Download Boss Audio Systems GT-100 Owner`s manual

Parameter Guide
Contents
Basic Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
EZ TONE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
PATCH CREATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
AMP CUSTOMIZE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
OD/DS CUSTOMIZE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
EFFECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
COMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
OD/DS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
PREAMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
FX1/FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
T. WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
AUTO WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
SUB WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
ADV. COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
LIMITER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
SUB OD/DS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
GRAPHIC EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
PARAMETRIC EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
TONE MODIFY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
GUITAR SIM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
SLOW GEAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
DEFRETTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
WAVE SYNTH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
SITAR SIM.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
OCTAVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
HARMONIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
SOUND HOLD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
AC. PROCESSOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
PHASER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
TREMOLO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
ROTARY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
UNI-V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
PAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
SLICER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
RING MOD.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
HUMANIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2X2 CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
SUB DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
PEDAL FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
PEDAL BEND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
FOOT VOLUME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
FOOT VOLUME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
DIVIDER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SINGLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DUAL Ch. A, DUAL Ch. B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SEND/RETURN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
NS1/NS2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ACCEL FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
S-BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
LASER BEAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
RING MOD.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TWIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
WARP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
FEEDBACKER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MASTER SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MASTER SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AMP CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
22
22
22
23
23
24
24
24
24
24
24
24
25
25
25
25
SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
OUTPUT SELECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
INPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
GLOBAL EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TOTAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PHRASE LOOP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PLAY OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
KNOB SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PREFERENCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
LCD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI SETTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI PROGRAM MAP BANK 0–3. . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI BULK DUMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PEDAL CALIBRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AUTO OFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
FACTORY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
26
26
26
26
26
27
28
28
28
29
30
30
30
30
30
CTL/EXP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
ACCEL/CTL, EXP SW, SUB CTL 1, SUB CTL 2 . . . . . . . . . . . . . . . . . . . . . .
EXP, SUB EXP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ASSIGN COMMON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ASSIGN 1–8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Virtual expression pedal system (Internal Pedal / Wave
Pedal). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
31
32
32
35
35
Other Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
TUNER METRONOME MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TUNER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
METRONOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MANUAL MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
37
37
37
Memo
•
This effect sound is mono.
•
This effect sound is output with two channels.
•
These effects take a mono input and output it on two channels.
* The product names mentioned in this document are registered trademarks or trademarks of their respective owners. In this manual, these names are used because it is the
most practical way of describing the sounds that are simulated using COSM technology.
Copyright © 2012 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.
2
Basic Operation
Editing on the GT-100 is extremely simple; the procedure is always the same..
1
Choose what you’re going to edit
Press one of the following buttons.
Effect
page 5
Here you can edit the parameters of each effect.
System
page 26
Here you can make settings that apply to the
entire GT-100, such as output settings and
phrase loop settings.
EZ (Easy) Tone
page 4
Here you can create the desired tone simply by
choosing a musical style and the type of song you
have in mind. You can also customize the amp and
overdrive/distortion settings in an intuitive way.
2
Control/Expression
page 31
Here you can assign the desired functions to the
[ACCEL/CTL] pedal, [EXP] pedal, and external
pedals.
Select an item
Use
display.
Turn knob [4] to select the
desired item (the cursor will
move).
to select an item shown in the left
The screen shown here is an example of when you’ve pressed the
[EFFECT] button.
3
Edit the values
to edit the values
Use
shown in the right display.
Turn the knobs
to edit the
values.
If page tabs are shown in the screen, you can use the
[PAGE] buttons to move between tabs.
4
Exit the settings
Press
.
You’ll be returned to the Play screen.
NOTE
The settings you’ve edited will be lost when you switch patches. If you want to keep the edited settings, you must save them as a user patch
(Owner’s Manual: p. 13).
3
EZ TONE
PATCH CREATE
OD/DS CUSTOMIZE
Lets you easily create your sound starting from your choice of musical style
and type of song.
Lets you intuitively customize the overdrive/distortion.
Parameter
Parameter
BASIC TONE
Value
Explanation
Value
Explanation
OD-1
This models the sound of the BOSS OD-1.
BLUES
Blues sound
OD-2
This is a overdrive sound with high gain.
Soul Funk
Soul and Funk sound
CRUNCH
This is a crunch sound.
Jazz
Jazz sound
LIVERPOOL
British Rock
DS-1
This gives a basic, traditional distortion
sound.
70's HARD ROCK
The Hard Rock sound popular in the ’70s
DS-2
This creates a heavier distortion sound.
80s METAL
The Metal sound popular in the ’80s
METAL1
MODERN METAL
Modern Metal sound
This is a metal sound with a characteristic
midrange.
West Coast
West Coast sound
METAL2
This gives a heavy metal sound.
Fuzz Rock
Fuzz
FUZZ
This gives a basic, traditional fuzz sound.
STUDIO
Recording Studio
PROGRESSIVE
Progressive
SURF ROCK
Surf Rock sound
COUNTRY
Country
Acoustic
For Acoustic Guitar
Punk Pop
SOFT –HARD
-50–+50
BACKING –
SOLO
-50–+50
AMBIENCE
0–100
Punk Pop
+: Sharp distortion
-: Warm distortion
+: For soloing
-: For backing
Adjusts the length of the resonance
AMP CUSTOMIZE
Lets you intuitively customize the amp.
Parameter
CUSTOM
TYPE
Value
Explanation
JC CLEAN
This models the sound of the Roland JC-120.
TW CLEAN
This models a Fender Twin Reverb.
CRUNCH
This is a crunch sound that can faithfully
reproduce the nuances of picking.
