Yamaha GW50E User Manual

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FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class ”B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit ”OFF” and ”ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

Litiumbatteri! Bör endast bytas av servicepersonal. Explosionsfara vid felaktig hantering.

VAROITUS! Lithiumparisto, Räjähdysvaara. Pariston saa vaihtaa ainoastaan alan ammattimies.

ADVARSEL! Lithiumbatteri! Eksplosionsfare. Udskiftning må kun foretages af en sagkyndig, – og som beskrevet i servicemanualen.

CANADA

THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS.

LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “CLASSE B” PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA.

* This applies only to products distributed by YAMAHA CANADA MUSIC LTD. * Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée.

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SPECIAL MESSAGE SECTION

This product utilizes an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha.

WARNING: Do not place this product in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or 1 cm) is I8 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.

This product should be used only with the components supplied, or a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.

Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.

Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement.

This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged.

When installing batteries, do not mix old batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture.

Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.

Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly.

This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods 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 consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owner’s responsibility. Please study this manual carefully and consult your dealer before requesting service.

ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

NAME PLATE LOCATION: The graphic below indicates the location of the name plate for this model. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-BP

PLEASE KEEP THIS MANUAL

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Congratulations and thank you for purchasing the Yamaha GW50 Guitar Performance Effector. The GW50 combines high-quality multi effects for guitar (and other instruments as well) with a sophisticated backing section that provides realistic automatic rhythmic accompaniment for you to play along with. The dual functions — effects and backing — make the GW50 useful in a wide range of applications, from live performance and studio use to home recording and individual music practice.

Some of the advanced features of the GW50 include:

Effect Section

■ Five basic effect blocks, featuring Compressor,

Distortion, Equalizer, Chorus and Reverb/ Delay, plus additional effect types within each block, such as Overdrive, Wah, Amp Simulator, Flanger, Phaser, Pitch Shifter, Tap Delay, and a built-in Noise Gate.

■ User memory for storing up to 50 user-created

effect programs, all instantly selectable from the convenient Pedal Switches. (See pages 11,

25.)

■ High-quality sound in all effects, plus added

sonic benefit of having all effects integrated into one unit.

■ Comprehensive parameter control over all

effects, yet exceptional ease-of-use — you can adjust the main parameters of the effect blocks just as you would on conventional pedal effects.

Backing Section

■ A total of 248 automatic rhythm and accompa-

niment patterns, using realistic drum, bass and other backing instrument sounds. (See page 32.) The automatic accompaniment includes sophisticated chord control, with 25 different chord types available in all keys. (See pages 33-35.)

■ Song record capability, for creating songs with

the rhythm/accompaniment patterns and chord changes, as well as automating effect program changes, effect bypass and other functions. (See pages 36-38.)

■ A special Root Select function (see page 78),

which lets you change the root note of the backing chord by playing the note on your guitar, and Triggered Run (see page 82), which allows you to start a song or pattern just by playing a note on your guitar.

Other Features

■ Convenient Pedal Switch control over many

functions, including chord change, start/stop of pattern/song playback, bypassing of effects, and so on.

■ Built-in tuner, allowing you to tune your instru-

ment without removing it from the signal chain. (See page 39.)

■ Various MIDI features for interfacing with a

wide range of other MIDI devices. (See pages 101-107.)

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PRECAUTIONS

■ USE THE CORRECT POWER

SUPPLY

Power to the GW50 should be supplied only from the appropriate Yamaha AC adaptor (the included PA-3). Use of another adaptor may cause serious damage to the unit. Also make sure that the adaptor you have is appropriate for the AC mains supply voltage in the area where you intend to use the GW50. (The correct input voltage is marked on the adaptor.)

■ USE ONLY APPROPRIATE FOOT

CONTROLLERS AND FOOTSWITCHES

Certain functions of the GW50 can be controlled by the optional Yamaha FC7 Foot Con- troller and the FC5 (or FC4) Footswitch. Use of any other pedal or footswitch besides those recommended here may result in erratic operation or may cause some other trouble in the foot controller or footswitch itself.

■ MEMORY BACKUP

(This message appears only when the power is turned on, and stays in the LCD until a panel button is pressed.) When this happens, save all original data to a MIDI data storage device (see note below) or write down all necessary settings to a piece of paper, then have the battery replaced by qualified Yamaha service personnel as soon as possible. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF!

BACKING UP DATA—We recommend that you transfer all important data to a MIDI data re-

IMPORTANT

corder, such as the Yamaha MDF2 MIDI Data Filer or another data storage device, for safe, longterm storage. (For more information, refer to the section on the MIDI Bulk Dump function, page

102.) Yamaha cannot be held responsible for data loss caused by battery failure or improper operation of the GW50.

The GW50 memorizes the following data, even when the power is turned off: Memory effect

program data, Manual effect data (excepting main parameter values), song data, and general panel settings. The GW50 contains a

special long-life lithium battery that retains this data in the internal RAM memory. The battery should last for approximately five years from the date of manufacture. When the backup battery power becomes too low to maintain the memory contents, a warning message appears in the LCD:

PRECAUTIONS

■ AVOID PHYSICAL SHOCKS

Although the GW50 has been constructed to withstand the normal rigors of stage and studio use for optimum sturdiness and reliability, avoid subjecting it to strong physical shocks (such as dropping or hitting it), since this may damage the unit. Since the GW50 is a precision-made electronic device, also avoid applying excessive force to the various controls. Also, avoid stepping on any part of the GW50 other than the Pedal Switches, since this may damage or break the controls or glass of the display.

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PRECAUTIONS

■ AVOID EXCESSIVE HEAT,

HUMIDITY, DUST AND VIBRATION

Keep the unit away from locations where it is likely to be exposed to high temperatures (such as direct sunlight) or humidity. Also avoid locations which are subject to excessive dust accumulation or vibration which could cause mechanical damage.

■ DO NOT OPEN THE CASE OR

ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF

This product contains no user-serviceable parts. Refer all maintenance to qualified Yamaha service personnel. Opening the case and/or tampering in any way with the internal circuitry will void the warranty.

■ MAKE SURE POWER IS OFF

BEFORE MAKING OR REMOVING CONNECTIONS

■ CLEAN WITH A SOFT, DRY CLOTH

Never use solvents such as benzine or thinner to clean the unit, since these will damage the finish. Wipe clean with a soft, dry cloth. If necessary, use a soft, clean cloth slightly moistened with a diluted, mild detergent — making sure to wipe the case off again with a dry cloth.

■ ELECTRICAL INTERFERENCE

Since the GW50 contains digital circuitry, it may cause interference and noise if placed too close to TV sets, radios or similar equipment. If such a problem occurs, move the GW50 further away from the affected equipment.

■ MIDI CABLES

When connecting the GW50 to other MIDI equipment, be sure to use only high-quality cables made especially for MIDI data transmission. Also avoid cables longer than 15 meters, since long cables can result in data errors.

Always turn the power off prior to connecting or disconnecting cables.

■ HANDLE ALL CONNECTIONS

CAREFULLY

Always be careful to connect and disconnect all cables and cords by gripping the connector itself, not by pulling on the cord.

PRECAUTIONS

iii

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TABLE OF CONTENTS

PRECAUTIONS.................................................... ii

HOW TO USE THIS MANUAL

(READ THIS FIRST!!) ......................................... 1

THE GW50:

WHAT IT IS AND WHAT IT CAN DO ............. 2

PANEL CONTROLS AND TERMINALS .......... 5

ASSIGNABLE BLOCK AND PEDAL

SWITCH FUNCTIONS ................................ 10

GUIDED TOUR (TUTORIAL) — SETTING UP,

PLAYING AND USING YOUR GW50

SETTING UP AND PLAYING YOUR

GW50 .................................................................... 19

DEMO MODE — PLAYING THE

DEMONSTRATION SONGS .............................. 22

EFFECT SECTION ............................................... 24

PLAYING WITH SOME OF THE

EFFECTS .......................................................... 24

CHANGING THE SOUND OF

THE EFFECTS ................................................. 26

REFERENCE/EFFECT SECTION

ABOUT THE MANUAL, MEMORY AND

MEMORY EDIT MODES .................................... 43

MANUAL MODE ................................................. 44

Selecting an Effect Type ............................... 44

Turning Individual Effects On and Off......... 44

Editing Parameters ........................................ 44

Utility Functions............................................ 45

Determining the Order of the Effect

Blocks — CONNECT............................... 45

Bypass Switching of Effect Blocks —

GROUP ..................................................... 45

Setting the Function of the External Foot

Controller — FOOT.................................. 46

Setting the MINIMUM VOLUME Level (for External Foot Controller and ASSIGNABLE Block Volume Control) —

MIN VOL.................................................. 47

ASSIGNABLE Block Functions —

MIN/MAX Volume and Auto Volume......... 48

Setting the AUTO VOLUME Rate —

AUTO VOL .................................................. 49

CHANGING (EDITING) AN EFFECT

PROGRAM AND SAVING IT ........................ 29

USING THE NOISE GATE TO GET

A CLEAN SIGNAL .......................................... 31

BACKING SECTION ........................................... 32

PLAYING PATTERNS —

PATTERN MODE ............................................ 32

PLAYING AND RECORDING SONGS —

SONG MODE ................................................... 36

USING THE BUILT-IN TUNER ......................... 39

TABLE OF CONTENTS

MANUAL JOB MODE ........................................ 50

Saving the Manual Mode Settings to

an Effect Program ......................................... 50

MEMORY MODE ................................................ 51

Selecting Effect Programs............................. 51

Checking Parameter Values of the Effect

Program ......................................................... 51

ASSIGNABLE Block and Pedal Switch

Functions ....................................................... 51

Effect Program Selection .......................... 51

Bypass Switching of Effect Blocks .......... 52

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TABLE OF CONTENTS

MEMORY EDIT MODE .................................. 53

Compare Mode (Comparing the Edited

Program with the Original) ........................... 53

Saving the Memory Edit Mode Settings to

an Effect Program ......................................... 53

Recalling the Settings of the Original Program

(in Compare Condition) ................................ 54

MEMORY JOB MODE .................................... 54

Copying an Effect Program .......................... 54

Swapping One Effect Program with

Another.......................................................... 55

Naming an Effect Program ........................... 55

Using an External Footswitch ....................... 56

RESTORING FACTORY PRESET EFFECT

PROGRAMS ..................................................... 57

EFFECTS AND PARAMETERS ......................... 58

COMPRESSOR................................................. 58

DISTORTION ................................................... 59

SONG MODE ....................................................... 79

SONG PLAY MODE

(SONG PLAYBACK)....................................... 79

Selecting and Playing Songs ......................... 79

Cursor Control in Song Mode....................... 80

Changing the Tempo ..................................... 80

Muting the Accompaniment, Bass and

Drums ............................................................ 80

Position Controls........................................... 81

ASSIGNABLE Block and Pedal Switch

Functions in Song Mode ............................... 82

Backing Control —

Selecting and Playing a Song ................... 82

Triggered Run ........................................... 82

RECORDING AND EDITING SONGS .......... 83

REALTIME RECORDING MODE

(REALTIME RECORDING)............................ 83

ASSIGNABLE Block and Pedal Switch

Functions in Song Realtime Recording ........ 86

EQUALIZER..................................................... 59

CHORUS........................................................... 63

REVERB/DELAY............................................. 66

NOISE GATE ................................................... 69

REFERENCE/BACKING SECTION

PATTERN MODE ................................................ 73

Selecting and Playing Patterns...................... 73

Cursor Control in Pattern Mode.................... 74

Changing Chords........................................... 74

Changing the Tempo ..................................... 76

Muting the Accompaniment, Bass and

Drums ............................................................ 76

ASSIGNABLE Block and Pedal Switch

Functions in Pattern Mode ............................ 77

Backing Control ........................................ 77

Chord Recall ............................................. 77

Root Select ................................................ 78

Hints on Realtime Recording........................ 87

STEP RECORDING MODE

(STEP RECORDING)....................................... 88

SONG EDIT MODE (SONG EDITING) ......... 90

Viewing Recorded Events............................. 90

Editing (Changing) Recorded Events ........... 92

Erasing Recorded Events .............................. 92

Set A and Set B Operations .......................... 92

Marking Measure A and Measure B......... 92

Jumping to Measure A or Measure B....... 92

Loop (Repeat) Playback (A to B) ............. 92

Loop (Repeat) Recording (A to B) ........... 93

SONG JOB MODE ........................................... 94

Copying Measures Between A and B ........... 94

Deleting Measures Between A and B ........... 94

Naming Songs ............................................... 95

RESTORING FACTORY PRESET SONGS ... 95

TABLE OF CONTENTS

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TABLE OF CONTENTS

REFERENCE/OTHER FUNCTIONS

(TUNER/MIDI)

TUNER MODE ..................................................... 99

ASSIGNABLE BLOCK AND PEDAL

SWITCH FUNCTIONS CHART .......................... 128

MIDI ...................................................................... 101

MIDI BULK TRANSMISSION MODE .......... 102

CHANGING EFFECT PROGRAMS ON THE GW50 FROM A CONNECTED

DEVICE ............................................................ 103

CHANGING PROGRAMS ON A CONNECTED

DEVICE FROM THE GW50 ........................... 104

TURNING INDIVIDUAL EFFECTS ON AND OFF FROM A CONNECTED

DEVICE ............................................................ 104

SYNCHRONIZING ANOTHER DEVICE

WITH THE GW50 ............................................ 105

USING THE BACKING PATTERNS

TO PLAY OTHER SOUND MODULES ........ 106

APPENDICES

ERROR MESSAGES ............................................ 111

TROUBLESHOOTING ........................................ 114

EFFECT PARAMETER CHART ......................... 130

FACTORY SET MEMORY EFFECT

PROGRAM LIST .................................................. 132

MEMORY EFFECT PARAMETER LIST........... 133

MANUAL EFFECT FACTORY SET

PARAMETER CHART ........................................ 143

PRESET PATTERN LIST .................................... 144

DRUM AND PERCUSSION SOUNDS

USED FOR DRUM PARTS ................................. 146

FACTORY SET SONG LIST............................... 147

MIDI SPECIFICATIONS ..................................... 148

MIDI IMPLEMENTATION CHART .................. 150

SPECIFICATIONS ............................................... 117

INDEX ................................................................... 119

SUPPLEMENTAL INFORMATION

BLOCK DIAGRAM ............................................. 125

JOB TABLE .......................................................... 126

CHART OF CHORD FINGERINGS

FOR GUITAR ....................................................... 152

USE OF ADVANCED RECORDING TECHNIQUES

– FACTORY SET SONG 1 .................................. 153

DEMO SONG 1-6 – CHORD CHARTS .............. 156

TABLE OF CONTENTS

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HOW TO USE THIS MANUAL (READ THIS FIRST!)

HOW TO USE THIS MANUAL

You are probably eager to try out your new GW50 right away and hear what it can do, rather than have to read through a lot of instructions before you can even get a sound out of it.

Before you do anything else, however, you should read the PRECAUTIONS section. This tells you briefly how to care for your new GW50, how to avoid damaging it, and how to ensure long-term, reliable operation.

Next, read through the section The GW50:

WHAT IT IS AND WHAT IT CAN DO.

This briefly gives you an overview of the functions of the GW50 and how you can use it effectively.

The bulk of the manual has been organized into two parts: the GUIDED TOUR (TUTORIAL) and the REFERENCE section.

Read the GUIDED TOUR (TUTORIAL) next. It guides you step-by-step in setting up your GW50, connecting it properly, and (most importantly!) getting sound out of it. The section also goes on to take you through some of the more important functions of the GW50, explaining by way of example how to use it.

The PANEL CONTROLS AND TERMINALS is also mainly for reference. However, you should read through the parts here concerning the Pedal Switches, since these are particularly useful and convenient in operating the GW50. In general, look through this section to familiarize yourself with the controls, and refer to it when necessary.

The INDEX in the APPENDICES sections at the back of this manual is also very helpful. It lists and gives page numbers for virtually every function, feature, control and terminal found on the GW50, and gives you a quick, easy way to find what you’re looking for.

Other parts of the APPENDICES and SUPPLE- MENTAL INFORMATION sections provide additional useful information: lists of all effect programs, patterns and songs of the GW50, a list of error messages, tips on troubleshooting (when something doesn’t work as expected), and other important information.

(READ THIS FIRST!!)

The REFERENCE section, on the other hand, is a comprehensive guide to all functions. You won’t need (or want) to read through all of it at once, but it is there for you to refer to when you need information about a certain feature or function.

HOW TO USE THIS MANUAL

(READ THIS FIRST!!)

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THE GW50: WHAT IT IS AND WHAT IT CAN DO

WHAT IT IS …

Effect and Backing Sections

The GW50 is actually two different devices in one.

On the one hand, it has an Effect section which provides high-quality and easy-to-use multi effects designed especially for processing electric guitar.

On the other, it has a Backing section which provides realistic automatic rhythm, chord and bass patterns for creating your own accompaniment. Moreover, the GW50 includes a built-in tuner for tuning your instrument without having to remove it from the effect chain.

