Tones.”

You can use the EZ Tone function to quickly find and call up settings that are close to the sound you want to create.

fig.03-0090

3,54,6

Storing Settings by Effect (User Quick Settings)

In addition to storing settings in the form of patches, you can also store settings in terms of their effect.

Since you can use such stored settings in other patches, just like with the Preset Quick Settings (p. 21), storing the settings you like ahead of time as effects is a convenient way to create new patches.

PREAMP for each channels EQ

OVERDRIVE/DISTORTION WAH

DELAY LOOP 1/2

CHORUS FX-1/FX-2 Effects

REVERB ASSIGN

COMP

fig.03-0120

2,7

1. Select the User patch you want to initialize.

Refer to “How to Switch Patches (Patch Change)” (p. 19).

Effects That Can Be Stored

3,4 1,5

2. Press [WRITE].

3. Press PARAMETER [ ] three times.

The screen in which you specify the EZ Tone you want to use appears.

fig.03-0100d

EZ Tone

4. Rotate the PATCH/VALUE dial to select the EZ tone.

5. Press PARAMETER [ ].

The cursor moves to the patch number for the patch to be initialized.

fig.03-0110d

6. Rotate the PATCH/VALUE dial to select the

initialization destination User patch.

* To cancel the initialization, press [EXIT]. The Play screen

returns to the display.

7. Press [WRITE].

The GT-PRO switches to the initialized patch, and the Play screen returns to the display.

* The tones stored in patches are lost once the initialization is

executed.

Destination User Patch

2 2

1. Press [WRITE].

2. Press the ON/OFF button for the effect whose settings

you want to save.

The screen for specifying the destination to which to save the settings appears.

fig.03-0130d

In case of Assign 1–12 (p. 66)

Press [ASSIGN] several times in order to select the savesource assign number.

* For PREAMP/SPEAKER, the setting in currently chosen

channel set by Channel Select (p. 28) will be saved.

* For FX-1/FX-2, the settings in currently chosen effects set by

FX1/FX2 Select (p. 36, p. 45) will be saved.

3. Use the PATCH/VALUE dial to select the destination

for the settings.

Chapter 3 Saving the Tones You Have Created

4. When you want to change the User Quick Setting name

(12 characters), use PARAMETER [ ] [ ] to move the cursor, and use the PATCH/VALUE dial to change the characters.

fig.03-0140d

You can use the following functions when changing text characters.

Button Function

INS

DEL

CAPS

5. Press [WRITE].

The settings are saved, and the Play screen returns to the display.

Inserts a blank space at the cursor position.

Deletes the character at the cursor position and shifts the characters following it to the left.

Switches the character at the cursor position between upper and lower case.

Copying the PREAMP/SPEAKER Settings to Another Channel

You can take the PREAMP/SPEAKER settings for one channel and copy them to another channel.

fig.03-0150

Chapter 3

2,41,3

1. Press [CHANNEL A] or [CHANNEL B] to select the

copy-source channel.

2. Press [WRITE].

3. Press [CHANNEL A] or [CHANNEL B] to select the

copy-destination channel.

The channel copy screen appears in the display.

You can alternatively rotate the PATCH/VALUE dial to change the copy-destination channel.

* If you press the button for the same channel as the copy source,

a channel other than the copy-source channel is selected for the copy destination.

fig.03-0160d

Copy-source channel

* To cancel the copy, press [EXIT]. The Play screen returns to

the display.

4. Press [WRITE].

The settings are copied, and the Play screen returns to the display.

5. If you want to keep a tone for which you have made

settings, use the “Write procedure” (p. 24) to save it to a User patch.

Copy-destination channel

Chapter 4 Introduction to Effects and Parameters

Input Level

In this chapter you will find detailed descriptions for each of the GT-PRO’s onboard effects, and the parameters used to control them.

The sound being input to each effect is called the “direct

sound,” and the sound modified by the effect is called

the “effect sound.”