COMBO DRIVE
This is a combo amp sound that it suited to
sixties-style British rock.
COMBO LEAD
This is a lead sound of a combo tube amp
typical of the late ‘70s to ‘80s.
MS HiGAIN
This models the sound input to Input I on a
Marshall 1959.
This is a trebly sound suited to hard rock.
MODERN STACK
SOFT –HARD
-50–+50
BACKING –
SOLO
-50–+50
4
This original high-gain amp delivers thick
lows and intense distortion while still
preserving the sound’s clear definition.
+: Sharp distortion
-: Warm distortion
+: For soloing
-: For backing
CUSTOM
TYPE
SOFT –HARD
-50–+50
BACKING –
SOLO
-50–+50
+: Sharp distortion
-: Warm distortion
+: For soloing
-: For backing
EFFECT
OD/DS TYPE
COMP
This is a list of distortion types that can be selected for OD/DS.
This is an effect that produces a long sustain by evening out the volume
level of the input signal.
Category
Type
Explanation
This is a booster with unique characteristics
in the midrange.
Parameter
Value
Explanation
ON/OFF
OFF, ON
Turns this effect on/off.
BOSS COMP
This models a BOSS CS-3.
HI-BAND
This is a compressor that adds an even
stronger effect in the high end.
CLEAN BOOST
This not only functions as a booster, but also
produces a clean tone that has punch even
when used alone.
LIGHT
This is a compressor with a light effect.
TREBLE BOOST
D-COMP
This models a MXR DynaComp.
This is a booster that has bright characteristics.
ORANGE
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
CRUNCH
A lustrous crunch sound with an added
element of amp distortion.
FAT
When applied heavily, this compressor effect
provides a fat tone with a boosted midrange.
NATURL OD
This is an overdrive sound that provides
distortion with a natural feeling.
When applied heavily, this compressor effect
produces a sweet tone with the high end cut.
WARM OD
This is a warm overdrive.
MILD
FAT DS
A distortion sound with thick distortion.
STEREO COMP
This selects a stereo compressor.
LEAD DS
0–100
Adjusts the range (time) over which low-level
signals are boosted. Larger values will result
in longer sustain.
Produces a distortion sound with both the
smoothness of an overdrive along with a
deep distortion.
METAL DS
This is distortion sound that is ideal for
performances of heavy riffs.
OCT FUZZ
A fuzz sound with rich harmonic content.
TYPE
SUSTAIN
ATTACK
0–100
Adjusts the attack time.
LEVEL
0–100
Adjusts the tone.
TONE
-50–+50
Adjusts the volume.
MID BOOST
ADVANCED
This is a crunch sound of the BOSS BD-2.
BLUES OD
OD-1
OD/DS
This effect distorts the sound to create long sustain.
Parameter
Value
Explanation
ON/OFF
OFF, ON
TYPE
Refer to OD/DS TYPE
DRIVE
0–120
Adjusts the depth of distortion.
TONE
-50–+50
Adjusts the tone.
Turns this effect on/off.
VINTAGE
This is the high-gain overdrive sound of the
BOSS OD-2.
DIST
This gives a basic, traditional distortion
sound.
RAT
This models a Proco RAT.
GUV DS
This models a Marshall GUV’ NOR.
DST+
This models a MXR DISTORTION+.
This models the sound of the BOSS MT-2.
BOTTOM
Adjusts the tone for the low frequency range.
Turning this to the left (counterclockwise)
produces a sound with the low end cut;
turning it to the right boosts the low end in
the sound.
’60S FUZZ
Adjusts the volume of the direct sound.
SOLO SW
OFF, ON
The tone to one suitable for solos.
0–100
Adjusts the volume level when the Solo Sw
is ON.
SOLO LEVEL
This produces sweet, mild distortion.
TURBO OD
METAL ZONE
0–100
This models the sound of the BOSS OD-1.
This models an Ibanez TS-808.
Adjusts the volume of the OD/DS sound.
DIRECT MIX
This produces distortion that faithfully
reproduces the nuances of picking.
T-SCREAM
EFFECT LEVEL 0–100
-50–+50
Making the connection before the COSM
amp produces sound suitable for solos.
MUFF FUZZ
It produces a wide range of metal sounds,
from old style to slash metal.
This models a FUZZFACE.
It produces a fat fuzz sound.
This models an Electro-Harmonix Big Muff π.
Custom OD/DS
CUSTOM
You can customize it however you like to
match the sound you want.
5
EFFECT
CUSTOM OD/DS SETTING
Parameter
Value
Explanation
Select the speaker type.
Explanation
OFF
This turns off the speaker simulator.
OD-1
This models the sound of the BOSS OD-1.
ORIGIN
(ORIGINAL)
This is the built-in speaker of the amp you
selected with PREAMP TYPE.
OD-2
This is a overdrive sound with high gain.
CRUNCH
This is a crunch sound.
1x8"
This is a compact open-back speaker cabinet
with one 8-inch speaker.
DS-1
This gives a basic, traditional distortion sound.
1x10"
This is a compact open-back speaker cabinet
with one 10-inch speaker.
DS-2
This creates a heavier distortion sound.
This is a metal sound with a characteristic
midrange.
1x12"
METAL1
This is a compact open-back speaker cabinet
with one 12-inch speaker.
METAL2
This gives a heavy metal sound.
2x12"
This is a general open-back speaker cabinet with
two 12-inch speakers.
FUZZ
This gives a basic, traditional fuzz sound.
4x10"
This is an optimal speaker cabinet for a large
enclosed amp with four 10-inch speakers.