The Effect section has two mode groups: Manual, which lets you use the GW50 effects just as would a normal pedal effect unit, and Memory, which lets you call up preset effect programs and create your own original programs.

The Backing section also has two mode groups: Pattern, which lets you play the various rhythm patterns, and Song, which lets you play pre-programmed songs and create your own original songs.

Modes of the GW50

The tree chart on the next page shows the relationships of the various modes of the GW50. There are four main modes — Manual, Memory, Pattern and Song — indicated by the shaded areas. All other modes are either separate from them (as with Tuner, MIDI Bulk Transmission and Demo) or are subordinate to them.

The Effect and Backing sections are active simultaneously; however, when making adjustments or performing certain operations within a mode in one of the sections, generally you should press the desired mode button ([MANUAL], [MEMORY] or [SONG/PATTERN]) to make sure that the mode is properly called up before attempting the operation.

Functions in Each Mode

Specific functions and operations of the various modes include:

Manual: Changing the parameters of the effects. Manual Job: Storing parameter settings to a pro-

gram.

Memory: Selecting and using an effect program. Memory Edit: Changing the parameters of an

effect program.

Memory Edit Compare: Comparing the sound and

values of edited program with the original.

Memory Job: Copying, swapping and naming

effect programs.

Pattern: Playing the patterns of the Backing sec-

tion.

Song: Playing a song, or using the Step Recording

features to edit a song.

Song Realtime Recording: Recording events to a

song in realtime.

Song Job: Copying or deleting measures within a

song; naming a song.

Keep in mind as you read this manual that the phrase “main modes” refers to the Manual, Memory, Pattern and Song modes, and that “mode buttons” refers to the [MANUAL], [MEMORY] and [SONG/PATTERN] buttons.

THE GW50: WHAT IT IS AND WHAT IT CAN DO

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EFFECT SECTION

THE GW50: WHAT IT IS AND WHAT IT CAN DO

MANUAL MODE

MEMORY MODE

BACKING SECTION

PATTERN MODE

SONG MODE

(PLAY / STEP RECORDING / EDIT)

TUNER MODE

MIDI BULK TRANSMISSION MODE

DEMO MODE

JOB MODE

EDIT MODE

COMPARE MODE

JOB MODE

REALTIME RECORDING MODE

JOB MODE

Main modes

The illustration below shows what comprises an effect program (either Manual or Memory), and

Contents of an Effect Program

ONE EFFECT PROGRAM

Noise

Gate

EFFECT ORDER

EFFECT TYPE

EFFECT PARAMETERS

BYPASS SETTINGS

OTHER UTILITY SETTINGS (Group, Foot Controller, Minimum Volume, Auto Volume)

order changeable

Compressor

Distortion Equalizer Chorus

•DIST1

•DIST2

•DIST3

•DIST4

•Overdrive

•

Equalizer

•

Wah+EQ

•Amp Simulator +EQ

order changeble

Reverb/Delay

•

Chorus 1

•Chorus 2

•Pitch Shifter

•Flanger

•Phaser

•Reverb Delay (Tap)

•

•Delay

+Reverb

OUT

the bank number/program number configuration to which they can be stored.

Manual Effect Program

write

(store)

Memory Effect Program

There are 50 factory preset memory effect programs. These can be freely edited and stored.

Bank

number

Program number

THE GW50: WHAT IT IS AND WHAT IT CAN DO

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THE GW50: WHAT IT IS AND WHAT IT CAN DO

The illustration below shows how the Pattern mode and Song mode are used.

Pattern Mode

In the Pattern mode, individual patterns are played back and repeated.

(for examples, 2 measures)

WHAT IT CAN DO …

Here are a few ideas on how you can use your GW50. The list below is in no way comprehensive, but is meant to be a starting point or springboard for your own creative ideas and explorations.

■ All-in-one effect unit for

on the stage, in the studio, or in rehearsal

With its five effect blocks, the GW50 has all you need to augment your sound, whatever the application. Any or all five effects can be used in virtually any combination as an effect program, and you can instantly select from 50 different effect programs as you play. Plus, flexible effect bypass (on/off) functions give you even more real time control over the sound.

Song Mode

In the Song mode, the preset patterns can be strung together to create a song. Other events, such as chord changes and muting events, can also be entered.

Pattern A Pattern B

Recorded events (chord changes, muting events etc.)

Having the full accompaniment behind you is a much more inspiring and exciting way of practicing than using just a metronome.

■ Sketchpad for composing and

arranging

The accompaniment features can also be used to help you flesh out your own musical ideas. With the wealth of chords (a total of 25 different chord types for each of the 12 keys) and the convenient editing features, the GW50 makes it exceptionally easy to quickly turn your inspirations into complete songs. Plus, the extraordinarily realistic sounds give you the tools to present polished versions of your ideas to others.

Now that you have a basic idea of how the GW50 can help you in your music, go on to the GUIDED TOUR (TUTORIAL), and learn how to set up and use your GW50.

■ Convenient practice tool

The rhythm, bass and accompaniment patterns of the GW50 are perfect for playing along with. By stringing together the rhythm patterns and recording chord changes, you can create and playback complete songs over which you can practice.

THE GW50: WHAT IT IS AND WHAT IT CAN DO

Page 14

PANEL CONTROLS AND TERMINALS

This section shows and explains all of the controls and terminals of the GW50. Since the explanations below are fairly brief, you should turn to the page references given for more information on individual buttons and features.

A few general comments:

PANEL CONTROLS AND TERMINALS

■ Some of the buttons described below must be

pressed together to call up a certain function. These are indicated either by a “+” mark (for example, “[SHIFT] + [SUB PARAM]”), or by the word “with” (for example, “With [SHIFT]:”).

■ Markings for three of the panel controls which

are used simultaneously with another control —

SHIFT

CHORD

and B (for the ASSIGNABLE Block Pedal Switch) — are enclosed in a border which indicates the direction(s) in which their companion controls can be found. For example, the

CHORD

mark points to the right,

indicating that the settings below the buttons on the right can be selected by simultaneously pressing

CHORD

and the appropriate button.

■ Also, keep in mind that the function which is

enabled — simultaneously holding down

SHIFT

or B, and pressing that

CHORD

button — is always printed below the button.

■ The buttons whose primary functions are indi-

cated in boxed titles above each button ([MANUAL], [MEMORY] and [SONG/PAT- TERN]) are referred to as the “mode buttons” and can be conveniently used as exit buttons to “escape” from most in-progress operations (such as Copying, Naming, MIDI Bulk Transmission, etc.).

■ All controls that are used to increase or de-

crease values feature continuous and rapid operation, to let you more quickly and easily reach a desired value. With the [–]/[+] buttons, hold down one button to continuously move through the values and, while holding down that button, press the other to increase the speed. Releasing the second button returns to normal speed. With Pedal Switches 1 and 2 (when used for [–]/[+] control) and the Position Control buttons (<, >, etc.), holding down the appropriate control moves through the values with increasing speed.

PANEL CONTROLS AND TERMINALS

Page 15

PANEL CONTROLS AND TERMINALS

■ TOP PANEL

5 6

8 9

1Effect Type Switch

• For selecting the different effect types available in each effect block. These are active only in the Manual and Memory Edit modes. (See pages 26,

44.)

2Parameter Knobs

• For adjusting the main parameters of the effects. These are active only in the Manual and Memory Edit modes. (See page 26.)

3Effect Block Pedal Switches

• The Pedal Switches have different functions depending on the mode selected. In Manual mode: For turning individual effect

blocks (or groups) on and off. (See page 11.)

In Memory mode: For selecting effect pro-

grams and changing the banks of the effect programs. (See page 11.) Also, when ASSIGNABLE Pedal Switch has been pressed twice quickly, for turning individual effect blocks (or groups) on and off. (See page 11.)

12 13

In Memory Edit mode: For selecting which

effect blocks are active in an effect program. (See page 11.)

In Pattern mode: For performing various

control functions, such as (when BACKING CONTROL is selected) selecting patterns, starting or stopping a pattern, or (in CHORD RECALL) changing to pre-assigned chords. (See page 12.)

In Song mode (playback): For performing

various control functions, such as: selecting songs, fast forwarding/rewinding within a song, starting/stopping songs. (See page 13.)

In Song mode (recording): For starting or

stopping song recording and selecting preassigned chords. (See page 13.)

• The REVERB/DELAY Pedal Switch is also used as a delay time tap control. (See page 67.)

For more information on the Pedal Switches, see the boxed section “ASSIGNABLE BLOCK AND PEDAL SWITCH FUNCTIONS” on pages 10-14.

PANEL CONTROLS AND TERMINALS

Page 16

PANEL CONTROLS AND TERMINALS

4MANUAL (TUNER)

• For selecting the Manual mode. Pressing this button in any operating condition calls up the Manual mode.

• With [SHIFT]: For selecting the Tuner function. (See pages 39, 99.)

5MEMORY (COPY/NAME)

• For selecting the Memory mode. Pressing this button in any operating condition calls up the Memory mode.

• With [SHIFT]: For calling up (and toggling between) the Effect Copy, Effect Swap and Effect Name operations.

6EDIT/COMPARE (MIDI BULK)

• In Memory mode: Selects the Memory Edit mode, and serves as a Compare switch to toggle between the newly edited settings of an effect program and its original settings (the LED flashes in the Compare condition). (See pages 29, 53.)

• With [SHIFT]: For calling up the MIDI Bulk Transmission operation. (See page 102.)

7Effect Utility Switch

(CONNECT … AUTO VOL)/(SUB PARAM)

• For selecting the miscellaneous Utility functions of the GW50:

■ CONNECT — For determining the order of

the effect blocks. (See page 45.)

■ GROUP — For simultaneously switching

several effect blocks on/off. (See page 45.)

■ FOOT (Foot Controller) — For determin-

ing how the optional FC7 Foot Controller is used. (See pages 46, 47.)

■

MIN VOL (Minimum Volume) — For determining the minimum volume setting for the optional FC7 Foot Controller and the ASSIGNABLE Block Pedal Switch (which can be used to instantly change between minimum and maximum volume). (See page 47.)

■ AUTO VOL (Auto Volume) — ASSIGN-

ABLE Block Pedal Switch can be used to gradually fade up volume at the rate set here. (See page 49.)

• With [SHIFT]: For calling up Noise Gate effect parameter. (See pages 31, 69.) This also calls up the sub parameters of the Equalizer, Chorus and Reverb/Delay effects. (See page 44.)

8~# Position Control Buttons 8~@ Effect Selector Buttons

8CMP/<< (SONG NAME)

• After pressing [SHIFT] + [SUB PARAM]:

Calls up Noise Gate parameter.

• In Connect and Group functions: Selects

Compressor effect block.

• In Song mode: For moving to the top of the

current or last measure. Hold down for rapid operation.

• In Song mode, with [v]: For returning to the

beginning of a song.

9DST/< (MEAS DEL)

• After pressing [SHIFT] + [SUB PARAM]:

Calls up Noise Gate parameter.

• In Connect and Group functions: Selects

Distortion effect block.

• In Song mode: For moving backward in 16th-

note steps. Hold down for rapid operation.

• In Song mode (with [SHIFT]): For deleting a

selected range of measures from a song.

• In Song mode, with [n]: For returning to the

beginning of a song.

0EQ/> (MEAS COPY)

• After pressing [SHIFT] + [SUB PARAM]:

Calls up Equalizer Sub parameters.

• In Connect and Group functions: Selects

Equalizer effect block.

• In Song mode: For moving forward in 16th-

note steps. Hold down for rapid operation.

• In Song mode, with [>>]: For moving to the end

(last recorded event) of a song.

• In Song mode (with [SHIFT]): For copying a

selected range of measures in a song.

PANEL CONTROLS AND TERMINALS

Page 17

PANEL CONTROLS AND TERMINALS

5 6

8 9

!CHO/>> (ERASE)

• After pressing [SHIFT] + [SUB PARAM]:

Calls up Chorus Sub parameters.

• In Connect and Group functions: Selects

Chorus effect block.

• In Song mode: For moving to the top of the

next measure. Hold down for rapid operation.

• In Song mode, with [>>]: For moving to the end

(last recorded event) of a song.

• In Song mode (with [SHIFT]): For erasing the

recorded event(s) at a specific position in a song.

@REV/SET-A (JUMP-A)

• After pressing [SHIFT] + [SUB PARAM]:

Calls up Reverb/Delay Sub parameters.

• In Connect and Group functions: Selects

Reverb/Delay effect block.

• In Song mode: For setting the “A” mark in a song. Pressing [SHIFT] + [JUMP-A] jumps to the A-marked measure.

12 13

#Foot Controller/SET-B (JUMP-B)

• In the Foot (Foot Controller) function: For

determining how the connected foot controller is used. (See page 46.)

• In Song mode: For setting the “B” mark in a song. Pressing [SHIFT] + [JUMP-B] jumps to the B-marked measure.

$SHIFT

• For selecting the shifted-state functions, indicated by the names printed below the appropriate buttons. Hold down this button and simultaneously press the appropriate button. (The arrow marks printed with the button name indicate the direction in which the appropriate buttons can be found.)

%– (ACCOMP)

• For decreasing a selected parameter value (as described for the modes below). Hold down for rapid operation.

PANEL CONTROLS AND TERMINALS

Page 18

PANEL CONTROLS AND TERMINALS

In Song/Pattern mode: For decreasing the

value at the cursor position (for example, Tempo or Pattern).

In Memory mode: For moving backward through

the effect programs, one by one (when the cursor arrow is not shown in the display).

In Manual and Memory Edit mode (sub pa-

rameters, MIN VOL, and AUTO VOL): For

decreasing the value of the selected sub parameter (when the cursor arrow is at the bottom of the display).

• With [SHIFT] (in the Song/Pattern modes):

For turning the sound of the Backing Accompaniment on and off, while the song or pattern is playing.

^+ (BASS)

• For increasing a selected parameter value (as described for the modes below). Hold down for rapid operation. In Song/Pattern mode: For increasing the value

at the cursor position (for example, Tempo or Pattern).

In Memory mode: For moving forward through

the effect programs, one by one (when the cursor arrow is not shown in the display).

In Memory Edit mode (sub parameters, MIN

VOL, and AUTO VOL): For increasing the

value of the selected sub parameter (when the cursor arrow is at the bottom of the display).

• With [SHIFT] (in the Song/Pattern modes): For turning the sound of the Backing Bass on and off, while the song or pattern is playing.

*SONG/PATTERN (SONG REC)

• For switching between the Song and Pattern modes. The LED of the selected function lights.

• With [SHIFT]: For enabling realtime recording of a song (the LED flashes to indicate record standby). (See pages 37, 84.)

(START/STOP (A-B REPEAT )

• For starting/stopping the Backing Song or Pattern (the LED flashes).

• With [SHIFT]: For enabling the Repeat func- tion. (See pages 92, 93.)

)CHORD

• Similar to [SHIFT], for selecting the secondary (lower) functions of the Chord buttons. The arrow mark pointing right (printed with the button name) indicates the direction in which the appropriate buttons can be found. (For details on this and other chord-related functions, refer to pages 74-76.)

qChord Buttons

• For selecting the chord root note, or (after pressing [CHORD] + [on/ROOT]) for select- ing the bass note.

• With [CHORD]: For selecting the chord type.

wENTER (on/ROOT)

• In Song mode (step recording): For recording or entering event data to a song.

• With [CHORD]: For enabling selection of the bass note.

&6 CURSOR (DRUMS)

• In Song/Pattern modes: For moving the cursor

arrow in the display.

• With [SHIFT] (in Song/Pattern modes): For

turning the sound of the Backing Drums on and off, while the song or pattern is playing.

PANEL CONTROLS AND TERMINALS

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PANEL CONTROLS AND TERMINALS

LCD Display

1 INPUT PEAK indicator — for monitoring the input signal

level (lights continuously when level is too high).

2 BANK/MEMORY indicator — displays the memory bank

and program numbers. When selecting songs, this briefly displays the song number. In the Tuner function, this displays the string number (when an open string is played) and/or the name of the note played (for example, 6E).

3 Sharp indicator — This flashes when a sharp note (for

example, G or C) is played in the tuner function.

4 6 — This cursor arrow points to a value in the display that can

currently be changed by using the [–]/[+] buttons. When [MANUAL] or [MEMORY] are pressed (calling up

the Effect mode display), the arrow automatically disappears from the display. You can use [6 CURSOR] to move the cursor arrow back “in” the display. When [SONG/PAT- TERN] is pressed (calling up the Backing mode display), the cursor automatically appears in the display.

Note: Other display indications are explained later in

the relevant sections of the manual.

ASSIGNABLE Block Controls

eASSIGNABLE Block Type Switch

• For selecting various control functions for the ASSIGNABLE Block Pedal Switch and the other Pedal Switches including effect program selection, turning individual effect blocks (or groups) on and off, MIN/MAX Volume, Auto Volume, Backing Control and Chord Recall.

rASSIGNABLE Block Pedal Switch

• For performing various control functions, including effect program selection, turning individual effect blocks (or groups) on and off, MIN/MAX Volume, Auto Volume, Backing Control and Chord Recall. (The arrow mark printed with the button name at the bottom left indicates the direction in which the appropriate buttons can be found.)