The trademarks listed in this document are trademarks of their respective owners, which are separate companies from BOSS. Those companies are not affiliated with BOSS and have not licensed or authorized BOSS’s GT-PRO. Their marks are used solely to identify the equipment whose sound is simulated by BOSS’s GT-PRO.

PREAMP/SPEAKER (Preamp/ Speaker Simulator)

COSM technology plays an indispensable role in simulating the distinguishing characteristics of various guitar amps in the “Preamp” section, and is also used to simulate various speaker sizes and cabinet constructions in the “Speaker Simulator.”

Parameter/ Range

On/Off

Off, On

Channel Mode

Single, Dual Mono, Dual L/R, Dynamic

Single

Only the channel selected with Channel Select is used.

fig.04-0010

Dual Mono

The output of Channels A and B is mixed.

fig.04-0020

Explanation

Turns the PREAMP/SPEAKER effect on/ off.

Selects how the two channels are to be used.

Dual L/R

Channel A is output from the left and Channel B is output from the right.

fig.04-0030

Dynamic

Channels A and B are switched according to the guitar input volume level. This produces dynamic tonal changes in response to the picking dynamics.

* For more information, refer to “Controlling Various Parameters

Through the Guitar Volume” (p. 92).

fig.04-0040

Channel Select

A, B

Selects the preamp channel whose settings are to be changed.

Channel Delay Time

0–50ms

Adjusting this increases the sense of depth and breadth in the sound.

* This parameter is enabled when Channel mode is set to Dual Mono or

Dual L/R.

The output from Channel B is slightly delayed.

Chapter 4 Introduction to Effects and Parameters

Parameter/ Range

Explanation

Dynamic Sens

Effective with Dynamic selected for Chan-

0–100

nel Mode. Adjusting the sensitivity in response to the input level changes the timing of the channel switches.

Type *1

refer to Type List This sets the type of the guitar preamp.

Gain *1

0–120 Adjusts the distortion of the amp.

Bass *1

0–100

Adjusts the tone for the low frequency range.

Middle *1

0–100

Adjusts the tone for the middle frequency range.

Treble *1

0–100

Adjusts the tone for the high frequency range.

Presence *1

0–100

Adjusts the tone for the ultra high frequency range.

Level *1

0–100 Adjusts the volume of the entire preamp.

* Be careful not to raise the Level setting too high.

Bright *1

Off, On Turns the bright setting on/off.

Off

Bright is not used.

Bright is switched on to create a lighter and crisper tone.

* Depending on the “Type” setting, this may not be displayed.

Gain SW *1

Provides for selection from three levels of

Low, Middle, High

* The sound of each Type is created on the basis that the Gain is set to

“Middle.” So, normally set it to “Middle.”

distortion: Low, Middle, and High. Distortion will successively increase for settings of “Low,” “Middle” and “High.”

Solo Sw *1

Off, On

Pressing [SOLO] switches the tone to one suitable for solos.

Solo Level *1

0–100

Adjusts the volume level when the Solo switch is ON.

SP Type (Speaker Type) *1

see below Select the speaker type.

* The speaker simulator effect is not applied to the sound output from

MAIN OUT when Main Output Select (p. 17) is set to anything other than LINE/PHONES.

* The speaker simulator effect is not applied to the sound output from

SUB OUT when Sub Output Select (p. 18) is set to anything other than LINE/PHONES.

Parameter/ Range

Off

Original

1x8”

1x10”

1X12”

2X12”

4X10”

4X12”

8X12”

Custom1

Custom2

Explanation

This turns off the speaker simulator.

This is the built-in speaker of the amp you selected with “Type.”

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

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

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

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

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

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

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

Custom speaker 1

Custom speaker 2

Mic Type *1

see below This setting selects the simulated mic type.

General dynamic mic used for instruments

DYN57

DYN421

CND451

CND87

FLAT

and vocals. Optimal for use in miking guitar amps.

Dynamic mic with extended low end.

Small condenser mic for use with instruments.

Condenser mic with flat response.

Simulates a mic with perfectly flat response. Produces a sonic image close to that of listening to the sound directly from the speakers (on site).