-: For backing
4x12"
This is an optimal speaker cabinet for a large
enclosed amp with four 12-inch speakers.
-50–+50
This controls the input sound’s low-frequency
range and adjusts the amount of distortion in the
low-frequency range
8x12"
This is a double stack of two cabinets, each with
four 12-inch speakers.
CUSTOM TOP
-50–+50
This controls the input sound’s high-frequency
range and adjusts the amount of distortion in the
high-frequency range.
CUSTOM LOW
-50–+50
Adjusts the low-range tones after distortion is
applied.
This setting selects the simulated mic type.
Adjusts the high-range tones after distortion is
applied.
DYN57
This is the sound of the SHURE SM-57. General
dynamic mic used for instruments and vocals.
Optimal for use in miking guitar amps.
DYN421
This is the sound of the SENNHEISER MD-421.
Dynamic mic with extended low end.
CND451
This is the sound of the AKG C451B. Small
condenser mic for use with instruments.
CND87
This is the sound of the NEUMANN U87.
Condenser mic with flat response.
FLAT
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of listening
to the sound directly from the speakers (on site).
Parameter
CUSTOM TYPE
Value
CUSTOM CHAR -50–+50
CUSTOM
BOTTOM
CUSTOM HIGH -50–+50
SP TYPE *1
+: For soloing
Custom speaker
CUSTOM
MIC TYPE *1
PREAMP
COSM technology simulates different preamp characteristics, speaker
sizes, and cabinet shapes.
Parameter
Value
Explanation
ON/OFF
OFF, ON
Turns the COSM AMP effect on/off.
TYPE
Refer to PREAMP TYPE
GAIN
0–120
Adjusts the distortion of the amp.
T-COMP
-10–0–+10
Adjusts the sense of compression of the amp.
Simulates the distance between the mic and speaker.
MIC DIS *1
0–100
* Be careful not to raise the Level setting too
high.
BASS
0–100
Adjusts the tone for the low frequency range.
MIDDLE
0–100
Adjusts the tone for the middle frequency range.
TREBLE
0–100
Adjusts the tone for the high frequency range.
PRESENCE
0–100
BRIGHT
OFF, ON
Adjusts the tone for the ultra high frequency
range.
* The PRESENCE parameter functions as a
high-cut filter with some PREAMP TYPEs.
Turns the bright setting on/off.
GAIN SW
LOW, MIDDLE,
HIGH
* The BRIGHT parameter setting is available only
with certain PREAMP TYPEs.
Provides for selection from three levels of
distortion: LOW, MIDDLE, and HIGH. Distortion
will successively increase for settings of LOW,
MIDDLE and HIGH.
* The sound of each Type is created on the basis
that the Gain is set to MIDDLE. So, normally set
it to MIDDLE.
SOLO SW
OFF, ON
SOLO SW is switched on to create the tone to one
suitable for solos.
SOLO LEVEL
0–100
Adjusts the volume level when the SOLO SW is
ON.
6
OFF MIC
This setting points the mic away from the
speaker.
ON MIC
Provides conditions whereby the mic is directed
more towards the speaker.
This simulates the mic position.
Adjusts the volume of the entire preamp.
LEVEL
You can customize it however you like to match
the sound you want.
CENTER
Simulates the condition that the mic is set in the
middle of the speaker cone.
1–10 cm
Simulates the condition that the mic is moved
away from the center of the speaker cone.
MIC LEVEL *1
0–100
Adjusts the volume of the mic.
DIRECT MIX
*1
0–100
Adjusts the volume of the direct sound.
MIC POS *1
*1 This is enabled when the OUTPUT SELECT parameter is set to LINE/PHONE.
EFFECT
PREAMP TYPE
Category
This is a list of the amp types that can be selected for PREAMP.
Type
Explanation
NATURL CLEAN
An unembellished, clean sound that
minimizes the amp’s idiosyncrasies, such as
its trebly character and boomy low end.
FULL RANGE
Explanation
This is a custom preamp.
CUSTOM
Category
Type
You can customize it however you like to
match the sound you want.
An amp with a broad frequency range and an
extremely flat response.
Good for acoustic guitar.
COMBO CRUNCH
Crunch sound that allows the nuances of
your picking to be expressed even more
faithfully than on conventional combo amps.
STACK CRUNCH
Great-feeling crunch sound that responds
well to picking dynamics while retaining
all the defining characteristics of a 4 x 12”
speaker cabinet.
HiGAIN STACK
High-gain sound of a vintage Marshall
specially revamped in a way that is possible
only with COSM modeling technology.
POWER DRIVE
A straight drive sound that works well in a
broad range of situations, from backing to
lead. A sound like this cannot be obtained
from any existing combo amp or stack amp.
EXTREM LEAD
A new type of sound that smoothes out the
uneven frequency response that is typical of
existing large stack amps.
CORE METAL
A large stack sound that has been tweaked
extensively in the pursuit of the ultimate
metal sound.
JC-120
This models the sound of the Roland JC-120.
ADVANCED
CLEAN TWIN
This models a Fender Twin Reverb.
PRO CRUNCH
This models a Fender Pro Reverb.
TWEED
This models a Fender Bassman 4 x 10”
Combo.
DELUXE CRUNCH
This models a Fender Deluxe Reverb.
VO DRIVE
VO LEAD
MATCH DRIVE
VINTAGE
BG LEAD
BG DRIVE
MS1959 I
This models the drive sound of a VOX
AC-30TB.
This is a sound that it suited to sixties-style
British rock.
This models the lead sound of the VOX
AC-30TB.