For more information on the ASSIGNABLE Block Pedal Switch and the other Pedal Switches, see the section “ASSIGNABLE BLOCK AND PEDAL SWITCH FUNCTIONS” on pages 10-14.

ASSIGNABLE BLOCK AND PEDAL SWITCH FUNCTIONS

ABOUT THE ASSIGNABLE BLOCK LED INDICATORS

Indicates bank/

program number

can be selected.

Indicates maximum

volume.

Indicates maximum

volume.

(active).

LED status

: Lit : Flashing : Off

Indicates effect

(or effect group) can

be turned on/off.

Indicates minimum

volume.

Indicates mute

or fade-in condition.

Indicates Triggered

Run standby condition.

(not active).

Off

The following illustration shows how and under what conditions the ASSIGNABLE block LEDs are lit.

Off

MEMORY ( BANK)/ x2 ON•OFF

MIN/MAX VOLUME

AUTO VOLUME ( MUTE

BACKING CONTROL

CHORD RECALL

When [MANUAL] is pressed

When [MEMORY] is pressed When [SONG/PATTERN] is pressed When [SHIFT] + [SONG REC]

ressed

are

FADE IN)

Note: The MEMORY LED above will still be lit or flashing, even if either of these is on.

the MEMORY LED here flashes, and no other LED in this block is lit.

only the MEMORY LED here is lit or flashing. only the BACKING CONTROL LED is lit. only the CHORD RECALL LED is lit.

PANEL CONTROLS AND TERMINALS

Page 20

PANEL CONTROLS AND TERMINALS

ABOUT THE PEDAL SWITCHES

The Pedal Switches have many different functions, depending on the ASSIGNABLE block settings (indicated by the LEDs in the ASSIGNABLE block) and the selected mode. The following panel illustrations and explanations should help you in understanding how the Pedal Switches are used.

In the Manual, Memory* and Memory Edit modes:

When switching on/off individual effect blocks (or Groups) is enabled — * Available in Memory mode only when ASSIGNABLE Block Pedal Switch has been pressed twice

quickly (enabling effect on/off control).

Memory LED flashes.

Turns Compressor (or selected Group) on or off.

Turns Distortion (or selected Group) on or off.

Turns Equalizer (or selected Group) on or off.

Turns Chorus (or selected Group) on or off.

In the Memory mode:

When selection of effect bank number/program number is enabled —

Memory LED is lit continuously.

Selects effect program number 1 (for the current bank); with the ASSIGNABLE Block Pedal Switch, selects bank 1 or 6.

Selects effect program number 2 (for the current bank); with the ASSIGNABLE Block Pedal Switch, selects bank 2 or 7.

Selects effect program number 3 (for the current bank); with the ASSIGNABLE Block Pedal Switch, selects bank 3 or 8.

Pressing twice quickly enables Pedal Switch control over on/off of individual effect or selected Group.

Selects effect program number 4 (for the current bank); with the ASSIGNABLE Block Pedal Switch, selects bank 4 or 9.

Pressing this once and pressing another Pedal Switch selects banks 1 – 5.

Holding this and pressing another Pedal Switch selects banks 6 – 0.

(when either of those functions have been selected with the type switch).

Turns Reverb/Delay (or selected Group) on or off.

Selects effect program number 5 (for the current bank); with the ASSIGNABLE Block Pedal Switch, selects bank 5 or 0.

For controlling MIN/MAX VOLUME or AUTO VOLUME

In Memory mode, pressing once enables effect program selection with Pedal Switches 1–5. For controlling MIN/MAX VOLUME or AUTO VOLUME (when either of those functions have been selected with the type switch).

PANEL CONTROLS AND TERMINALS

Page 21

PANEL CONTROLS AND TERMINALS

In the Pattern mode:

With BACKING CONTROL selected — When pattern is stopped:

Decreases pattern number by 2 (every other odd numbered pattern).

Increases pattern number by 2 (every other odd numbered pattern).

When pattern is playing back:

Decreases pattern number by 2 (every other odd numbered pattern).

Increases pattern number by 2 (every other odd numbered pattern).

Pressing once selects CHORD RECALL; holding this and pressing one of Pedal Switches 1 – 4 assigns current chord to the pressed Pedal Switch. Holding this enables the Root Select function (see page 78).

Plays fill in pattern. Plays ending pattern

(then stops playback).

Starts pattern playback.

Stops pattern playback.

In the Pattern mode:

With CHORD RECALL selected —

Plays chord 1 (with ASSIGNABLE Pedal Switch; assigns chord 1).

PANEL CONTROLS AND TERMINALS

Plays chord 2 (with ASSIGNABLE Pedal Switch; assigns chord 2).

Plays chord 3 (with ASSIGNABLE Pedal Switch; assigns chord 3).

Plays chord 4 (with ASSIGNABLE Pedal Switch; assigns chord 4).

Pressing once selects BACKING CONTROL; holding this and pressing one of Pedal Switches 1 – 4 assigns current chord to the pressed Pedal Switch. Holding this enables the Root Select function (see page 78).

Starts/stops pattern playback.

Page 22

In the Song mode (playback):

With BACKING CONTROL selected — When song is stopped:

PANEL CONTROLS AND TERMINALS

Decreases song number by 1.

Increases song number by 1.

When song is playing back:

Moves to previous measure.

Moves to beginning of current measure.

Moves to next measure.

Starts song playback.

Holding this and pressing Pedal Switch 5 enables

Triggered Run function (see page 82).

Stops song playback.

In the Song Realtime Recording mode:

With CHORD RECALL selected —

Plays chord 1. Plays chord 2.

Plays chord 3. Plays chord 4.

Starts/stops song recording.

PANEL CONTROLS AND TERMINALS

Page 23

PANEL CONTROLS AND TERMINALS

* The following chart shows which ASSIGNABLE Block functions are available in which modes.

Also refer to the section “ASSIGNABLE BLOCK AND PEDAL SWITCH FUNCTIONS CHART” on page 128.

ASSIGNABLE Block function Manual Memory

MEMORY: BANK/NUMBER select × ● × —— —

MEMORY: ON/OFF ● ● ● —— — MIN/MAX VOLUME ● ● ● —— — AUTO VOLUME ● ● ● —— — BACKING CONTROL — — — ● ● × CHORD RECALL — — — ● × ●

● : Available

× : Not available — : Not relevant (to this mode)

Shaded sections indicate settings that are automatically selected when the corresponding mode buttons are pressed.

Memory Edit Recording

Pattern Song

Song Realtime

PANEL CONTROLS AND TERMINALS

Page 24

■ REAR PANEL

PANEL CONTROLS AND TERMINALS

12 34

1POWER ON/OFF Switch

2DC IN Terminal

For connection to the supplied PA-3 AC adaptor. The cable clip located next to this terminal helps to prevent accidental unplugging of the power supply during use. Wrap the adaptor cord firmly around the clip (as shown at right).

5 67 890!@ #

5L/L+R OUTPUT and R OUTPUT Jacks

For stereo or mono output of the instrument/ effect sound. Connect both of these to the corresponding left and right channels of your stereo amplification system to take full advantage of the stereo effects of the GW50. For mono operation, connect your system to the L/L+R jack; this provides a mono mix of the instrument/effect sound.

6BACKING/MONO OUTPUT Jack

When only this output jack is connected, this outputs a mono mix of the Backing Accompaniment, Bass and Drums sound, plus the input instrument/effect sound. When the other output(s) are also connected, only the Backing sound is output from this jack.

3PHONES Jack

For output of both the Backing sound (mono) and the instrument/effect sound (stereo) to a set of stereo headphones.

4Headphone LEVEL Control

For adjusting only the headphone output; this does not affect the output of the other output jacks.

7BACKING LEVEL Control

For adjusting the level of the Backing Accompaniment, Bass and Drums output.

8Input LEVEL Control

For adjusting the level of the input signal.

9INPUT Jack

For connection of an instrument (guitar, bass, etc.). (See pages 19, 20 for more information on input/output connections.)

PANEL CONTROLS AND TERMINALS

Page 25

PANEL CONTROLS AND TERMINALS

0LCD SETTING Switch

Two-position (Floor/Desktop) switch for setting the display contrast for optimum viewing.

!FOOT SW Jack

For connection of an optional footswitch (Yamaha FC5 or FC4), for controlling certain functions and parameters as you play. (See pages 56, 57.)

@FOOT CONTROLLER Jack

For connection of an optional foot controller (Yamaha FC7), for controlling certain functions and parameters as you play. (See page 46.)

#MIDI IN/OUT Terminals

For connection of MIDI cables, when using the GW50 with other MIDI devices. (See page

101.)

PANEL CONTROLS AND TERMINALS

Page 26

GUIDED TOUR (TUTORIAL) —

SETTING UP, PLAYING AND

USING YOUR GW50

SETTING UP AND PLAYING YOUR

GW50 .................................................................... 19

DEMO MODE — PLAYING THE

DEMONSTRATION SONGS .............................. 22

EFFECT SECTION ............................................... 24

PLAYING WITH SOME OF THE

EFFECTS .......................................................... 24

CHANGING THE SOUND OF

THE EFFECTS ................................................. 26

CHANGING (EDITING) AN EFFECT

PROGRAM AND SAVING IT ........................ 29

USING THE NOISE GATE TO GET

A CLEAN SIGNAL .......................................... 31

BACKING SECTION ........................................... 32

PLAYING PATTERNS —

PATTERN MODE ............................................ 32

PLAYING AND RECORDING SONGS —

SONG MODE ................................................... 36

USING THE BUILT-IN TUNER ......................... 39

Page 27

GUIDED TOUR (TUTORIAL)

SETTING UP AND PLAYING YOUR GW50

Page 28

GUIDED TOUR (TUTORIAL)

SETTING UP AND PLAYING YOUR GW50

Once you’ve taken your GW50 out of the box and are ready to use it, follow the simple instructions below in making the connections and setting it up.

1. First, make sure that the power switch on the

GW50 is off before making ANY connections.

INPUT

2. Plug the DC output cable from the supplied

PA-3 adaptor into the DC IN terminal on the rear panel, then plug the adaptor into a convenient AC outlet.

For the sake of these instructions, we’ll assume you’re using an electric guitar; however, most any electronic instrument can be

DC IN

Cable clip (see page 15).

used.

Note: Be sure to check whether the rated voltage is

appropriate. The provided adaptor is intended for use in the area which you purchased the GW50. If you intend to use it in a different area, consult your Yamaha dealer for more information on voltage requirements.

Do not attempt to use a different AC adaptor with the GW50. The use of an incompat-

CAUTION

ible adaptor may cause irreparable damage to the unit and pose a serious shock hazard.

3. Plug your instrument into the INPUT jack on

the rear panel.

Note: You should be careful if you are connecting a

synthesizer or electronic keyboard; generally their output level is much higher than that of a guitar and the input level (see step #6 below) should be turned down accordingly.

Do not connect the BACKING/MONO output jack with the INPUT jack in an attempt to

CAUTION

use the effects of the GW50 on the Backing sound. Doing so results in feedback.

4. Connect the GW50 outputs to your amplifier/

speaker system, making sure that the power on the system is first turned off.

Four example connection systems are shown below. Use the one which most closely resembles your own system.

Note:When using Distortion on the GW50,

use the clean channel of the guitar amp.

SETTING UP AND PLAYING YOUR GW50

Page 29

GUIDED TOUR (TUTORIAL)

Example 1 — One Input

In this system, a guitar amp with only one input is used. Since the Backing sound and instrument/effect sound are output together, adjust the balance between the two with the rear panel BACKING LEVEL control.

Example 2 — Two Inputs

In this system, a guitar amp with two inputs is used. The balance between the instrument/effect output and the Backing sound can be adjusted on the amp.

Example 3 — Guitar Amp(s) and Stereo System

In examples 2, 3 and 4 above, only the Backing parts (rhythm, accompaniment, etc.) are output from the BACKING/MONO jack and only the instrument/effect sound is output from the L/L + R jack or the L/L + R and R jacks.

You can also listen to the GW50 through a set of headphones. Connect them to the PHONES jack on the rear panel.

5. If you have them, connect a foot controller

(the optional Yamaha FC7) to the FOOT CONTROLLER jack, and a footswitch (the optional Yamaha FC5 or FC4) to the FOOT SW jack.

Here, a stereo system is used

Stereo

System

Use this (the L/L + R) jack if only one amp is available.

for only the Backing sound, while the instrument/effect sound goes into one or two guitar amps.

Example 4 — Mixing Console

This set up is best used with the Amp Simulator effect. In this system for studio recording applications, the Backing sound only goes into one channel of a mixer, while the left and right

Mixing

channels of the instrument/effect sound go into separate mixer channels.

Console

SETTING UP AND PLAYING YOUR GW50

This step isn’t necessary for using your GW50 for the first time; however, you may wish later to take advantage of some of the external foot controller and footswitch functions. (See pages 46, 56 for more information.)

6. Make sure that all volume settings are at the

minimum: the guitar controls, the INPUT LEVEL and BACKING LEVEL on the GW50 (and the PHONES LEVEL, if you’re using headphones), and the volume on the amp.

Page 30

GUIDED TOUR (TUTORIAL)

Note: To set the controls on the GW50 to minimum,

turn them all the way counterclockwise.

7. Turn on the power of all the equipment,

starting with the GW50, then the connected amplifier. * Adjust the LCD SETTING switch on the

rear panel to set the LCD for proper viewing. Set it to FLOOR when you are using the GW50 on the floor, and to DESKTOP when you have it set on a table or desk in front of you.

8. Before turning up the volume and trying to

play, set all effects to off.

To do this, press [MANUAL] (even if the [MANUAL] LED is lit) …

9. While playing your guitar, slowly bring up

the volume controls to suitable levels — starting with the amp, then the guitar output.

Finally, adjust the input level control on the rear panel. Increase the level slowly as you play the guitar while looking at the INPUT PEAK indicator on the panel. The indicator should flash only slightly when you play the guitar at its loudest.

Also, check that the guitar sound doesn’t have distortion at its loudest.

10. Do the same with the BACKING LEVEL.

…then, if any effect block LED is lit, press Pedal Switches 1–5 to turn all effects off (all effect block LEDs should be off).

off

press these

First turn the backing on by pressing [START/STOP]…

…then turn up the BACKING LEVEL to a suitable volume.

If you’ve followed all these instructions carefully, you should be able to hear both your guitar sound processed by the effects, and the sound of the backing parts.

Note: To stop the backing, press [START/STOP]

again.

SETTING UP AND PLAYING YOUR GW50

Page 31

GUIDED TOUR (TUTORIAL)

DEMO MODE — PLAYING THE DEMONSTRATION SONGS

The GW50 features a special Demo mode that showcases some of the interesting things that can be accomplished by using the Backing patterns and the song recording functions. The Song Demo plays continuously through preset songs 1 to 6, while the Pattern Demo plays various patterns in succession. Try playing along on your guitar with both of the demos, since they feature some effect program changes as well.

To use the Demo mode:

1. Simultaneously hold down [SONG/PAT-

TERN] and press [START/STOP].

Note: The Demo mode cannot be entered from the Memory

Edit modes (EDIT/COMPARE LED is lit or flashes). In this case, exit the Memory Edit modes (see pages 30, 53).

(You can abort or exit the Demo mode at this stage by pressing any of the mode buttons.)

2. Select the Song Demo by pressing [SET-A]

(below “SONG” in the display), or the Pattern Demo by pressing [SET-B] (below “PTN” in the display).

Select Pattern Demo

Select Song Demo

The Song or Pattern Demo begins playing once you press the appropriate button. (The [START/STOP] LED flashes.)

3. While the Song Demo or Pattern Demo is

playing back, try playing your guitar along with the song or pattern.

You’ll notice that some effect program changes have been recorded to the Demo, automatically changing the sound as you play.

If you’ve selected the Pattern Demo, you can change chords as it plays by pressing Pedal Switches 1 – 4. The following chords have been assigned to the Pedal Switches:

DEMO MODE — PLAYING THE DEMONSTRATION SONGS

Am F G

Page 32

GUIDED TOUR (TUTORIAL)

4. To stop the Demo, press [SET-B] (below

“STOP” in the display) or [START/STOP] (or any of the mode buttons).

Note: All the songs or patterns play in succession

indefinitely until stopped.

Note:While the Demo mode is called up,

other functions are not active.

DEMO MODE — PLAYING THE DEMONSTRATION SONGS

Page 33

GUIDED TOUR (TUTORIAL)

The GW50 is equipped with a comprehensive set of effects designed specifically for the guitar player. As you’ll see below, the GW50 lets you switch these effects on and off as needed and adjust them quickly and easily from the panel controls and Pedal Switches.

The effects are divided into five groups or blocks, and they include the following

specific effects:

EFFECT SECTION

Compressor

Distortion

Equalizer

Chorus

Reverb/Delay

(Refer to the “EFFECTS AND PARAMETERS” section, page 58, for more detailed descriptions and explanations of these effects.)