Mic Dis. (Mic Distance) *1

Off Mic, On Mic

Off Mic

This setting points the mic away from the speaker.

On Mic

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

Simulates the distance between the mic and speaker.

Mic Pos. (Mic Position) *1

Center, 1–10 This simulates the microphone position.

Center

Simulates the condition that the microphone is set in the middle of the speaker cone.

1–10

Simulates the condition that the microphone is moved away from the center of the speaker cone.

Mic Level *1

0–100 Adjusts the volume of the microphone.

Direct Level *1

0–100 Adjusts the volume of the direct sound.

*1 You can make separate settings for Channel A and

Channel B.

Chapter 4

Chapter 4 Introduction to Effects and Parameters

Type List

Type Explanation

JC CLEAN

JC-120

Warm Clean

Jazz Combo

Full Range

BrightClean

Clean TWIN

Pro Crunch

Tweed

Warm Crunch

Crunch

Blues

Wild Crunch

StackCrunch

VO Drive

VO Lead

VO Clean

MATCH Drive

Fat MATCH

MATCH Lead

BG Lead

BG Drive

BG Rhythm

SmoothDrive

Mild Drive

MS1959 (I)

MS1959 (II)

MS1959 (I+II)

MS HiGain

Power Stack

This is the sound of the Roland JC-120.

This gives a mellow, clean sound.

This is a sound suited to jazz.

This is a sound with flat response. Good for acoustic guitar

A bright, clean tone.

TW CLEAN

This models a Fender Twin Reverb.

This models a Fender Pro Reverb.

This models a Fender Bassman 4 x 10” Combo.

This gives a mellow, crunch sound.

CRUNCH

This is a crunch sound that can produce natural distortion.

This is a sound suited to blues.

This is a crunch sound with wild distortion.

This is a crunch sound with high gain.

COMBO

This models the drive sound of a VOX AC30TB.

This models the lead sound of the VOX AC30TB.

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

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

This models the sound of a Matchless with a modified high gain.

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

BG LEAD

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

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

This models the rhythm channel of a MESA/Boogie.

This is a smooth drive sound.

This is a mellow drive sound.

MS STACK

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

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

This models the sound of a Marshall 1959 with Inputs I and II connected in parallel.

This models the sound of a Marshall with a modified midrange boost.

This provides the sound of a stack amp with active type tone circuitry.

Type Explanation

R-FIER

Models the sound of the Channel 1 CLEAN

R-FIER Cln

R-FIER Raw

R-FIER Vnt1

R-FIER Mdn1

R-FIER Vnt2

R-FIER Mdn2

Mode on the MESA/Boogie DUAL Rectifier.

Models the sound of the Channel 2 RAW Mode on the MESA/Boogie DUAL Rectifier.

Models the sound of the Channel 2 VINTAGE Mode on the MESA/Boogie DUAL Rectifier.

Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL Rectifier.

Models the sound of the Channel 3 VINTAGE Mode on the MESA/Boogie DUAL Rectifier.

Models the sound of the Channel 3 MODERN Mode on the MESA/Boogie DUAL Rectifier.

T-AMP

T-AMP Clean

T-AMP Crunch

T-AMP Lead

Edge Lead

This models a Hughes & Kettner Triamp AMP1.

This models a Hughes & Kettner Triamp AMP2.

This models a Hughes & Kettner Triamp AMP3.

A sharp lead sound.

HiGAIN

SLDN

Drive Stack

Lead Stack

Heavy Lead

This models a Soldano SLO-100.

This is a drive sound with high gain.

This is a lead sound with high gain.

A powerful lead sound featuring extreme distortion.

METAL

5150 Drive

Metal Stack

Metal Lead

This models the lead channel of a Peavey EVH 5150.

This is a drive sound suited to metal.

This is a lead sound suited to metal.

CUSTOM

Custom1 Custom amp 1

Custom2 Custom amp 2

Custom3 Custom amp 3

+ 134 hidden pages