This models the sound input to left input on
a Matchless D/C-30.
A simulation of the latest tube amp widely
used in styles from blues and rock.
This models the lead sound of the MESA/
Boogie combo amp.
The sound of a tube amp typical of the late
‘70s to ‘80s.
This models a MESA/Boogie with TREBLE
SHIFT SW on.
This models the sound input to Input I on a
Marshall 1959.
This is a trebly sound suited to hard rock.
MS1959 I+II
The sound of connecting inputs I and II of the
guitar amp in parallel, creating a sound with
a stronger low end than I.
R-FIER VINTAGE
Models the sound of the Channel 2 VINTAGE
Mode on the MESA/Boogie DUAL Rectifier.
R-FIER MODERN
Models the sound of the Channel 2 MODERN
Mode on the MESA/Boogie DUAL Rectifier.
T-AMP LEAD
This models a Hughes & Kettner Triamp
AMP3.
SLDN
This models a Soldano SLO-100. This is the
typical sound of the eighties.
5150 DRIVE
This models the lead channel of a Peavey
EVH 5150.
7
EFFECT
CUSTOM AMP SETTING
Parameter
CUSTOM TYPE
Explanation
JC CLEAN
This models the sound of the Roland JC-120.
TW CLEAN
This models a Fender Twin Reverb.
Parameter
Value
Explanation
CRUNCH
This is a crunch sound that can faithfully
reproduce the nuances of picking.
ON/OFF
OFF, ON
Turns this effect on/off.
This is a combo amp sound that it suited to
sixties-style British rock.
LOW GAIN
-20–+20 dB
Adjusts the low frequency range tone.
COMBO DRIVE
HIGH GAIN
-20–+20 dB
Adjusts the high frequency range tone.
COMBO LEAD
This is a lead sound of a combo tube amp typical
of the late ‘70s to ‘80s.
LEVEL
-20–+20 dB
Adjusts the overall volume level of the equalizer.
This models the sound input to Input I on a
Marshall 1959.
LOW-MID
FREQ
20 Hz–10.0 kHz
Specifies the center of the frequency range that
will be adjusted by the LOW-MID GAIN.
LOW-MID Q
0.5–16
Adjusts the width of the area affected by the EQ
centered at the LOW-MID FREQ. Higher values
will narrow the area.
LOW-MID
GAIN
-20–+20 dB
Adjusts the low-middle frequency range tone.
HIGH-MID
FREQ
20 Hz–10.0 kHz
Specifies the center of the frequency range that
will be adjusted by the HIGH-MID GAIN.
HIGH-MID Q
0.5–16
Adjusts the width of the area affected by the EQ
centered at the HIGH-MID FREQ. Higher values
will narrow the area.
HIGH-MID
GAIN
-20–+20 dB
Adjusts the low-middle frequency range tone.
LOW CUT
FLAT,
20 Hz–800 Hz
This sets the frequency at which the low cut filter
begins to take effect. When FLAT is selected, the
low cut filter will have no effect.
HIGH CUT
630 Hz–
12.5 kHz, FLAT
This sets the frequency at which the high cut
filter begins to take effect. When FLAT is selected,
the high cut filter will have no effect.
This is a trebly sound suited to hard rock.
MODERN
STACK
CUSTOM CHAR -50–+50
-50–+50
CUSTOM EDGE -50–+50
CUSTOM
PREAMP LOW
-50–+50
CUSTOM
PREAMP HIGH
-50–+50
This original high-gain amp delivers thick lows
and intense distortion while still preserving the
sound’s clear definition.
+: For soloing
-: For backing
This controls the input sound’s low-frequency
range and adjusts the amount of distortion in the
low-frequency range.
This controls the input sound’s high-frequency
range and adjusts the amount of distortion in the
high-frequency range.
Adjusts the preamp section’s low-frequency tone.
Adjusts the preamp section’s high-frequency
tone.
CUSTOM SPEAKER SETTING
Parameter
Value
Explanation
CUSTOM
SP SIZE
5–15"
Selects the size of speaker.
CUSTOM
SP NUMBER
x1, x2, x4, x8
Sets the number of speakers.
Selects the speaker cabinet type.
CUSTOM
CABINET
OPEN
This is an open-backed cabinet
CLOSE
This type of cabinet features an enclosed rear
panel.
CUSTOM
COLOR LOW
-10–+10
Adjusts the speaker section’s low-frequency tone.
CUSTOM
COLOR HIGH
-10–+10
Adjusts the speaker section’s high-frequency
tone.
8
This adjusts the tone as a equalizer. A parametric type is adopted for the
high-middle and low-middle range.
Value
MS HiGAIN
CUSTOM
BOTTOM
EQ
EFFECT
FX1/FX2
With FX1 and FX2, you can select the effect to be used from the following.
You can select the same effect for FX1 and FX2.
Parameter
Value
Explanation
ON/OFF
OFF, ON
Turns this effect on/off.
TYPE
Refer to FX1/FX2 TYPE
FX1/FX2 TYPE
This is a list of the effects that can be selected for FX1/FX2.
Effect Name
Explanation
T. WAH
You can produce a wah effect with the filter changing in response
to the guitar level.
(Touch Wah)
AUTO WAH
(Auto Wah)
SUB WAH
ADV. COMP
LIMITER
The limiter attenuates loud input levels to prevent distortion.
SUB OD/DS
This effect distorts the sound to create long sustain.
PARAMETRIC
EQ
(Parametric
Equalizer)
PAN
With the volume level of the left and right sides alternately
changing, when playing sound in stereo, you can get an effect that
makes the guitar sound appear to fly back and forth between the
speakers.