A programmable Noise Gate is also included for filtering out hum, hiss and

other undesirable noise when the signal is low. (See pages 31, 69.)

Compressor Distortion 1, 2, 3, 4, and Overdrive Four-band Parametric EQ, Wah + Two-band EQ, and Amp Simulator + Two-band EQ Chorus 1, 2, Pitch Shifter, Flanger, and Phaser Reverb, Delay, and Delay + Reverb,

PLAYING WITH SOME OF THE EFFECTS

Now that you’ve got sound out of the GW50 and have heard some of the Demo Songs, let’s try playing with some of the effects.

2. First, try playing with a clean chorus and

delay effect. Use the [–]/[+] buttons to select program number 25. (The [–]/[+] buttons also feature rapid operation; see page 5.)

1. Press [MEMORY], even if the MEMORY

LED is lit.

EFFECT SECTION

Page 34

GUIDED TOUR (TUTORIAL)

3. Now, try a heavy distortion sound. Use the

[–]/[+] buttons again, this time selecting program number 74.

4. Next, let’s call up a classic rock’n’roll delay

effect. This time though, use the Pedal Switches to select the program. (If the MEMORY LED in the ASSIGNABLE Block is flashing, press the ASSIGNABLE Block Pedal Switch to make it light continuously.) Press Pedal Switch 1. This selects program number 71.

6. Press the Pedal Switch corresponding to the

bank you wish to select, 1 – 5 (printed at the top left of each Pedal Switch).

To select one of the banks 6 – 0, simultaneously press and hold down the ASSIGNABLE Block Pedal Switch, and press the corresponding Pedal Switch, 6 – 0 (printed at the bottom left of each Pedal Switch).

Notice that the program numbers all have two digits. The first number is actually the bank number. The 50 programs are divided into 10 banks of five programs each. In the last step, you just selected the 1st program of the 7th bank.

5. To select both a bank number and program

number with the Pedal Switches, press the ASSIGNABLE Block Pedal Switch once.

The bank number flashes to indicate the bank can be selected.

7. Finally, select one of the five programs in the

bank (as you did in step #4 above).

8. Now, go on to explore some of the other

effect programs, selecting them either with the [–]/[+] buttons or the Pedal Switches. Look through the Preset Effect Program list on page 132 for more information about the programs, and play with a few of them to hear how they sound.

EFFECT SECTION

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GUIDED TOUR (TUTORIAL)

CHANGING THE SOUND OF THE EFFECTS

The effect section of the GW50 has three basic modes: Manual, Memory and Memory Edit. In this section we’ll use the Manual mode, since it provides a convenient starting point for adjusting and creating effects.

ATTACK: 7

SENSE: –24 dB

OUTPUT: 100%

DRIVE: 50%

TONE: 0%

OUTPUT: 50%

SPEED: 0.60 Hz

BRIL (Brilliance): 0 dB

DEPTH: 50%

1. To select the Manual mode, press

[MANUAL].

2. Make sure that each effect block is set to its

first effect, as shown below. If it isn’t, press the effect type switch until the LED next to the appropriate effect is lit. (For example, the DIST 1 LED should be lit in the Distortion block.)

TIME:

LOW: 0 dB

L MID: 0 dB

H MID: 0 dB

HIGH: 0 dB

2.0 seconds HIGH: 0.5

MIX: 25%

4. Next, use the Pedal Switches to turn on only

the Chorus block. For example, if the Compressor is on (its red LED will be lit), press the Pedal Switch in the block to turn it off; if the Chorus is off (its LED will be off), press the Pedal Switch in the block to turn it on.

Note: The settings you’ve made in steps #2, #3 and

#4 above are only arbitrary; they make it possible for you to use and hear all of the effect blocks. (However, the Equalizer effect is “flat” for these settings, and cannot be heard unless you adjust them.)

3. To start out, set the parameter knobs of the

effect blocks roughly to the positions shown below. (The approximate suggested values of the parameters are also given.)

EFFECT SECTION

Page 36

5. Try playing your guitar now, and as you play,

adjust the SPEED control in the CHORUS block and listen to how the sound changes.

The Speed parameter is shown in the LCD, along with the value. Notice how the value changes as you turn the knob.

Do the same with the other controls in the CHORUS block, too. In fact, go on and try out the other effects as well, first by turning them on with the respective Pedal Switches, then adjusting their parameter knobs.

In the Manual mode, all the effect controls are “live” or active — you can change the effect settings directly from the panel knobs as you would with a normal pedal effect box. Moreover, the values are displayed instantly as you change them.

GUIDED TOUR (TUTORIAL)

LED is off.

Notice that the red LED at the top of the block is now off, indicating that the effect is off. Press the CHORUS Pedal Switch again to turn the effect and the LED back on.

Although we’re using the Pedal Switches to turn a single effect block on and off, it is possible to “group” together several effect blocks to be turned on and off from just one Pedal Switch. For more information on how to use this function, see page 45.

7. Take a look now at the LCD again. Notice

the chain of five boxes at the bottom left. These represent the effect blocks.

6. As you’ve seen, you can also turn individual

effect blocks on or off by simply pressing the Pedal Switch of the appropriate block. For example, to turn off CHORUS here, press the CHORUS Pedal Switch. (Note: This only works for individual effects that have not been assigned to a Group; see page 45 for details.)

Compressor Reverb/Delay

Equalizer

Distortion Chorus

This shows the current order of the effects in the chain, from left to right. Remember that you can change this order. To do this, press the Utility switch until “CONECT” is shown in the LCD.

EFFECT SECTION

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GUIDED TOUR (TUTORIAL)

8. Use the five switches just below the LCD

(labeled CMP, DST, EQ, CHO and REV) to select the order of the corresponding effects.

Next, press [CMP] to select Compressor for the second effect.

Note: Compressor, Distortion and Equalizer can only be

selected for the first three effects, while Chorus and Reverb/Delay are always the last two.

Compressor Equalizer

Distortion

Reverb/Delay

Chorus

For example, to put the Distortion first in the chain, press [DST].

Equalizer (EQ) is automatically selected for the third effect, since the last two are reserved for Chorus and Reverb/Delay.

Finally, select the fourth effect in the chain. Press [CHO].

EFFECT SECTION

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GUIDED TOUR (TUTORIAL)

Like with Equalizer above, Reverb/Delay is selected automatically for the fifth effect after you’ve selected Chorus for the fourth.

CHANGING (EDITING) AN EFFECT PROGRAM AND SAVING IT

In this section, you’ll learn how to take an existing effect program in the Memory mode and “tweak” it, or change its sound. You’ll also learn how to compare it with the original program. Finally, you’ll learn how to recall that original program or save your newly created one.

1. Press [MEMORY], (even if the MEMORY is

lit) then select program number 25. Use the [–]/[+] buttons or the Pedal Switches.

2. Press [EDIT/COMPARE]. This calls up the

Memory Edit mode.

The MEMORY and the EDIT/COMPARE LEDs both light, indicating that the Memory Edit mode has been selected.

3. Now, try changing the settings of the effect

blocks, as you did in the Manual mode above.

4. You can compare the sound of the newly

edited program with the sound of the original one by pressing [EDIT/COMPARE] again.

LED flashes

The EDIT/COMPARE LED and the BANK/MEMORY indicator flash, indicating that the Compare function is on and the original program is active.

In this condition, you can hear the sound of the original effect program. You can also view the old parameter values by turning the panel knobs. Doing this doesn’t change the value, it simply displays it so that you can check it against the value you’ve edited.

EFFECT SECTION

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GUIDED TOUR (TUTORIAL)

Switch between the original program and your newly edited as often as you like by pressing [EDIT/COMPARE].

5. You have two choices here:

1) you can recall the original program (and erase your changes), or

2) you can store your changes to the current program number (and erase the original one).

1) If you happen to like the sound of the

original effect program better than your changes, press [MANUAL] or [MEMORY] while the EDIT/COMPARE LED is flashing (Compare condition). This recalls the original program.

CAUTION

AVOID LOSING IMPORTANT DATA—After you’ve made some edits using the steps above, be careful NOT to press [MANUAL] or [MEMORY] unless you are absolutely sure that you want to either recall the original program or save the new one. Be careful also to check which condition is active — Edit (with the continuously lit LED) or Compare (with the flashing LED). If you mistakenly press [MANUAL] or [MEMORY] in either condition, you may irretrievably lose important data!

2) If you want to save your newly edited

program (and don’t mind erasing the original one), press [MANUAL] or [MEMORY] while the EDIT/COMPARE LED is lit continuously (Edit condition).

Note: Regarding the above caution, there are certain

precautions you can take to avoid losing important programs, such as backing up your original ones with the MIDI Bulk Transmission function (see page 102), and restoring factory preset programs (see page 57) if you’ve erased them.

TROUBLESHOOTING SOUND PROBLEMS— Keep in mind that the sound of one effect

HINT

depends on the effects that are placed before it in the chain. If while creating an effect program, you don’t get any sound or the sound is not what you expected it to be, try listening to each effect block alone in order to isolate the “problem” effect. Usually the trouble is in the input or output settings of an effect (see notes on pages 58, 59, 63 and 66 for more information). If the input or output is too low, you may get too soft a sound or no sound at all; if the input or output is too high, you may get a signal that is overloading subsequent effects.

EFFECT SECTION

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GUIDED TOUR (TUTORIAL)

USING THE NOISE GATE TO GET A CLEAN SIGNAL

Since all its effects are connected internally, the GW50 generates no noise of its own. However, since the guitar and connecting cord you use may not be as quiet as the GW50, a built-in Noise Gate has been included to filter out any unwanted noise or hum and keep the signal completely quiet when you’re not playing. (For more information on the Noise Gate, see page 69.)

To select and adjust the noise gate:

1. From Manual or Memory Edit mode, simul-

taneously hold down [SHIFT] and press [SUB PARAM] until “N.GATE” is shown in

the LCD.

2. Adjust the Threshold (THRESH) value in the

display, using the [–]/[+] buttons.

Set this to a high value when the noise level is particularly high.

EFFECT SECTION

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GUIDED TOUR (TUTORIAL)

BACKING SECTION

The Backing section of the GW50 is divided into two modes: Pattern and Song.

PLAYING PATTERNS — PATTERN MODE

The Pattern mode lets you play various rhythm and accompaniment patterns in a wide variety of styles. The patterns feature dynamic and realistic drum, bass and other accompaniment sounds, such as piano, guitar and organ. What’s more, the sophisticated accompaniment and bass sounds can be changed to any key and automatically reharmonized in 25 different chord types. With this kind of control, you’ve got a complete backing band to accompany you as you practice, play or perform.

1. Press [SONG/PATTERN] until the PAT-

TERN LED lights (even if the LED is already lit). This selects the Pattern mode.

3. Now, you can use the [–]/[+] buttons to select

a pattern number. (The [–]/[+] buttons also feature rapid operation; see page 5.)

With the exception of the last several patterns (see note on page 73), note that only odd number patterns can be selected here. These are the basic rhythm patterns, and the even ones are Fill In patterns. For example, pattern #1 is the basic pattern and #2 is its companion Fill In pattern. (We’ll describe how to play the Fill In patterns in step #5 below.)

2. Using [6 CURSOR], move the arrow in the

display to the PTN (Pattern) box.

BACKING SECTION

4. Press [START/STOP] to play the pattern

you’ve selected. (The LED above the button flashes in time with the rhythm.)

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GUIDED TOUR (TUTORIAL)

You can also use Pedal Switch 5 (in the Reverb/Delay block) to start the pattern.

Start/stop function

While the pattern is playing, you can use the [–]/[+] buttons to select and listen to other patterns. Try out various patterns to get a feel for the enormous stylistic range of the Backing section. (There are a total of 248 patterns; refer to the list on pages 144 and 145 for more information about them.)

5. Now, play the corresponding fill in pattern

by pressing the Fill Pedal Switch (Pedal Switch 3).

Fill In pattern

6. While one of the patterns is playing, try this:

Hold down [SHIFT] and press [ACCOMP].

Notice that the accompaniment parts have dropped out, and that all you hear are the bass and drums. To bring the accompaniment back in, hold down [SHIFT] and press [ACCOMP] again. Try doing this in time with the rhythm, pressing the button at the end of a measure.

Try doing the same with the bass and drum parts as well, using [SHIFT] + [BASS] and [SHIFT] + [DRUMS].

After you’ve played around with this for a while, turn all of the backing sounds back on.

Normally, you should press the Fill Pedal Switch at the beginning of the measure you wish the fill in pattern to play. However, you can press it in the middle of a measure and play only the last part of the fill in.

Note: If you press the Fill Pedal Switch too late

in the measure, you may not hear any change from the normal pattern.

7. Now, let’s change chords while the pattern is

playing. The automatic chord features of the GW50 are very sophisticated, so for the moment we’ll show you one of the easiest ways to change chords — by using the Pedal Switches.

To set this up, press the ASSIGNABLE Type switch until the CHORD RECALL LED is lit. (You can also use the ASSIGNABLE Block Pedal Switch to switch between BACKING CONTROL and CHORD RECALL.)

Press Type switch until CHORD RECALL is lit.

BACKING SECTION

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GUIDED TOUR (TUTORIAL)

While the pattern is playing, press Pedal Switch 2.

The chord changes as soon as you press the Pedal Switch, and the new chord is shown in the display. Press the other Pedal Switches (1–4) to change to other chords. (These are the factory-assigned chord settings for the Pedal Switches.) Try doing this in time with the rhythm as well.

Note: Be careful not to press Pedal Switch 5 here,

since it does not change the chord, but starts or stops the pattern.

8. While the pattern is still playing, try using

the chord section at the top right of the panel to select some other chords.

First, let’s change the root note of the chord. To do this, press the Chord button corresponding to the desired note (written above the button).

This mark is used to represent “” or “sharp.”

If the root note that you want isn’t selected (each button has more than one root note), press it again until the note is selected.

Next, let’s change the chord type. Remember that the GW50 gives you a total 25 different chord types for all keys. These chord types are shown below the Chord buttons.

Note: For more information about the chord types, see the

lists of chord types on pages 76 and 152.

To select a different chord type, simultaneously hold [CHORD] and press the Chord button corresponding to the desired type (written below the button). Press it repeatedly until the desired chord type is shown in the LCD.

BACKING SECTION

For example, hold [CHORD] and press



[D/E

/E] until the “m” chord is selected.

Page 44

Finally, you can even change the bass note. First, simultaneously hold [CHORD] and press [on/ROOT].

GUIDED TOUR (TUTORIAL)

Try pressing other buttons now as the rhythm plays to change to other bass notes.

To cancel this bass note and have the bass line automatically change with the root note again, hold [CHORD] and press one of the Chord buttons to reselect the chord type.

You can also use the chord section functions to assign chords to the Pedal

HINT

Switches. (See page 78 for details.)

9. To stop playing the pattern, press [START/

STOP] again (or Pedal Switch 5).

You can also have the pattern stop with a special ending pattern. To do this, first press the ASSIGNABLE Block Pedal Switch to switch to BACKING CONTROL.

Next, press the Chord button corresponding to the desired note (written above the button). Press it repeatedly until the note you want is shown in the LCD.

For example, to use C as the bass note, press



[C/C

] until the “/C” is shown.

… then press the End Pedal Switch (Pedal Switch 4) while the pattern is playing.

BACKING SECTION

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GUIDED TOUR (TUTORIAL)

PLAYING AND RECORDING SONGS — SONG MODE

The Song mode has eight songs (made up of the patterns in the Pattern mode) for playing. You can also record your own songs in this mode, using the patterns and chords of the Pattern mode. This provides a simple, yet powerful “sketchpad” for composing, and it also gives you solid, dynamic rhythm parts complete with pre- programmed chord changes for performing along with.

Playing a Song

1. Press [SONG/PATTERN] until the SONG

LED lights. This selects the Song mode.

4. Press [START/STOP] to start playing the

selected song. (The LED above the button flashes in time with the rhythm.)

5. When the song is finished playing, playback

stops. You can also pause (and resume) playback in the middle of the song by pressing [START/STOP].

2. Using [6 CURSOR], move the arrow in the

display to the SONG box.

3. Use the [–]/[+] buttons to select a song

number. (Refer to page 147 for a list of the available songs and their descriptions.)

Note: If you’ve stopped playback in the middle of a

song and you want to return to the beginning, simultaneously press [n] and [v].

Recording a Song

You can use the drum, bass and accompaniment patterns, along with the chords, as well as other types of data, to create your own songs. Up to eight songs can be recorded, and each song can have up to 299 measures.

BACKING SECTION

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GUIDED TOUR (TUTORIAL)

Songs can be recorded by using two different methods: Realtime recording and Step recording.

Realtime recording is similar to using a multitrack tape recorder; you can hear the events as you record them, and you can hear previously recorded events as you record new ones on top.

Step recording, on the other hand, allows you to record events one-by-one, using the controls on the panel to “program” them to 16th note divisions of a measure. It is much like writing down notes onto a sheet of music paper; each event is entered one at a time, and you cannot actually hear what the event sounds like as you are entering it.

Each method has its own advantages and uses. Step recording is good for precision and for editing purposes (erasing an event or replacing an event). Realtime recording is best for capturing the “feel” of the song, since it allows you to actually “play” the events in time as you record them.

You can even switch between the two methods, recording the basic parts with Realtime recording, then using Step recording to add details and edit or “clean up” the recording if needed.

RECORDING EFFECT CHANGES—After recording the basic parts of the song (the patterns and

HINT

chord changes), you can also record effect program changes and their on/off settings in real time as you play. (See page 86 for details.)

2. Using [6 CURSOR], move the arrow in the

display to the SONG box.

Use the [–]/[+] buttons to select a song number. (For this example, select song number 8, since this has deliberately been left blank for you to use in creating your own song.)

Note: AVOID LOSING IMPORTANT SONGS—Once you do any

recording to a song, the changes that you make are automatically saved to that song number. For this reason, you should be careful when recording or editing an existing song. There are certain precautions you can take to avoid losing important songs, such as backing up your original ones with the MIDI Bulk Transmission function (see page 102), and restoring factory preset songs (see page 95) if you’ve erased them.

4. Simultaneously hold down [SHIFT] and press

[SONG REC].

To record a song:

1. First select the Song mode by pressing

[SONG/PATTERN] until the SONG LED lights.

The SONG LED flashes to indicate record standby.

BACKING SECTION

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GUIDED TOUR (TUTORIAL)

5. The first thing to do before actually recording

is to select a pattern and a chord to start the song with.

For this example, let’s use pattern number 5, and start the song out with a C major chord. You can do this while the GW50 is still in record standby:

Move the cursor arrow in the display to the PTN box, by using [-> CURSOR].

6. Finally, start recording by pressing Pedal

Switch 5 (or [START/STOP]). The pattern and the chord you selected are automatically recorded to the first note of the first measure.

7. As the recording continues, let’s try entering

new chords from the Pedal Switches, just as we did in step #7 in the Pattern mode section (see pages 33, 34):

While the song is recording, press Pedal Switch 2.

Next, use the [–]/[+] buttons to select pattern number 5. The pattern name appears in the display.

Now, select the chord. Press [C/C] until “C” is shown in the display. If another chord type appears (such as “C m” or “C SUS4”), simultaneously hold down [CHORD] and press [C/



] until “C” (C major) is shown.

The chord is recorded as soon as you press the Pedal Switch, and the new chord is shown in the display. Press the other Pedal Switches (1–4) to change to other chords, in time with the rhythm.

Note: Be careful not to press Pedal Switch 5

here, since it does not change the chord, but starts or stops the pattern.

8. Now, stop the recording by pressing

[START/STOP].

If you’ve made some mistakes while recording above or just want to make some changes or additions, you can always go back to the start of the song and use Step recording techniques to edit the existing song. (See page 88 in the Reference section for information on Step recording.)

BACKING SECTION

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GUIDED TOUR (TUTORIAL)

USING THE BUILT-IN TUNER

The GW50 has a convenient built-in tuner that lets you tune your guitar without having to disconnect it.

1. Simultaneously hold down [SHIFT] and press

[TUNER] (or simultaneously press and hold

don Pedal Switches 1 and 2 until the Tuner mode display “PITCH” appears in the LCD).

2. Now, making sure that other strings do not

sound, play the bottom E string on your guitar. Let the string ring out, so that the tuner receives a fairly constant pitch.

The number of the string and the note name appears in the BANK/MEMORY indicator.

toward the left, indicating that the string is slightly flat. When the string is sharp, the marks will be on the right.

Adjust the tuning of the string and play it again. The tuning marks in the display should move toward the center. When they are in or around the center, the string is in tune.

The effect block LEDs also function as tuning indicators when the tuner is used, with the Equalizer block LED serving as the center tuning indicator.

The marks in the display shown above are

3. Go on and tune the other strings in the same

way.

USING THE BUILT-IN TUNER

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GUIDED TOUR (TUTORIAL)

4. Return to normal operation by pressing any

of the mode buttons (or any of the Pedal Switches).

This concludes our short tour of some of the functions of the GW50. To find out more about using your GW50, look through the Reference section now and read some of the topics that interest you.

USING THE BUILT-IN TUNER

Page 50

REFERENCE

EFFECT SECTION

ABOUT THE MANUAL, MEMORY AND

MEMORY EDIT MODES .................................... 43

MANUAL MODE ................................................. 44

Selecting an Effect Type ............................... 44

Turning Individual Effects On and Off......... 44

Editing Parameters ........................................ 44

Utility Functions............................................ 45

Determining the Order of the Effect

Blocks — CONNECT............................... 45

Bypass Switching of Effect Blocks —

GROUP ..................................................... 45

Setting the Function of the External Foot

Controller — FOOT.................................. 46

Setting the MINIMUM VOLUME Level (for External Foot Controller and ASSIGNABLE Block Volume Control) —

MIN VOL.................................................. 47

ASSIGNABLE Block Functions —

MIN/MAX Volume and Auto Volume......... 48

Setting the AUTO VOLUME Rate —

AUTO VOL .................................................. 49

MANUAL JOB MODE ........................................ 50

Saving the Manual Mode Settings to

an Effect Program ......................................... 50

MEMORY MODE ................................................ 51

Selecting Effect Programs............................. 51

Checking Parameter Values of the Effect

Program ......................................................... 51

ASSIGNABLE Block and Pedal Switch

Functions ....................................................... 51

Effect Program Selection .......................... 51

Bypass Switching of Effect Blocks .......... 52

MEMORY EDIT MODE .................................. 53

Compare Mode (Comparing the Edited

Program with the Original) ........................... 53

Saving the Memory Edit Mode Settings to

an Effect Program ......................................... 53

Recalling the Settings of the Original Program

(in Compare Condition) ................................ 54

MEMORY JOB MODE .................................... 54

Copying an Effect Program .......................... 54

Swapping One Effect Program with

Another.......................................................... 55

Naming an Effect Program ........................... 55

Using an External Footswitch ....................... 56

RESTORING FACTORY PRESET EFFECT

PROGRAMS ..................................................... 57

EFFECTS AND PARAMETERS ......................... 58

COMPRESSOR................................................. 58

DISTORTION ................................................... 59

EQUALIZER..................................................... 59

CHORUS........................................................... 63

REVERB/DELAY............................................. 66

NOISE GATE ................................................... 69

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EFFECT SECTION

ABOUT THE MANUAL, MEMORY AND MEMORY EDIT MODES

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EFFECT SECTION

ABOUT THE MANUAL, MEMORY AND MEMORY EDIT MODES

ABOUT THE MANUAL, MEMORY AND MEMORY EDIT

MODES

The Effect section of the GW50 is basically divided into three operating modes: Manual mode, Memory mode and Memory Edit mode.

In the Manual mode, you can use the effect blocks just as you would conventional pedal effects. All parameter knobs are active for adjusting the main parameters, and the sub parameters can be selected and adjusted here as well (see page 44). You can also perform other effect-related operations, such as determining the order of effects, setting the external foot controller, and so on.

To select the Manual mode, press [MANUAL]. (“MANUAL” appears in the display.)

In the Memory mode, you can select effect programs. The GW50 has 50 programs in its internal memory, divided into ten banks of five programs each. The parameter knobs cannot be used here, except to check the set values of the main parameters (see page 51). The Pedal Switches can be used either to select programs or turn effect blocks of a selected program on or off (see pages 51, 52).

To select the Memory mode, press [MEMORY]. (The MEMORY LED lights and the program number is shown in the BANK/MEMORY indicator.)

In the Memory Edit mode, you can create your own effect programs, for selecting later in the Memory mode. As in the Manual mode, all controls are active and you can make main and sub parameter settings, as well as set all other effect-related operations.

Note: ABOUT THE PARAMETER KNOBS—In the Memory and Memory Edit modes, remember that the

position of the parameter knobs in the effect blocks does not necessarily correspond to the actual value of the parameters. Also, in the Memory Edit mode, once you adjust a parameter knob — even slightly — the value of that parameter instantly changes to the new position of the knob. (Only the knob adjusted will correspond to the actual value.)

To select the Memory Edit mode, press [EDIT/COMPARE] from the Memory mode. (The EDIT/COMPARE LED lights.)

ABOUT THE MANUAL, MEMORY AND MEMORY EDIT MODES

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EFFECT SECTION

MANUAL MODE

Selecting an Effect Type

The Distortion, Equalizer, Chorus and Reverb/ Delay effect blocks feature different effect types. Press the Type switch to step through the available effects. The LED of the selected effect lights.

Turning Individual Effects On and Off

When not assigned to a group, individual effect blocks can be turned on and off in the Manual mode. To do this, make sure that MEMORY ON/ OFF is selected in the ASSIGNABLE Block (the MEMORY LED flashes), then press the Pedal Switch of the appropriate effect block. The LED of the selected effect lights when the effect is on. (For information on assigning effects to a group, see page 45.)

Editing the Sub Parameters and Noise Gate

1. Simultaneously hold down [SHIFT] and press [SUB PARAM].

2. To select a parameter, keep holding down

[SHIFT] and repeatedly press [SUB PARAM] to step through the sub parameters

for all selected Equalizer, Chorus and Reverb/Delay effects (indicated by the lit green LEDs in the effect blocks) and the Noise Gate.

Editing Parameters

Effect parameters can be edited in the Manual mode. The Manual mode is designed to be a kind of “blank slate” on which you can make settings as you wish. If you create some settings in the Manual mode that you want to keep as an effect program, save them to a program number (see “Saving the Manual Mode Settings to an Effect Program,” page 50).

Editing the Main Parameters

1. Select the desired type of effect with the Type button in each effect block.

2. Adjust the desired parameters with the knobs in each effect block. (The display automatically shows the adjusted parameter name and value.)

Or, after step #1, release [SHIFT] and simply press one of the effect selector buttons beneath the LCD ([EQ], [CHO], and [REV]) to step through the sub parameters of the corresponding effect. Pressing [CMP] or [DST] selects the Noise Gate parameter.

3. Adjust the selected parameter with the [–]/[+]

buttons.

MANUAL MODE

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EFFECT SECTION

MANUAL MODE

4. Exit this operation by pressing any of the

mode buttons ([MANUAL], [MEMORY] or [SONG/PATTERN]).

FOR EASIER EDITING—You can easily switch back and forth between editing main and sub

HINT

parameters in any of the effects by first selecting the sub parameters (as done in step #1 above). After that, you can edit the main parameters as usual, and switch back to the sub parameters at any time by pressing the appropriate effect selector buttons.

Utility Functions

There are five Utility functions: CONNECT, GROUP, FOOT, MIN VOL and AUTO VOL. The Utility functions can be executed from both the Manual and Memory Edit modes (however, the following explanation refers only to the Manual mode). To exit any of these operations, press any of the mode buttons ([MANUAL], [MEMORY] or [SONG/PATTERN]).

Determining the Order of the Effect Blocks — CONNECT

The Connect function allows you to determine in what order the effect blocks will be used to process the signal.

boxes representing the blocks in order from left to right.) Compressor, Distortion and Equalizer must always be among the first three blocks; Chorus and Reverb must be the last two.

For example, if you press [EQ] first, the display will prompt you to press either [CMP] or [DST]. Then, if you press [CMP], Distortion (DST) will automatically be assigned to the third block. Finally, determine the order of the last two effects by pressing either [CHO] or [REV]; the one NOT pressed will automatically be assigned to the fifth block.

Repeat steps #1 and #2 above if you want to change the order again.

Operation —

1. From the Manual mode, repeatedly press the Effect Utility switch until “CONECT” is shown in the display.

2. Press the corresponding Effect Selector buttons in the order that you wish the effects to be placed. (The selected effect configuration is shown graphically in the display, with

For best results in connecting the various effects, follow these guidelines:

HINT

* When using the Equalizer or Amp Simula-

tor effects with Distortion, put Distortion BEFORE the EQ block.

* When using the Wah effect with Distor-

tion, put Distortion AFTER the EQ block.

Bypass Switching of Effect Blocks — GROUP

The Group function allows you to determine which effect blocks are grouped together for one-press effect bypassing. The effect blocks that have been assigned here can be switched off or on all together by pressing any one of the Pedal Switches of those effects (when MEMORY ON/OFF is selected in the ASSIGNABLE block). (Also see “Bypass Switching of Effect Blocks” on page 52.) For example, if Compressor, Distortion and Chorus have been

MANUAL MODE

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EFFECT SECTION

MANUAL MODE

grouped together, pressing any of those Pedal Switches alternately bypasses or activates all those effects simultaneously.

Operation —

1. From the Manual mode, repeatedly press the Utility button until “GROUP” is shown in the display.

2. Press the Effect Selector buttons (CMP, DST, EQ, etc.) corresponding to the effect blocks you wish to assign to the group.

Setting the Function of the External Foot Controller — FOOT

The Foot function here determines how the connected foot controller (the optional Yamaha FC7) is to be used: whether for realtime control over certain effect parameters, or as a volume pedal.

Operation —

1. From the Manual mode, repeatedly press the Utility button until “FOOT” is shown in the display.

2. Repeatedly press [SET-B] (the Foot Control- ler button, indicated by the pedal graphic on the panel) to step through the settings. The available settings are: Volume Pedal, Wah Pedal, Distortion Drive, Chorus Depth, Reverb Feedback, and Reverb Mix.

■ Using as a Volume Pedal

Volume Pedal (VOL PEDAL) — For using the

foot controller to control the volume of the input signal, at programmable points in the effect chain. Each press of [SET-B] steps through the various positions.

The dark bars at the top of the graphic boxes indicate each selected effect block.

When MEMORY ON/OFF is selected in the ASSIGNABLE Block (MEMORY LED flashes), the assigned effect blocks can be switched on and off all together by pressing any one of their Pedal Switches. Unassigned effects can be switched off and on normally from their individual Pedal Switches.

To turn off the group assignment, press the appropriate Effect Selector button again. Repeat steps #1 and #2 above if you want to change the assignment again.

MANUAL MODE

The pedal graphic in the LCD shows the selected position of the volume Pedal.

Note: VOLUME PEDAL PLACEMENT—Since placing the

Volume Pedal before the Equalizer may result in some added noise, generally it should be used after the Compressor, Distortion and Equalizer except when using it to control the Distortion Input level.

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You can set the minimum volume of the foot controller to a value other than zero

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(for example, when you want to use the foot controller to easily move between loud and soft settings). See “Setting the MINIMUM VOLUME Level” on page 47 for details.

■ Using as a Wah Pedal

EFFECT SECTION

Note: When using the foot controller as a Wah pedal or to

control one of these other parameters, the ASSIGNABLE Block functions MIN/MAX VOLUME and AUTO VOLUME apply only to the volume of the first three effects (Compressor, Distortion and Equalizer).

MANUAL MODE

Wah Pedal — For using the foot controller to control the Wah effect or filter sweep, when the Wah + EQ effect is selected in the Equalizer block. (When the external foot controller is set to Wah Pedal operation here, the Wah + EQ Type parameter is automatically set to PEDAL.) Refer to page 61 for more information on the Wah + EQ effect.

■ Using for Control of Other Parameters

Distortion Drive (DST DRIVE) — For using

the foot pedal to control the Distortion Drive parameter (see page 59).

Chorus Depth (CHO DEPTH) — For using the foot controller to control the Depth parameter of the Chorus, Flanger or Phaser effects, or the Mix parameter of the Pitch Shift effect (see pages 64-66).

Reverb Feedback (REV FB) — For using the foot controller to control the High parameter of the Reverb effect, the Feedback parameter of the Delay effect, or the Delay Mix parameter of the Delay + Reverb effect (See pages 67-69).

ASSIGNABLE block’s MIN/MAX VOLUME and AUTO VOLUME control placed here.

Setting the MINIMUM VOLUME Level (for External Foot Controller and ASSIGNABLE Block Volume Control) — MIN VOL

When using the connected foot controller as a volume pedal (see previous page), you can set the minimum volume for the controller from the GW50.

When using the ASSIGNABLE Block Pedal Switch to control MIN/MAX Volume or Auto Volume (see pages 48, 49), this parameter also determines what the minimum volume will be for both of these functions.

Operation —

1. From the Manual mode, repeatedly press the Utility button until “MIN” is shown in the display.

Reverb Mix (REV MIX) — For using the foot controller to control the Reverb Mix parameter of the Reverb effect, the Delay Mix parameter of the Delay effect, or the Reverb Mix parameter of the Delay + Reverb effect (See pages 67,

68).

Note:

When selecting Wah Pedal and control of other parameters for the foot controller, make sure that the foot controller is properly connected to the GW50.

2. Use the [–]/[+] buttons to set the desired Minimum Volume value. (Range: 0–9)

A minimum setting of “0” results in no output or off, while a maximum of “9” results in the same level as normal (or no volume change).