SLICER
This consecutively interrupts the sound to create the impression
that a rhythm backing phrase is being played.
VIBRATO
This effect creates vibrato by slightly modulating the pitch.
RING MOD.
This creates a bell-like sound by ring-modulating the guitar sound
with the signal from the internal oscillator. The sound can be
unmusical and lack distinctive pitches.
HUMANIZER
This can create human vowel-like sounds.
2X2 CHORUS
Frequency band division is employed to produce two different
choruses, one for low frequencies and one for higher frequencies,
for both the left and right channels (for a total of four). This allows
you to achieve a more natural chorus sound.
SUB DELAY
This is a delay with the maximum delay time of 1,000 ms. This
effect is useful for making the sound fatter.
You can control the wah effect in real time by adjusting the [EXP]
pedal or the expression pedal connected to the SUB CTL 1, 2/SUB
EXP jack.
This is an effect that produces a long sustain by evening out the
volume level of the input signal. You can also use it as a limiter to
suppress only the sound peaks and prevent distortion.
(Graphic
Equalizer)
Explanation
This changes the filtering over a periodic cycle, providing an
automatic wah effect.
(Advanced
Compressor)
GRAPHIC EQ
Effect Name
This adjusts the tone as a equalizer. You can adjust the sound
quality in ten bands.
Adjusts the tonal quality. You can adjust the sound quality in four
bands.
TONE MODIFY This changes the tone of the connected guitar.
(Guitar
Simulator)
Simulation of the characteristics of particular guitar components
such as pickups and different guitar bodies allows you to switch
among a number of different guitar types all while using a single
guitar.
SLOW GEAR
This produces a volume-swell effect (“violin-like” sound).
DEFRETTER
This simulates a fretless guitar.
WAVE SYNTH
This is a synth sound that processes the guitar input signal.
GUITAR SIM
SITAR SIM.
(Sitar
Simulator)
This simulates the sound of the sitar.
OCTAVE
This adds a note one octave lower, creating a richer sound.
PITCH SHIFTER
This effect changes the pitch of the original sound (up or down)
within a range of two octaves.
HARMONIST
Harmonist is an effect where the amount of shifting is adjusted
according to an analysis of the guitar input, allowing you to create
harmony based on diatonic scales.
SOUND HOLD
You can have sound played on the guitar be held continuously.
This effect allows you to perform the melody in the upper registers
while holding a note in the lower registers.
AC. PROCESSOR
(Acoustic
Processor)
This processor allows you to change the sound produced by the
pickup on an acoustic electric guitar, creating a richer sound
similar to that obtained with a microphone placed close to the
guitar.
PHASER
By adding varied-phase portions to the direct sound, the phaser
effect gives a whooshing, swirling character to the sound.
FLANGER
The flanging effect gives a twisting, jet-airplane-like character to
the sound.
TREMOLO
Tremolo is an effect that creates a cyclic change in volume.
ROTARY
This produces an effect like the sound of a rotary speaker.
This models a Uni-Vibe.
UNI-V
Although this resembles a phaser effect, it also provides a unique
undulation that you can’t get with a regular phaser.
9
EFFECT
T. WAH
SUB WAH
You can produce a wah effect with the filter changing in response to the
guitar level.
Parameter
Value
Explanation
You can control the wah effect in real time by adjusting the [EXP] pedal or
the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack.
Parameter
LPF
This creates a wah effect over a wide
frequency range.
CRY WAH
This models the sound of the CRY BABY wah
pedal popular in the ‘70s.
BPF
This creates a wah effect in a narrow
frequency range.
VO WAH
This models the sound of the VOX V846.
FAT WAH
This is a wah sound featuring a bold tone.
LIGHT WAH
This wah has a refined sound with no unusual
characteristics.
7STRING WAH
This expanded wah features a variable range
compatible with seven-string and baritone
guitars.
RESO WAH
This completely original effect offers enhancements on the characteristic resonances
produced by analog synth filters.
Selects the direction in which the filter will change in response to
the input.
POLAR
SENS
FREQ
PEAK
Explanation
Selects the type of wah.
Selects the wah mode.
MODE
Value
TYPE
DOWN
The frequency of the filter will fall.
UP
The frequency of the filter will rise.
0–100
Adjusts the sensitivity at which the filter will
change in the direction determined by the
polarity setting. Higher values will result in
a stronger response. With a setting of 0, the
strength of picking will have no effect.
0–100
Adjusts the center frequency of the Wah
effect.
PEDAL POS
0–100
Adjusts the way in which the wah effect
applies to the area around the center
frequency.
PEDAL MIN
0–100
Selects the tone produced when the heel of
the EXP Pedal is depressed.
PEDAL MAX
0–100
Selects the tone produced when the toe of
the EXP Pedal is depressed.
0–100
Higher values will produce a stronger tone
which emphasizes the wah effect more. With
a value of 50 a standard wah sound will be
produced.
EFFECT LEVEL 0–100
Adjusts the volume of the effect sound.
DIRECT MIX
Adjusts the volume of the direct sound.
0–100
Adjusts the position of the wah pedal.
* This parameter is used after it’s been assigned to an EXP Pedal or similar controller.
EFFECT LEVEL 0–100
Adjusts the volume of the effect sound.
DIRECT MIX
Adjusts the volume of the direct sound.
0–100
ADV. COMP
AUTO WAH
This changes the filtering over a periodic cycle, providing an automatic
wah effect.
Parameter
Value
This is an effect that produces a long sustain by evening out the volume
level of the input signal. You can also use it as a limiter to suppress only the
sound peaks and prevent distortion.