Note:

Keep in mind that a maximum setting of “9” results in no volume change for ALL related functions — the foot controller, and the ASSIGNABLE Block Pedal Switch’s MIN/MAX Volume and Auto Volume functions.

MANUAL MODE

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EFFECT SECTION

MANUAL MODE

❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉

ASSIGNABLE Block Funtions — MIN/MAX Volume and Auto Volume

The ASSIGNABLE Block Pedal Switch has two volume-related functions: MIN/MAX Volume and Auto Volume. (These are available in all modes — Manual, Memory and Memory Edit.) Select one of them by pressing the ASSIGNABLE Block Type switch. (The LED next to the selected function lights.)

Minimum/Maximum Volume

When this is selected, you can use the ASSIGNABLE Block Pedal Switch to instantly change between high and low output level. Press the Pedal Switch once to switch to low (minimum) volume (the LED flashes), and once again to switch back to high (or normal) volume (the LED is lit continuously).

Low (minimum) volume

LED flashes

High (maximum) volume

LED stays lit

The main use of this function is to change volume

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instantly as you play, for example, when you need to instantly go from playing a backing, rhythm guitar part to playing a solo.

Use the Minimum Volume parameter to set the low (minimum) volume. (See page 47.)

For ease in making the low volume setting, press the ASSIGNABLE Block Pedal Switch

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to turn the MIN Volume on, then play the connected instrument and listen to the sound as you adjust the MIN Volume value.

Auto Volume

When this is selected, you can use the ASSIGNABLE Pedal Switch as a kind of automatic swell function, to automatically fade up the output level. The fade starts from silence or low volume and increases to normal level, according to the rate set with the Auto Volume Rate parameter (see page

49).

Operation —

1. Make sure that the AUTO VOLUME LED is lit (use the ASSIGNABLE Block Type switch to select it), then press and hold down the ASSIGNABLE Block Pedal Switch. The LED flashes indicating that the minimum volume setting is in effect.

Note: MIN/MAX VOLUME AND EFFECT PROGRAM

CHANGES—When the MIN/MAX Volume function is set to minimum or low volume (the MIN/MAX VOLUME LED flashes), the volume does not change even when other effect programs are selected with Pedal Switches 1–5. However, the volume reverts back to normal when effect program changes are made from the [–]/[+] buttons or from events in a song.

MANUAL MODE

Note: The change to minimum volume is not in-

stantaneous. Some time is required for minimum volume to be reached.

2. Release the Pedal Switch and the level begins to fade up. (The LED stays flashing during the fade up.)

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EFFECT SECTION

MANUAL MODE

3. The LED stops flashing and remains lit when

the fade up is complete and the volume is at maximum.

LED flashes

When LED stops flashing, volume reaches maximam.

Press and hold Pedal Switch

Applications of this would include imitating the slow attack of other instrument sounds

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Note: The low volume of this function (or the

like a softly-bowed violin, or a pedal steel guitar. Since Auto Volume cuts off the picking sound and slowly brings up the level, it is ideal for playing soft, lyrical solos.

level at which the fade in starts) is determined by the Minimum Volume parameter. (See page 47.)

Release Pedal Switch

❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉

Setting the AUTO VOLUME Rate — AUTO VOL

When using the ASSIGNABLE Block Pedal Switch to control the Auto Volume (see page 48), this parameter determines the rate (speed) at which the volume automatically fades up.

Operation —

1. From the Manual mode, repeatedly press the Utility button until “AT VOL” is shown in the display.

2. Use the [–]/[+] buttons to set the desired Auto Volume Rate. (Range: 1–10) A minimum setting of “1” results in a slow fade in, while a maximum of “10” results in a nearly instantaneous return to normal level. (See the graph below.)

Maximum (normal) volume

Volume pedal position

Minimum volume

Level

Switch is pressed.

Rate = 10

Sound is at minimum volume as long as Switch is held.

Rate = 1

Time

Switch is released.

MANUAL JOB MODE

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EFFECT SECTION

MANUAL MODE

MANUAL JOB MODE

Saving the Manual Mode Settings to an Effect Program

Operation —

1. After making the desired effect settings in the Manual mode, simultaneously hold down

[MANUAL] and press [MEMORY]. (The [MEMORY] LED and BANK/MEMORY

indicator flash.)

Note: When the settings have been saved, “COM-

PLETED” is shown in the display and operation automatically goes to the Memory mode.

Data Saved to an Effect Program

When you save an effect program, all the following data is saved together with it: * Effect types for each block * Effect parameters (main and sub) for each block * Bypass status of each effect block * Noise gate setting * Utility function settings (Connect, Group, Foot

Controller, Minimum Volume, Auto Volume)

Note: When you save the settings in the Manual

mode to an effect program, the GW50 automatically gives it a name, starting with the letters “MEM” and followed by the bank number and memory number to which it has been saved (e.g., “MEM 15”).

2. Select the destination program number with the [–]/[+] buttons.

3. To save, select “GO” (press [SET-B]). To cancel and return to Manual mode, select “EXIT” (press [SET-A]).

Be careful when performing this operation, since it automatically and irretrievably

CAUTION

erases the program at the destination.

MANUAL JOB MODE

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EFFECT SECTION

MEMORY MODE

Selecting Effect Programs

Operation —

1. Select the Memory mode by pressing

[MEMORY] (even if the MEMORY LED is lit).

2. Use the [–]/[+] buttons to step up or down through the programs in order, or use the Pedal Switches. (See page 11 for more details on using the Pedal Switches.)

The effect program name appears in the LCD.

Note: If the cursor arrow in the display is at “TEMPO,”

“SONG” or “PTN,” the [–]/[+] cannot be used to select effect programs and the Backingrelated display appears instead of the effect program name. In this case, use [6 CURSOR] to move the cursor arrow “out” of the display.

❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉

ASSIGNABLE Block and Pedal Switch Functions

Effect Program Selection

Operation —

1. Making sure that MEMORY is selected in the ASSIGNABLE Block (the MEMORY LED should be lit; if flashing, press the ASSIGNABLE Block Pedal Switch once), press the desired Pedal Switch, 1–5. This selects programs 1–5 in the current bank. For example, if bank 2 is currently selected, pressing Pedal Switch 3 selects program number 23.

2. To change among banks 1–5, press the ASSIGNABLE Block Pedal Switch and then the appropriate Pedal Switch, 1–5.

1) Press ASSIGNABLE Block Pedal Switch…

Checking Parameter Values of the Effect Program

In the Memory mode, effect parameters cannot be edited (this is done in the Manual mode or Memory Edit mode). However, you can check the values of the main parameters of the selected effect program by turning the desired parameter knob. The selected parameter’s current value is shown in the screen and does not change even when the knob is turned. (Sub parameters cannot be viewed from the Memory mode. However, you can check these values without altering them from the Memory Edit mode; see page 53.)

2) …then press Pedal Switch 1–5.

To change among banks 6–0, simultaneously hold down the ASSIGNABLE Pedal Switch and then the appropriate Pedal Switch, 6–0.

1) While holding down ASSIGNABLE Block Pedal Switch…

2) …press Pedal Switch, 6–0.

MEMORY MODE

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EFFECT SECTION

MEMORY MODE

Bypass Switching of Effect Blocks

The Pedal Switches can also be used to bypass or activate individual effect blocks or the assigned effect Group.

Operation —

1. In the Memory mode, press the Type switch in the ASSIGNABLE Block until the MEMORY LED is lit.

2. To select bypass operation, press the ASSIGNABLE Block Pedal Switch twice quickly.

LED flashes.

Note: When [MANUAL] is pressed, the bypass function is

automatically selected (the MEMORY LED in the ASSIGNABLE Block flashes). When [MEMORY] is pressed, either the bypass function (LED flashes) or the effect program selection function (LED is lit continuously) is automatically selected, depending on the last setting made.

Note: Whether the ASSIGNABLE Block is set for use as a

bypass switch (the MEMORY LED is flashing) or as a bank/program selector (the MEMORY LED is lit continuously), you can also select the MINIMUM VOLUME and AUTO VOLUME functions of the ASSIGNABLE Block Pedal Switch. Either of these functions can be performed with the ASSIGNABLE Block Pedal Switch without disturbing the bypass or effect program selection operations (excepting bank selection) of the effect block Pedal Switches. (See pages 10, 11 for more information.)

Press twice quickly.

3. In this condition, the Pedal Switches can be used as bypass on/off switches. Those effect blocks as part of a group can be switched on and off together, while those not part of a group can be switched on and off individually. The LEDs of the effect blocks are lit in red when the effects are on.

4. Press the ASSIGNABLE Block Pedal Switch once to return to normal operation in the Memory mode.

You can also use the external footswitch as an total effect bypass switch to turn all

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active effects on or off; see page 57 for details.

❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉

MEMORY MODE

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MEMORY EDIT MODE

EFFECT SECTION

MEMORY MODE

The Memory Edit mode is similar to the Manual mode in that all effect parameters can be edited and the resulting program stored to memory. However, the Memory Edit mode uses an existing effect program’s parameters as the basic “material” for editing; the new program you create by editing in the Memory Edit mode can be saved to the currently selected program number.

To enter the Memory Edit mode, first select the effect program you wish to edit from the Memory mode, then press [EDIT/COMPARE]. (The orange EDIT/COMPARE LED lights.)

For information on editing effect parameters and the Utility settings (which can also be done from the Memory Edit mode), refer to the relevant sections in “MANUAL MODE” above. For information on saving an effect program from the Memory Edit mode, see the section “Saving the Memory Edit Mode Settings to an Effect Program” below.

PERIODICALLY CHECK YOUR EDITS—While you edit an effect program, you should regularly and often

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Note: No other effect operation (except for checking

CAUTION

compare the sound with the original. In this way, if you find that you like the original value of a parameter better than the value you most recently set, you can recall the original program settings (see page 54). Remember, though, that this permanently erases whatever edits you have made.

parameter values and settings) can be performed while Compare is on. To exit the Compare function, press [EDIT/COMPARE]. (The EDIT/COMPARE LED will stop flashing.)

Be careful not to inadvertently press [MANUAL] or [MEMORY] at any time in the Edit or Compare conditions. Important data could be irretrievably lost. (See the sections on Saving and Recalling programs below for more information.)

Compare Mode (Comparing the Edited Program with the Original)

Once you’ve made edits to a program, you can compare the sound (and values) of the new program with that of the original one. To do this, press [EDIT/COMPARE]. (The orange LED above the button and the program number in the display both flash, indicating that the original program settings are active.)

Press [EDIT/COMPARE] again to return to the edited values.

In the compare condition, you can also check the main parameter values of the original program simply by turning the desired parameter knob. To check its sub parameters, follow the same steps as given in “Editing the Sub Parameters” in “MANUAL MODE” above. (The parameter values cannot be changed here, however; an “EXIT COMPARE” message appears if you press the [–]/[+] buttons.)

Saving the Memory Edit Mode Settings to an Effect Program

Operation —

After making the desired effect settings in the Memory Edit mode, simply press either [MANUAL] or [MEMORY]. The following display appears.

The mode then returns to either Manual or Memory, depending on the button pressed.

MEMORY EDIT MODE

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EFFECT SECTION

MEMORY MODE

Recalling the Settings of the Original Program (in Compare Condition)

At any time during editing, you can recall the settings of the original program. Keep in mind, however, that this permanently erases whatever edits you have made.

Operation —

To recall the original program settings, simply press either [MANUAL] or [MEMORY] while in the Compare condition (the EDIT/COMPARE LED is flashing). The following display appears.

The mode then returns to either Manual or Memory, depending on the button pressed.

AVOID LOSING IMPORTANT DATA—After you’ve made edits to the program, be care-

CAUTION

Note: Regarding the above caution, there are certain

ful NOT to press [MANUAL] or [MEMORY] unless you are absolutely sure that you want to either recall the original program or save the new one. Be careful also to check which condition is active — Edit (with the continuously lit LED) or Compare (with the flashing LED). If you mistakenly press [MANUAL] or [MEMORY] in either condition, you may irretrievably lose important data!

MEMORY JOB MODE

Copying an Effect Program

Operation —

1. In the Memory mode, select the effect program to be copied.

2. Simultaneously hold down [SHIFT] and press [COPY/NAME] repeatedly until the Copy

display appears.

MEMORY EDIT MODE / MEMORY JOB MODE

LED flashes

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EFFECT SECTION

MEMORY MODE

3. Select the destination program number with

the [–]/[+] buttons.

4. To copy the selected program to the destination number, select “GO” (press [SET-B]). To cancel and return to Memory mode, select “EXIT” (press [SET-A]), or press any of the mode buttons.

Be careful when performing this operation, since it automatically and irretrievably

CAUTION

erases the program at the destination.

Swapping One Effect Program with Another

This is a simple renumbering operation, similar to Copy above, that lets you switch the program numbers of two effect programs.

Operation —

1. In the Memory mode, select one of the effect programs to be swapped.

2. Simultaneously hold down [SHIFT] and press [COPY/NAME] repeatedly until the Swap

display appears.

LED flashes

4. To swap the two selected programs, select “GO” (press [SET-B]). To cancel and return to Memory mode, select “EXIT” (press [SET-A]), or press any of the mode buttons.

Note: This operation changes or swaps all data, in-

cluding the program name, to the designated program number.

Naming an Effect Program

Operation —

1. Select the effect program to be named, or use the program currently being edited.

Note: Naming can only be done in the Memory mode. If you

are editing in the Manual mode, simultaneously press [MANUAL] and [MEMORY], select the destination program number with the [–]/[+] buttons, then [SETB] to save the effect program before naming it. (When you save the settings in the Manual mode to an effect program, the GW50 automatically gives it a name, starting with the letters “MEM” and followed by the bank number and memory number to which it has been saved.) If you are editing in the Memory Edit mode, press [MEMORY] to save the program and return to the Memory mode before naming it.

2. Simultaneously hold down [SHIFT] and press [COPY/NAME] repeatedly until the Name

display (“MEM<”) appears.

3. Select the other program number with the [–]/[+] buttons.

LED flashes

Cursor

MEMORY JOB MODE

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EFFECT SECTION

MEMORY MODE

3. Use the [–]/[+] buttons to select the desired

character at the cursor (<) position. Use [6 CURSOR] to move the cursor (<) in the display. The following characters are available:

4. Press [MANUAL] or [MEMORY] to return to the desired mode. The name is automatically saved to the program.

❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉❉

Using an External Footswitch

An optional external footswitch (the Yamaha FC5 or FC4) can be used to perform certain operations, letting you execute the selected operation without having to use the appropriate panel controls.

The following operations can be assigned to the footswitch: * Entering and exiting the Tuner mode (pressing

[SHIFT] + [TUNER])

* Switching between functions in the ASSIGN-

ABLE Block (pressing the ASSIGNABLE Block Type switch)

* Changing the effect type in an effect block

(pressing the effect block Type switch)

* Starting/stopping a song or pattern (pressing

[START/STOP])

* Switching Pedal Switch operation between bank

select and Memory select or effect on/off. (Normally, this is done by pressing the ASSIGNABLE Block Pedal Switch. However, if the MIN/MAX VOLUME or AUTO VOLUME functions are active, the ASSIGNABLE Block Pedal Switch is used for either of these. Assign the footswitch to substitute for this ASSIGNABLE Block Pedal Switch function when you are using the MIN/MAX VOLUME or AUTO VOLUME functions.)

❈ Total effects bypass (Turning all active effects

on/off) (See “Using the External Footswitch as a Total Effect Bypass Switch” below.)

Operation (other than ❈)—

1. Connect the footswitch to the FOOT SW jack on the rear panel.

2. Simultaneously hold the footswitch down and press the switch corresponding to the operation that you wish to control with the footswitch.

For example, if you want to use the footswitch to start and stop the Backing Song or Pattern, hold down the footswitch and press [START/STOP].

3. Release the footswitch. It can now be used instead of the panel switch you selected in step #2.

Note: To use the footswitch for entering and exiting the

Tuner mode:

1. Hold down the footswitch.

2. Press and hold down [SHIFT].

3. Then while holding the two above, press [TUNER] and release the buttons and footswitch.

Note: Functions other than those listed above

are not controllable with the footswitch.

Even if you’ve properly assigned one of the functions listed above to the footswitch, certain messages (such as “NOT AVAILABLE,” “STOP SONG,” “STOP PATTERN,” “EXIT

TUNER” or “EXIT MEM EDIT”) may appear,

indicating that the selected function cannot be performed in the current condition. When this happens, simply follow the directions of the message and/or use the appropriate panel button (depending on the function currently selected) to return to the appropriate mode.

MEMORY JOB MODE

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EFFECT SECTION

MEMORY MODE

For example, if you are using the footswitch to enter and exit the Tuner mode, and press it while the MIDI Bulk Trasmission function is active, the message “EXIT MIDI BULK” will appear. Either continue with the MIDI Bulk Transmission operation, or press one of the

HINT

This function is useful when you want to turn on or off ALL effects (not just the group-assigned effects) at once. It is also useful as a kind of “panic” switch in live performance, to turn off all effects if some kind of trouble (such as feedback) suddenly occurs.

mode buttons on the panel to return to normal operation.