Parameter
Explanation
LPF
This creates a wah effect over a wide
frequency range.
BPF
This creates a wah effect in a narrow
frequency range.
Adjusts the frequency (speed) of the change.
RATE
0–100,
BPM –
DEPTH
0–100
Adjusts the depth of the effect.
FREQ
0–100
Adjusts the center frequency of the Wah
effect.
0–100
Adjusts the amount of wah effect applied in
the range near the center frequency. Higher
values will produce a stronger tone which
emphasizes the wah effect more. With a value
of 50 a standard wah sound will be produced.
PEAK
EFFECT LEVEL 0–100
Adjusts the volume of the effect sound.
DIRECT MIX
Adjusts the volume of the direct sound.
10
0–100
BOSS COMP
This models a BOSS CS-3.
HI-BAND
This is a compressor that adds an even
stronger effect in the high end.
LIGHT
This is a compressor with a light effect.
D-COMP
This models a MXR DynaComp.
ORANGE
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
FAT
When applied heavily, this compressor effect
provides a fat tone with a boosted midrange.
MILD
When applied heavily, this compressor effect
produces a sweet tone with the high end cut.
STEREO COMP
This selects a stereo compressor.
SUSTAIN
0–100
Adjusts the range (time) over which low-level
signals are boosted. Larger values will result
in longer sustain.
ATTACK
0–100
Adjusts the attack time.
LEVEL
0–100
Adjusts the volume.
TONE
-50–+50
Adjusts the tone.
TYPE
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
Explanation
Selects the compressor type.
Selects the wah mode.
MODE
Value
EFFECT
LIMITER
PARAMETRIC EQ
The limiter attenuates loud input levels to prevent distortion.
Parameter
TYPE
THRESH
Value
Explanation
Parameter
Value
Explanation
Selects the limiter type.
LOW GAIN
-20–+20 dB
Adjusts the low frequency range tone.
BOSS LIMITER
This selects a stereo limiter.
HIGH GAIN
-20–+20 dB
Adjusts the high frequency range tone.
RACK 160D
This models a dbx 160X.
LEVEL
-20–+20 dB
VTG RACK U
This models a UREI 1178.
Adjusts the overall volume level of the
equalizer.
LOW-MID
FREQ
20 Hz–10.0 kHz
Specifies the center of the frequency range
that will be adjusted by the LOW-MID GAIN.
0–100
Adjust this as appropriate for the input
signal from your guitar. When the input
signal level exceeds this threshold level,
limiting will be applied.
LOW-MID Q
0.5–16
Adjusts the width of the area affected by the
EQ centered at the LOW-MID FREQ. Higher
values will narrow the area.
LOW-MID
GAIN
-20–+20 dB
Adjusts the low-middle frequency range
tone.
HIGH-MID
FREQ
20 Hz–10.0 kHz
Specifies the center of the frequency range
that will be adjusted by the HIGH-MID GAIN.
HIGH-MID Q
0.5–16
Adjusts the width of the area affected by the
EQ centered at the HIGH-MID FREQ. Higher
values will narrow the area.
HIGH-MID
GAIN
-20–+20 dB
Adjusts the low-middle frequency range
tone.
LOW CUT
This sets the frequency at which the low
FLAT, 20 Hz–800 Hz cut filter begins to take effect. When FLAT is
selected, the low cut filter will have no effect.
HIGH CUT
630 Hz–12.5 kHz,
FLAT
RATIO
1:1–INF:1
This selects the compression ratio used with
signals in excess of the threshold level.
LEVEL
0–100
Adjusts the volume.
0–100
Adjusts the strength of the picking attack
when the strings are played. Higher values
result in s sharper attack, creating a more
clearly defined sound.
ATTACK
RELEASE
Adjusts the tonal quality. You can adjust the sound quality in four bands.
0–100
Adjusts the release time.
SUB OD/DS
This effect distorts the sound to create long sustain.
Parameter
TYPE
Value
Explanation
This sets the frequency at which the high
cut filter begins to take effect. When FLAT
is selected, the high cut filter will have no
effect.
Refer to “OD/DS TYPE” (p. 5)
* “CUSTOM” is not available.
DRIVE
0–120
Adjusts the depth of distortion.
TONE
-50–+50
Adjusts the tone.
TONE MODIFY
This changes the tone of the connected guitar.
EFFECT LEVEL 0–100
Adjusts the volume of the OD/DS sound.
BOTTOM
-50–+50
Adjusts the tone for the low frequency range.
Turning this to the left (counterclockwise)
produces a sound with the low end cut;
turning it to the right boosts the low end in
the sound.
FAT
Fat tone with boosted mid range.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
PRES (PRESENCE)
Bright tone with boosted high-mid range.
SOLO SW
OFF, ON
The tone to one suitable for solos.
MILD
Mild tone with the high end cut back.
SOLO LEVEL
0–100
Adjusts the volume level when the Solo Sw
is ON.
TIGHT
Tone with the low frequencies cut.
GRAPHIC EQ
Parameter
Value
TYPE
ENHANC (ENHANCE) Tone with the high frequencies boosted.
RESO 1–3
(RESONATOR 1–3)
This produces a tone with greater power
and punch by adding resonance in the
low-frequency range and midrange.
LOW
-50–+50
Adjusts the tone for the low frequency
range.
HIGH
-50–+50
Adjusts the tone for the High frequency
range.
LEVEL
0–100
Adjusts the volume of the effect sound.
RESO
0–100
This adjusts the strength of the low-end and
midrange resonance when TYPE is set to
RESO 1, 2, or 3.
This adjusts the tone as a equalizer. You can adjust the sound quality in ten bands.
Parameter
Value
31 Hz
62 Hz
125 Hz
Explanation
Selects the type of tone modification.
250 Hz
500 Hz
1 kHz
-20–+20 dB
2 kHz
4 kHz
8 kHz
16 kHz
LEVEL
-20–+20 dB
11
EFFECT
GUITAR SIM
DEFRETTER
Simulation of the characteristics of particular guitar components such as
pickups and different guitar bodies allows you to switch among a number
of different guitar types all while using a single guitar.
Parameter
Value
Explanation
Selects the type of the guitar simulator.
SgH
Changes from a single-coil pickup tone to a
humbucking pickup tone.
HgS
Changes from a humbucking pickup tone to
a single-coil pickup tone.
H g HF
TYPE
Changes from a humbucking pickup tone to
a single-coil pickup half tone.
Changes a single-coil pickup tone to a hollow
S g HLW (HOLLOW)
body tone with the body resonance added.
H g HLW
Changes a humbucking pickup tone to a
hollow body tone with the body resonance
added.
S g AC
Changes a single-coil pickup tone to an
acoustic guitar tone.
H g AC
Changes a humbucking pickup tone to an
acoustic guitar tone.
P g AC
Changes a piezo pickup tone to an acoustic
guitar tone.
LOW
-50–+50
Adjusts the tone for the low frequency range.
HIGH
-50–+50
Adjusts the tone for the High frequency
range
LEVEL
0–100
Adjusts the volume of the effect sound.
BODY
0–100
Adjusts the way the body sounds when TYPE
is set to S g HLW, H g HLW, S g AC, H g AC
or P g AC.
The body sound increases as the value is
raised; reducing the value produces a tone
similar to that from a piezo pickup.
This simulates a fretless guitar.
Parameter
Value
Explanation
SENS
0–100
This controls the input sensitivity of the
defretter.
DEPTH
0–100
This controls the rate of the harmonics.
TONE
-50–+50
Adjusts the amount of blurring between the
notes.
EFFECT LEVEL 0–100
Adjusts the volume of the effect sound.
ATTACK
0–100
Adjusts the attack of the picking sound.
RESO
0–100
Adds a characteristically resonant quality to
the sound.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
WAVE SYNTH
This is a synth sound that processes the guitar input signal.
* When you use a wave synthesizer, observe the following points.
• Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played. Be sure to mute all the
other strings and play only one note at a time.
• When you are to play the next string while a certain sound is still
playing, mute the previous sound and then play the next one with
a clear attack. If the unit cannot detect the attack, it may not sound
correctly.
• The sensitivity may vary according to the guitar’s TONE knob and
pickup type.
Parameter
Value
Explanation
Selects a wave type which the synth sound is based.
SAW
Creates a synth sound with a saw waveform
(
).
SQUARE
Creates a synth sound with the square
).
waveform (
CUTOFF
0–100
Adjusts the frequency where the harmonics
contents of the sound are cut off.
RESO
0–100
This adjusts the amount of resonance (and
the tone coloration) in the synth sound. The
higher the value, the more the synth tone
coloration is emphasized.
FILTER SENS
0–100
This adjusts the amount of filtering applied in
response to the input.
WAVE
SLOW GEAR
This produces a volume-swell effect (“violin-like” sound).
Parameter
SENS
RISE TIME
LEVEL
12
Value
Explanation
0–100
Adjusts the sensitivity of the slow gear. When
it is set to a lower value, the effect of the slow
gear can be obtained only with a stronger
picking, while no effect is obtained with a
weaker picking. When the value is set higher,
the effect is obtained even with a weak
picking.
0–100
0–100
Adjusts the time needed for the volume to
reach its maximum from the moment you
begin picking.
FILTER DECAY 0–100
This sets the time needed for the filter to
finish its sweep.
FILTER DEPTH 0–100
Adjusts the depth of the filter. When the
value is higher, the filter will change more
drastically.
SYNTH LEVEL 0–100
Adjusts the volume of the synth sound.
DIRECT MIX
Adjusts the volume of the direct sound.
Adjusts the volume of the effect sound.
0–100
EFFECT
SITAR SIM.
PITCH SHIFTER
This simulates the sound of the sitar.
Parameter
SENS
DEPTH
Value
Explanation
0–100
Adjusts the sensitivity of the sitar. When it is
set to a lower value, no effect of the sitar is
obtained with weaker picking, while stronger
picking produces the effect. When it is set
to a higher value, the effect of the sitar can
be obtained whether the picking is weak or
strong.
This effect changes the pitch of the original sound (up or down) within a
range of two octaves.
Parameter
VOICE
This adjusts the amount of effect applied.
-50–+50
This adjusts the tone. The high end is boosted
as the value increases.
PS1:PITCH
EFFECT LEVEL 0–100
Adjust the volume of the sitar sound.
PS2:PITCH
RESO
0–100
This adjusts the undulation of the resonance.
DIRECT MIX
BUZZ
0–100
Adjusts the amount of characteristic buzz
produced by the “buzz bridge” when the
strings make contact with it.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
1-VOICE
One-voice pitch-shifted sound output in
monaural.
2-MONO
Two-voice pitch-shifted sound (PS1, PS2)
output in monaural.
2-STEREO
Two-voice pitch-shifted sound (PS1, PS2)
output through left and right channels.
-24–+24
Adjusts the amount of pitch shift (the
amount of interval) in semitone steps.
0–100
Adjusts the volume of the direct sound.
Selection for the pitch shifter mode.