Operation —

1. Simultaneously hold down the connected

Using the External Footswitch as a Total Effect Bypass Switch (All Effects ON/OFF)

You can also use the external footswitch to turn all

external footswitch and press [SHIFT].

2. Now, when you press the external footswitch, all currently active effects are turned on or off.

active effects on and off at once, as a total bypass switch.

RESTORING FACTORY PRESET EFFECT PROGRAMS

If you’ve erased one of the factory effect programs by replacing it with one of your own creation, this function lets you restore the original program.

Operation —

1. Turn off the power of the GW50.

2. Simultaneously hold down [MEMORY] and

turn the power back on. The MEMORY LED and the BANK/MEMORY indicator both flash. (“LD MEM” appears in the LCD.)

3. Select the number of the effect program you wish to restore with the [–]/[+] buttons.

4. Press [SET-B] (below “GO”) to restore the program, or press [SET-A] (below “EXIT”) to abort the operation. (You can also abort the operation by using any of the mode buttons: [MANUAL], [MEMORY], or [SONG/PATTERN].)

HINT

CAUTION

You can continue loading successive factory effect programs by repeating steps #3 and #4 above as necessary.

AVOID LOSING IMPORTANT DATA—Keep in mind that this operation automatically and irretrievably erases the program you created at the selected number. To avoid losing the program entirely, save it and others you have created by using the MIDI Bulk Transmission function. (See page 102.)

MEMORY JOB MODE / RESTORING FACTORY PRESET EFFECT PROGRAMS

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EFFECT SECTION

EFFECTS AND PARAMETERS

This section briefly explains each of the effect types and their parameters.

For information on how to select effects and edit the main and sub parameters, see the sections “Selecting an Effect Type,” “Editing Parameters” (page 44), “Selecting Effect Programs” (page 51) and the “MEMORY EDIT MODE” section (page 53).

Note: The characters that appear in parentheses after certain effect and parameter names

in this section indicate those names as they appear in the LCD. For example, the title “WAH + EQ (WAH, WEQ)” indicates that either WAH or WEQ are shown in the LCD.

COMPRESSOR

The Compressor block is especially effective for guitar since it smooths out the “peaks” and “valleys” in the sound. Compression “squashes” the dynamic range of the signal, making loud signals softer and soft signals louder. Normally, the Compressor should be put before the other effect blocks since it limits signals of widely varying loudness to a dynamic range more suitable for use with the other effects. For this reason, compression is also effective on guitar in smoothing out the level differences caused by uneven picking technique.

ATTACK — Range: 1 ~ 14

Determines the amount of time it takes for compression to begin after an input signal is detected. Longer attack times (higher values) let through more of the natural attack of the input signal.

SENSE — Range: –6 ~ –42 dB

Determines the threshold level of compression. Compression is applied to signal levels above the Sense point, while signals below this point are unaffected.

OUTPUT — Range: 0 ~ 200%

Determines the level of the processed sound. Settings above 100% are used for boosting the overall signal to an appropriate level, since compression effectively lowers the level of the sound.

SETTING THE OUTPUT PARAMETER—In general — for this effect and others —

HINT

set the Output parameter so that the level of the sound is constant, even when switching the effect on and off. If the Output parameter (and the Input parameter on other effects) are set too high or low, you may get unwanted sudden jumps in the level of the sound when turning the effects on and off, sometimes resulting in overloading of subsequent effects.

COMPRESSOR

Page 68

DISTORTION

The Distortion block features five different distortion effects, some of which recreate the same warm distortion as that of a tube ampflifier. Dist 1 is a general-purpose distortion sound, Dist 2 provides a warm, tube amplifier sound, Dist 3 has a hard “edgy” sound, Dist 4 provides a heavy, “fat” distortion effect, while the Overdrive effect provides a sound like the natural overdrive produced by a guitar amp.

DIST 1–4, OD (Overdrive)

DRIVE — Range: 0 ~ 100%

Determines the intensity of the distortion or overdrive sound. The higher the value, the greater the distortion.

EFFECT SECTION

For best results, set the Drive parameter to roughly 25%–60%.

HINT

EFFECTS AND PARAMETERS

TONE — Range: –16 ~ +16

Determines the total quality of the distortion sound. Negative values cut the high frequencies for a “fatter” sound, while positive values boost the high frequencies for a brighter sound.

OUTPUT — Range: 0 ~ 100%

Determines the output level of the processed sound.

Note: SETTING THE OUTPUT PARAMETER—In

order to avoid sudden jumps in level when changing between effect programs, or to avoid overloading subsequent effects within an effect program, the Output parameter should be set to an appropriate value — a value at which the level difference is small or nonexistent when switching the effect on and off.

EQUALIZER

The Equalizer block features a parametric equalizer, wah (or filter sweep) effect, and an amp simulator that effectively reproduces the sound of a guitar amp and speaker cabinet.

Note: SETTING THE INPUT AND OUTPUT PARAMETERS—For

each of the Equalizer types below, the Input parameter should be set to an appropriate value to avoid overloading of this and subsequent effects. Also, the Output parameter should be set appropriately to avoid sudden jumps in level when changing between effect programs, or to avoid overloading subsequent effects within an effect program. (See Note in the Distortion section, above.)

Note: When the Wah + EQ effect or Amp Simulator +EQ

effect is placed before Distortion (in CONNECT), the EQ portion of the effect is actually applied AFTER Distortion.

DISTORTION / EQUALIZER

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EFFECT SECTION

EFFECTS AND PARAMETERS

Equalizer (EQ)

The Equalizer effect is a highly versatile and flexible four-band parametric equalizer that includes bandwidth (Q) controls on the Lo Mid and Hi Mid frequencies.

HIGH (500 Hz – 12 kHz)

LMID F, HMID F (80 Hz – 12 kHz)

LOW F

Gain

(dB)

(40 Hz – 1.2 kHz)

+15 +10

–5 –10 –15

100

LOW F LMID F

500 1 k 5 k 10 k

Frequency (Hz)

Q=5.0Q=1.0

HMID F HIGH F

20 k

Sub parameters:

INPUT — Range: 0 ~ 100%

Determines the level of the input signal. Normally, this should be set to 100%; however, if equalizer adjustments have been made that bring the overall signal level up, lower values can be used here to compensate to reduce the volume to an appropriate level.

LOW FREQUENCY (LOW F) —

Range: 40 Hz ~ 1.2 kHz

Determines the cutoff frequency of the low frequency band (as adjusted in Low above).

LOW MID FREQUENCY (LMID F) —

Range: 80 Hz ~ 12.0 kHz

Determines the central frequency of the lowmidrange frequency band (as adjusted in Low Mid above).

LOW — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the low frequencies (as set in Low Frequency below).

LOW MID (L MID) — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the low-midrange frequencies (as set in Low Mid Frequency below).

HIGH MID (H MID) — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the high-midrange frequencies (as set in High Mid Frequency below).

HIGH — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the high frequencies (as set in High Frequency below).

HIGH MID FREQUENCY (HMID F) —

Range: 80 Hz ~ 12.0 kHz

Determines the central frequency of the highmidrange frequency band (as adjusted in High Mid above).

HIGH FREQUENCY (HIGH F) —

Range: 500 Hz ~ 12.0 kHz

Determines the cutoff frequency of the high frequency band (as adjusted in High above).

LOW MID Q (LMID Q) — Range: 0.1 ~ 5.0

Determines the bandwidth or range of the lowmidrange frequencies (adjusted in Low Mid above). The higher the value, the greater the range of frequencies affected.

HIGH MID Q (HMID Q) — Range: 0.1 ~ 5.0

Determines the bandwidth or range of the highmidrange frequencies (adjusted in High Mid above). The higher the value, the greater the range of frequencies affected.

EQUALIZER

Page 70

EFFECT SECTION

EFFECTS AND PARAMETERS

OUTPUT — Range: 0 ~ 200%

Determines the level of the processed sound. Settings above 100% are used for boosting the signal to an appropriate level to compensate for equalizer adjustments that bring the overall signal level down.

WAH + EQ (WAH, WEQ)

Wah is a filter sweep effect that, as its name implies, produces a “wah” type sound. The sweep of the filter can be made to vary automatically, or it can be controlled by the input level or with a connected external foot controller. A separate twoband parametric equalizer is included after the wah effect and can be adjusted with the sub parameters.

FB=100%

Pedal

Touch

Frequency

Pedal minimum

Guitar minimum

High

speed

Center

Range

FB=0%

Pedal maximum

Guitar maximum

Low

speed

In Pedal and Touch, the setting of the pedal or the level of the guitar signal (minimum or maximum) determines the position of the filter in the specified range.

Auto uses an LFO (low frequency oscillator) to move the center frequency back and forth in a cycle as far as the specified range.

Gain

Frequency

TYPE — Settings: Touch Slow (TOUCH SLW), Touch Fast (TOUCH FST), Auto, Pedal (Wah

Pedal operation only; see page 47). The Touch settings let you control the Wah effect

by the level of the input signal (or how hard you play). The filter sweep (or “wah” sound) starts at the beginning each time it is triggered. Touch Slow creates a slow single sweep down, while Touch Fast has a fast single sweep down. The Auto setting creates a repeating sweep cycle that runs freely, independent of the input signal; the speed of this cycle can also be adjusted.

The Pedal setting lets you sweep the filter manually with a connected foot controller. This setting is available only when WAH PEDAL operation has been selected for the external foot controller; also, Touch Slow, Touch Fast and Auto cannot be selected when the foot controller has been assigned to WAH PEDAL operation. (Refer to the section “SETTING THE FUNCTION OF THE EXTERNAL FOOT CONTROLLER — FOOT,” page 47, for more information on WAH PEDAL operation.)

SENSE (controlled with the second knob from the

left, when Touch Slow or Touch Fast are selected) — Range: 1 ~ 10 The higher the value, the more sensitive the trigger of the Wah effect is to low level signals.

Note:The second knob from the left

controls different parameters, depending on the selected type.

Touch Slow Touch Fast

Auto

Pedal

Sense

Speed

(No parameter)

HINT

For best results, when playing a solo or a line, try setting Sense to a high value; when performing backing or rhythm parts, try setting Sense to a low value.

EQUALIZER

Page 71

EFFECT SECTION

EFFECTS AND PARAMETERS

SPEED (controlled with the second knob from the left, when Auto is selected) —

Range: 0.4 ~ 6.4 Hz

Determines the speed of the filter sweep cycle.

CENTER FREQUENCY (CENTER) —

Range: 125 Hz ~ 9.0 kHz

Determines the center frequency of the Wah effect. The emphasized frequency is swept around this frequency.

RANGE — Range: 0 ~ 28

Determines the width of the center frequency, or how far the sweep extends above and below the center frequency. (See illustration above.)

Sub parameters:

FEEDBACK (FB) — Range: 0 ~ 100%

Determines the amount of the Wah-processed signal that is fed back to the Wah input. Higher values result in a stronger Wah sound.

EQ HIGH FREQUENCY (HIGH F) —

Range: 500 Hz ~ 12.0 kHz

Determines the cutoff frequency of the high frequency band (as adjusted in High above).

EQ OUTPUT — Range: 0 ~ 200%

Amp Simulator + EQ (AEQ)

This effect realistically reproduces the characteristic sound of a guitar amplifier, and provides a natural sound for direct recording purposes when not using an external amplifier. A separate twoband parametric equalizer is included after the Amp Simulator effect.

EQ INPUT — Range: 0 ~ 100%

EQ LOW — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the low frequencies (as set in Low Frequency below).

EQ LOW FREQUENCY (LOW F) —

Range: 40 Hz ~ 1.2 kHz

Determines the cutoff frequency of the low frequency band (as adjusted in Low above).

EQ HIGH — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the high frequencies (as set in High Frequency below).

TYPE — Settings: Stack, Combo, Tube

Determines the type of amplifier that is simulated. Stack recreates the powerful sound of a huge amp/speaker setup, Combo recreates a compact amp cabinet, and Tube recreates the warm sound of a tube amplifier.

EQ LOW — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the low frequencies (as set in Low Frequency below).

Note: This parameter is for adjusting the low

gain of the two-band EQ, which is independent of the Amp Simulator effect.

EQ HIGH — Range: –15 ~ +15 dB

Determines the amount of boost or cut applied to the high frequencies (as set in High Frequency below).

EQUALIZER

Page 72

EFFECT SECTION

EFFECTS AND PARAMETERS

Note: This parameter is for adjusting the high

gain of the two-band EQ, which is independent of the Amp Simulator effect.

MIX BALANCE (MIX) — Range: 0 ~ 100%

Determines the balance between the dry (direct) and processed signals. A setting of 0% outputs only the dry signal, and a setting of 100% outputs only the processed sound.

Sub parameters:

EQ INPUT — Range: 0 ~ 100%

EQ LOW FREQUENCY (LOW F) —

Range: 40 Hz ~ 1.2 kHz

Determines the cutoff frequency of the low frequency band (as adjusted in Low above).

EQ HIGH FREQUENCY (HIGH F) —

Range: 500 Hz ~ 12.0 kHz

Determines the cutoff frequency of the high frequency band (as adjusted in High above).

EQ OUTPUT — Range: 0 ~ 200%

ENHANCING THE AMP SIMULATOR— By judicious use of the Pitch Shift effect

HINT

(see the Amp Simulation settings in the table on page 65), you can create a richer, more natural amplifier simulation.

CHORUS

The Chorus block features a wide range of pitch change and modulation effects, including Chorus, Flanger and Phaser. Chorus uses modulation of the pitch and volume to enhance the sound by generally making it richer and fatter.

Note: For each of the Chorus types below, the

MIX and DRY parameters should be set appropriately to avoid sudden jumps in level when changing between effect programs, or to avoid overloading subsequent effects within an effect program. (See Note in the Distortion section, page 59.) Also, when MIX and DRY are both set to 0, no sound is output.

EQUALIZER / CHORUS

Page 73

EFFECT SECTION

EFFECTS AND PARAMETERS

Chorus 1, 2 (CH1, CH2)

Two chorus effects are provided: Chorus 1 features both pitch and volume modulation for an animated sound, while Chorus 2 provides a richer, more spacious effect.

SPEED — Range: 0.03 ~ 6.18 Hz

Determines the speed of the pitch modulation.

BRILLIANCE (BRIL)

(controlled with the center knob) —

Range: –3 ~ +6 dB

This functions as a tone control, for adjusting the brightness of the chorus sound.

DEPTH — Range: 0 ~ 100%

Determines the depth of the pitch modulation, or how widely the pitch is varied.

Sub parameters:

EFFECT MIX (MIX) — Range: 0 ~ 100%

Determines the level of the processed signals. A setting of 0% results in no effect output. Use this control with the Dry Level (DRY) parameter below to determine the balance between the effect and dry (direct) sound.

AMD (Chorus 1 only) — Range: 0 ~ 100%

AMD (Amplitude Modulation Depth) varies the volume instead of the pitch, creating a tremolo effect along with the chorus.

DRY LEVEL (DRY) — Range: 0 ~ 100%

Determines the level of the dry (direct) sound. A setting of 0% results in no direct sound output. Use this control with the Effect Mix (MIX) parameter above to determine the balance between the effect and dry sound.

Pitch Shift (P.L, P.R, P.S)

Pitch Shift lets you change the pitch of the sound, up to an octave above or below normal pitch. Since the amount of pitch shift can be set independently for the left and right channels, three separate pitches (including the original direct signal) can be heard. One application for this would be to create a natural yet complex chorus effect in which the left and right pitches are detuned slightly relative to the direct sound. Other applications include setting the pitch shift to an octave below or above (to make a six-string guitar sound like a twelve-string), or setting the pitch to other intervals (such as a fourth or fifth) to create instant harmonies and fill out the sound..

PITCH LEFT (LEFT) —

Range: –1200 ~ +1200 cents

Determines the amount of pitch shift for the left channel, up to one octave above or below the input pitch. Fine pitch shift values can be set in 5-cent steps up to +/–200 cents; 100 cents is equivalent to a half step or semitone.

PITCH RIGHT (RIGHT) —

Range: –1200 ~ +1200 cents

Determines the amount of pitch shift for the right channel, up to one octave above or below the input pitch.

EFFECT MIX (MIX) — Range: 0 ~ 100%

Sub parameters:

LEFT DELAY TIME (DL TIM, P.L) —

Range: 0.1 ~ 10 ms

Determines the time that the left pitch-shifted signal is delayed.

CHORUS

Page 74

EFFECT SECTION

EFFECTS AND PARAMETERS

LEFT DELAY FEEDBACK (DL FB, P.L) —

Range: 0 ~ 99%

Determines the amount of regeneration of the left signal’s delayed repeats. The higher the value, the greater the number of repeats. Since the pitch shift is applied to each delayed repeat, each successive repeat has a different pitch.

RIGHT DELAY TIME (DL TIM, P R)

Range: 0.1 ~ 10 ms

Determines the time that the right pitch-shifted signal is delayed.

RIGHT DELAY FEEDBACK (DL FB, P R)—

Range: 0 ~ 99%

Determines the amount of regeneration of the right signal’s delayed repeats. The higher the value, the greater the number of repeats. Since the pitch shift is applied to each delayed repeat, each successive repeat has a different pitch.

DRY LEVEL (DRY, P.S) — Range: 0 ~ 100%

Determines the level of the dry sound. A setting of 0% results in no direct sound output. Use this control with the Effect Mix (MIX) parameter above below to determine the balance between the effect and dry sound.

Pitch Shift is capable of creating a wide range of effects — from subtle “fattening”

HINT

Pitch Left

Pitch Right

Effect Mix 50% 50% 50% DL TIM, P.L 10ms 10ms 0.1~2ms DL FB, P.L 0% 0% 0% DL TIM, P.R 10ms 10ms 0.1~2ms DL FB, P.R 0% 0% 0%

DRY 50% 50% 100%

of the sound to wild, special effects. To get you started exploring some of the possibilities, here are some suggested settings.

Detuning Harmony

–5 ~ –25 cents

+5 ~ +25 cents

–100 ~ –1200 cents 0 cents (–1200 = –1 octave)

+100 ~ +1200 cents 0 cents

(+1200 = +1 octave)

Amp Simulation

The detuning settings create a soft, natural chorus effect, while the harmony settings provide a completely separate pitch, enabling two- or three-part harmonies. With the octave and harmony settings in particular, try increasing the Left and Right Delay Feedback values to create interesting special effects like stacked harmonies.

Flanger (FL)

Flanger is used to enhance the sound with modulation, creating an animated, swirling motion effect. It is effective in emphasizing the metallic sound of a guitar. This is a stereo flanging effect that lets you set separate left and right delay times.

SPEED — Range: 0.03 ~ 6.18 Hz

Determines the speed of the pitch modulation.

FEEDBACK (FB) — Range: 0 ~ 100%

Determines the amount of the Flanger-processed signal that is fed back to the Flanger input. Higher values result in a stronger Flanger sound.

DEPTH — Range: 0 ~ 100%

Determines the depth of the pitch modulation, or how widely the pitch is varied.

Sub parameters:

EFFECT MIX (MIX) — Range: 0 ~ 100%

LEFT DELAY TIME (L TIME) —

Range: 0.1 ~ 12.0 ms

Determines the time that the signal is delayed before applying the flanger to the left channel.

CHORUS

Page 75

EFFECT SECTION

EFFECTS AND PARAMETERS

RIGHT DELAY TIME (R TIME) —

Range: 0.1 ~ 12.0 ms

Determines the time that the signal is delayed before applying the flanger to the right channel.

DRY LEVEL (DRY) — Range: 0 ~ 100%

Phaser (PH)

Phaser is a strong and pronounced modulation effect.

SPEED — Range: 0.03 ~ 6.18 Hz

Determines the speed of the phase modulation.

FEEDBACK (FB) — Range: 0 ~ 100%

Determines the amount of the Phaser-processed signal that is fed back to the Phaser input. Higher values result in a stronger Phaser sound.

DEPTH — Range: 0 ~ 100%

Determines the depth of the phase modulation.

Sub parameters:

EFFECT MIX (MIX) — Range: 0 ~ 100%

DRY LEVEL (DRY) — Range: 0 ~ 100%

REVERB/DELAY

The Reverb/Delay block provides a reverb effect, a delay effect, and a delay combined with reverb. Used judiciously, reverb is one of the most important effects, since without it the sound is generally flat, dry and unnatural. Putting reverb on a guitar is an effective way to bring the sound to life and make it sound more natural. Delay, although more of a special effect, also helps in creating a sense of space and depth in the sound. Generally, delay and/or reverb effects are best used as the last effect in the chain, since they reproduce the echoes and ambience that follow a sound when heard in an actual performance environment.

CHORUS / REVERB/DELAY

Note: SETTING THE MIX AND DRY PARAMETERS—For

each of the Reverb/Delay types below, the MIX and DRY parameters should be set appropriately to avoid sudden jumps in level when changing between effect programs, or to avoid overloading subsequent effects within an effect program. (See Note in the Distortion section, page 59.) Also, when MIX and DRY are both set to 0, no sound is output.

Page 76

EFFECT SECTION

EFFECTS AND PARAMETERS

Reverb (REV)

This is a high-quality, yet simple and easy-to-use Reverb effect that provides three reverb types and lets you create long reverbs of up to 10 seconds.

TIME — Range: 0.3 ~ 10.0 sec

Determines the time it takes for the reverberation to decay. Higher values create a larger apparent room size.

HIGH (controlled with the center knob) —

Range: 0.1 ~ 1.0

Determines the amount of high frequencies in the reverb sound. In other words, it is similar to a tone control, except that it affects only the reverberation, not the original signal. The higher the value, the greater the amount of high frequencies. Higher settings make the apparent room sound more reflective and “live,” while lower settings help to keep the sound from becoming too harsh or metallic.

EFFECT MIX (MIX) — Range: 0 ~ 100%

Sub parameters:

TYPE — Settings: Hall, Room, Plate

Determines the type of reverb. Use this to set the kind of acoustic environment you wish to reproduce. Hall simulates the ambience of large enclosed spaces, such as concert halls, auditoriums and stadiums. Room simulates smaller performance spaces and various types of rooms. Plate recreates the special characteristics of a plate reverb, and is particularly effective at enhancing and filling out solo sounds.

LOW — Range: –3 ~ +6 dB

Determines the amount of low frequencies in the reverb sound. The higher the value, the greater the amount of low frequencies.

DRY LEVEL (DRY) — Range: 0 ~ 100%

Delay (DLY)

Delay adds echoed repeats to the sound. This delay effect is a sophisticated multiple delay, with a main delay and an additional short “doubling” delay. The main delay time also has a tap delay function that lets you “play” the delay time, setting it in time with the rhythm you’re playing by tapping the Pedal Switch. The Tap Delay function can also be used to temporarily change the delay time of effect programs in the Memory mode (for those programs that have Delay).

TIME — Range: 7 ~ 896 ms

Determines the time between delayed repeats of the main delay. Very short delays (7–50 ms) have a doubling effect, making one instrument sound like two. Slightly longer delays (roughly 60–150 ms) can be used for creating slap-back echo or a reverb-type effect. Longer times are used for special effects.

To use the Tap Delay function, press the Pedal Switch of the Delay block twice, when Delay is on. (If Delay has not been selected, pressing the Pedal Switch for tap delay will not set the delay time, but will simply turn the effect on and off.) The GW50 automatically sets the delay time to match the time between presses of the Pedal Switch.

REVERB/DELAY

Page 77

EFFECT SECTION

EFFECTS AND PARAMETERS

Note: The Tap Delay function can be used in the

Manual, Memory or Memory Edit modes, if the MEMORY ON/OFF function is selected in the ASSIGNABLE Block (the MEMORY LED flashes).

Note: If you tap the Pedal Switch a little beyond the

maximum time (up to about one second), the delay time will be set to the maximum value (896 ms). However, taps made much longer than one second will not set the delay time.

Note: The time set by Tap Delay is not saved as part

of the program data; only the delay time set by the panel knob can be saved.

QUANTIZE FUNCTION ON TAP DELAY—The GW50 has a convenient “quantize” function

HINT

that works with the backing rhythm patterns to keep your tap delay settings in time with the rhythm. This function measures the delay time that you tap with the Pedal Switch, and adjusts the time (if necessary) to synchronize the delay with the tempo of the rhythm pattern that is playing.

DOUBLING BALANCE (DB BAL) —

Range: 0 ~ 100%

Determines the level of the short (or doubling) delay. A setting of 0% outputs only the main delay, while a setting of 100% outputs only the short (or doubling) delay.

DRY LEVEL (DRY) — Range: 0 ~ 100%

Delay + Reverb (D+R)

This effect combines both the Delay and Reverb effects above in one program. All parameters in the two effects are available in this program. (For parameter descriptions, refer to the Delay and Reverb effects above.)

DELAY TIME (DL TIM) —

Range: 4 ~ 512 ms

FEEDBACK (FB) — Range: 0 ~ 100%

Determines the number of the delayed repeats. Values close to 0 repeat the delay once or twice, while for higher values the repeats carry on almost indefinitely.

EFFECT MIX (MIX) — Range: 0 ~ 100%

Sub parameters:

DOUBLING TIME (DB TIM) —

Range: 30 ~ 50 ms

Determines the time between delayed repeats of the short (or doubling) delay.

DELAY EFFECT MIX (DL MIX) —

Range: 0 ~ 100%

REVERB EFFECT MIX (RV MIX) —

Range: 0 ~ 100%

Sub parameters:

DELAY FEEDBACK (DL FB) —

Range: 0 ~ 100%

DOUBLING TIME (DB TIM) —

Range: 30 ~ 50 ms

DOUBLING BALANCE (DB BAL) —

Range: 0 ~ 100%

DELAY DRY LEVEL (DL DRY) —

Range: 0 ~ 100%

REVERB/DELAY

Page 78

EFFECT SECTION

EFFECTS AND PARAMETERS

REVERB TYPE (RV TYP) —

Settings: Hall, Room, Plate

REVERB TIME (RV TIM) —

Range: 0.3 ~ 10.0 sec

REVERB LOW (RV LOW) —

Range: –3 ~ +6 dB

NOISE GATE

Noise Gate is a separate effect that is placed before the Chorus and Reverb/Delay effects, and is used to eliminate any noise or hum in the signal when the instrument isn’t being played. All signals below the Threshold point are filtered out, thus cutting off the noise. Noise Gate is always active no matter what the effect program or configuration.

Note: The Noise Gate cannot be used to

eliminate any noise occurring after the Chorus or Reverb/Delay effects.

REVERB HIGH (RV HI) — Range: 0.1 ~ 1.0

REVERB DRY LEVEL (RV DRY) —

Range: 0 ~ 100%

Parameter

THRESHOLD — Range: 0 ~ 9

Determines the sensitivity of the noise gate, or how loud an input signal is required to open the gate (letting the signal through). The higher the value, the louder the signal needs to be to open the gate. For optimum operation, Threshold should be set just above the level of the noise; setting it too high may cause notes to be cut off too abruptly.

Operation —

1. From the Manual or Memory Edit mode, simultaneously hold down [SHIFT] and press [SUB PARAM]. This calls up the sub parameters. If “N.GATE” is not displayed here, press [CMP] or [DST] (or simultaneously hold down [SHIFT] and repeatedly press [SUB PARAM]).

2. Adjust with [–]/[+] buttons.

3. Exit this operation by pressing any of the

mode buttons ([MANUAL], [MEMORY] or [SONG/PATTERN]).

Guitar signal

Level

Threshold level

NOISE NOISE

Time

This part of signal is filtered out.

REVERB/DELAY / NOISE GATE

Page 79

EFFECT SECTION

EFFECTS AND PARAMETERS

Page 80

REFERENCE

BACKING SECTION

PATTERN MODE ................................................ 73

Selecting and Playing Patterns...................... 73

Cursor Control in Pattern Mode.................... 74

Changing Chords........................................... 74

Changing the Tempo ..................................... 76

Muting the Accompaniment, Bass and

Drums ............................................................ 76

ASSIGNABLE Block and Pedal Switch

Functions in Pattern Mode ............................ 77

Backing Control ........................................ 77

Chord Recall ............................................. 77

Root Select ................................................ 78

SONG MODE ....................................................... 79

SONG PLAY MODE

(SONG PLAYBACK)....................................... 79

Selecting and Playing Songs ......................... 79

Cursor Control in Song Mode....................... 80

Changing the Tempo ..................................... 80

Muting the Accompaniment, Bass and

Drums ............................................................ 80

Position Controls ........................................... 81

ASSIGNABLE Block and Pedal Switch

Functions in Song Mode ............................... 82

RECORDING AND EDITING SONGS .......... 83

REALTIME RECORDING MODE

(REALTIME RECORDING)............................ 83

ASSIGNABLE Block and Pedal Switch

Functions in Song Realtime Recording ........ 86

Hints on Realtime Recording........................ 87

STEP RECORDING MODE

(STEP RECORDING)....................................... 88

SONG EDIT MODE (SONG EDITING) ......... 90

Viewing Recorded Events............................. 90

Editing (Changing) Recorded Events ........... 92

Erasing Recorded Events .............................. 92

Set A and Set B Operations .......................... 92

Marking Measure A and Measure B......... 92

Jumping to Measure A or Measure B....... 92

Loop (Repeat) Playback (A to B) ............. 92

Loop (Repeat) Recording (A to B) ........... 93

SONG JOB MODE ........................................... 94

Copying Measures Between A and B ........... 94

Deleting Measures Between A and B ........... 94

Naming Songs ............................................... 95

RESTORING FACTORY PRESET SONGS ... 95

Backing Control —

Selecting and Playing a Song ................... 82

Triggered Run ........................................... 82

Page 81

BACKING SECTION

PATTERN MODE

Page 82

PATTERN MODE

In the Pattern mode, you can select and play rhythm and accompaniment patterns. There are 248 preset patterns covering a wide variety of musical styles, and they feature realistic drum, bass and other accompaniment sounds. Combined with the sophisticated chord controls of the GW50, these preset patterns provide easy-to-use backing tracks for performing along with.

Note: Unless indicated otherwise, all operations in the Pat-

tern mode covered below can be performed either while the pattern is stopped or being played.

PATTERN TYPES—The patterns can be roughly divided into groups of four types,

HINT

each designed to fill a specific role in a song. The types are indicated by the last one or two characters in the pattern name:

BACKING SECTION

PATTERN MODE

…A — Basic pattern, used generally for the “A”

part of a song, such as the verse. …AF — Fill in based on the basic pattern. …B — Variation pattern, used generally for the “B”

part of a song, such as the bridge or chorus. …BF — Fill in based on the variation pattern.

To select the Pattern mode, press [SONG/PATTERN] so that the PATTERN LED lights. (The

current pattern name appears in the display.)

The operations covered in this section on the

Pattern mode pertain specifically to the Pattern

IMPORTANT

mode. Make sure that the Pattern mode has been

selected before trying each operation.

Selecting and Playing Patterns

Operation —

1. Using [6 CURSOR], move the arrow in the display to the PTN (Pattern) box.

2. Use the [–]/[+] buttons to select the desired pattern number. (Refer to pages 144 and 145 for a list of the available patterns and their descriptions.)

Note: Only the odd number patterns from 1 – 239

(the basic patterns) can be selected here in the Pattern mode. Fill in patterns (even numbered patterns from 2 – 240) cannot be selected here; however, once a basic pattern has started, the companion fill in pattern for that basic pattern can be played by pressing Pedal Switch

3. (See page 77 for details.) Patterns 241 – 248, which include the special Retrigger, Ending, Metronome and Blank patterns, can all be selected.

3. To play the selected pattern, press [START/ STOP].

PATTERN MODE

Page 83

BACKING SECTION

PATTERN MODE

This flashes on every beat in time with the tempo.

Position indicator — Displays the current position in the measure (in 16th notes); moves when pattern is playing.

Pattern tempo

Beat1Beat

Pattern number — This display title (“PTN”) changes briefly to “NEXT PTN” if a second pattern is selected while the first is still playing. (The second pattern begins from the next measure, and the title changes back as well.)

Time signature of the pattern

Beat

4 Measure/Beat — This changes as the pattern in playing; the indication depends on the length of the pattern and its time signature.

Backing mute status

Pattern name

Current chord

Cursor Control in Pattern Mode

Whether a pattern is playing or not, the cursor arrow can be moved (using [6 CURSOR]) among the TEMPO and PTN sections of the Backing mode display, and the Effect mode display. (The cursor arrow actually disappears from the LCD when the Effect mode display is selected.)

Changing Chords

The GW50 features a sophisticated automatic bass and accompaniment function that automatically and instantly adds matching bass lines and chord voicings according to the chords you specify here. A total of 25 different chord types are available for each of the 12 keys.

In addition to the methods described below, the Pedal Switches can be used to assign chords to the Pedal Switches and change to pre-assigned chords. See the section “Chord Recall,” page 77, for details.

Note: If the cursor arrow has been moved, “MANUAL”

or the current effect program name may be displayed instead of the pattern name and current chord. (This is the Effect mode display.) To restore the Backing mode display shown above, press [6 CURSOR]. (See Cursor Control in Pattern Mode below for details.)

4. To stop the pattern, press [START/STOP]

again.

You can also use the Pedal Switches to select and play patterns; see page 12

HINT

for more information.

Changing the Root Note

Operation —

To change the root note of the chord, press the Chord button corresponding to the desired note (written above the button). Press it repeatedly until the desired note is shown in the LCD.

Note: The mark “#” in the LCD is used to

represent “” or “sharp.”

Note:For this, and all other note/chord

select operations, the Chord buttons “remember” the last selection made. For example, if you’ve selected “E” as the root note by pressing [D/EE] three times, and press another Chord button, you will need to press [D/EE] only once to call up “E.”

PATTERN MODE