FAST,
MEDIUM,
PS1:MODE
SLOW
PS2:MODE
OCTAVE
Parameter
Value
Explanation
PS1:FINE
PS2:FINE
-50–+50
B1 (corresponds to the sound of an open 7th
string) to E6 (corresponds to the 1st string
played at the 24th fret)
RANGE 2 (B1–E5)
B1 (corresponds to the sound of an open 7th
string) to E5 (corresponds to the 1st string
played at the 12th fret)
RANGE 3 (B1–E4)
B1 (corresponds to the sound of an open 7th
string) to E4 (corresponds to the sound of an
open 1st string)
RANGE 4 (B1–E3)
B1 (corresponds to the sound of an open 7th
string) to E3 (corresponds to the 4th string
played at the 2nd fret)
OCTAVE
LEVEL
0–100
Adjusts the volume of the sound one octave
below.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
RANGE
* You may be unable to produce the
intended effect when playing chords (two
or more notes played simultaneously).
Make fine adjustments to the interval. The
amount of the change in the Fine 100 is
equivalent to that of the Pitch 1.
Adjusts the time from when the direct sound
is heard until the pitch shifted sounds are
heard. Normally you can leave this set at 0
ms.
This selects the register to which the effect is applied.
RANGE 1 (B1–E6)
The response is slower in the order of FAST,
MEDIUM and SLOW, but the modulation is
lessened in the same order.
MONO is used for inputting single notes.
MONO
This adds a note one octave lower, creating a richer sound.
Explanation
Selects the number of voices for the pitch shift sound.
0–100
TONE
Value
PS1:PRE DLY
PS2:PRE DLY
0 ms–300 ms,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
PS1:LEVEL
PS2:LEVEL
PS1:F.BACK
0–100
Adjusts the volume of the pitch shifter.
0–100
Adjusts the feedback amount of the pitch
shift sound.
13
EFFECT
HARMONIST
Parameter
Harmonist is an effect where the amount of shifting is adjusted according
to an analysis of the guitar input, allowing you to create harmony based
on diatonic scales.
* Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
* When you are to play the next string while a certain sound is still playing,
mute the previous sound and then play the next one with a clear attack.
If the unit cannot detect the attack, it may not sound correctly.
USER SCALE
* The sensitivity may vary according to the guitar’s TONE knob and pickup
type.
* You cannot use the Harmonist effect with audio input via USB.
Parameter
Value
Explanation
Selects the number of voices for the pitch shift sound.
VOICE
HR1:HARM
HR2:HARM
1-VOICE
One-voice pitch-shifted sound output in
monaural.
2-MONO
Two-voice pitch-shifted sound (HR1, HR2) output
in monaural.
2-STEREO
Two-voice pitch-shifted sound (HR1, HR2) output
through left and right channels.
-2 oct–+2 oct,
USER
This determines the pitch of the sound added
to the input sound, when you are making a
harmony.
It allows you to set it by up to 2 octaves higher
or lower than the input sound. When the scale
is set to USER, this parameter sets the user scale
number to be used.
The key setting corresponds to the key of the
song (#, b) as follows.
Major
MASTER KEY
C(Am)–B(G#m)
Minor
Value
C
C–
Db
Db–
D
D–
Eb
Eb–
E
E–
E–E–
E–
E
F
F–
F–F–
F–
F
F#
F#–
G
G–
Ab
Ab–
A
A–
Bb
Bb–
B
B–
Adjusts the time from when the direct sound
is heard until the harmonist sounds are heard.
Normally you can leave this set at 0 ms.
HR1:PRE DLY
HR2:PRE DLY
0 ms–300 ms,
BPM –
* When set to BPM, the value of each parameter
will be set according to the value of the
“MASTER BPM” specified for each patch. This
makes it easier to achieve effect sound settings
that match the tempo of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4 of
that time.
HR1:F.BACK
HR1:LEVEL
HR2:LEVEL
DIRECT MIX
14
0–100
Adjusts the feedback amount of the harmonist
sound.
0–100
Adjusts the volume of the harmony sound.
0–100
Adjusts the volume of the direct sound.
C–C–
C–
C
Db–Db–
D–D–
Db–
D–
Eb–Eb–
F#–F#–
G–G–
A–A–
G–
A–
Bb–Bb–
B–B–
D
Eb–
F#–
Ab–Ab–
B–
Db
Eb
F#
G
Ab–
Ab
A
Bb–
Bb
B
Specify the note name of the output sound. The minus (-) and plus (+) symbols
indicate sounds above or below the set note name. Triangles next to the note names
indicate octaves. One downward-pointing triangle indicates a note one octave below
the note displayed; two triangles indicates a two-octave drop. One upward-pointing
triangle indicates a note one octave above the note displayed; two triangles indicates
a two-octave rise.
* Effective with USER selected for HARM parameter.
SOUND HOLD
You can have sound played on the guitar be held continuously. This effect
allows you to perform the melody in the upper registers while holding a
note in the lower registers.
* This function will not work properly when two or more notes are played
simultaneously.
Parameter
Value
Explanation
Switches the hold sound on and off.
Normally, this is controlled with the CTL
pedals.
Major
Minor
Explanation
HOLD
OFF, ON
• It is assumed that this parameter will be
assigned to the footswitch.
• Patches are written with the HOLD
parameter set to Off.
RISE TIME
0–100
EFFECT LEVEL 0–120
Adjusts how rapidly the Sound Hold sound
is produced.
Adjusts the volume of the hold sound.
EFFECT
AC. PROCESSOR
Parameter
Value
This sets the cycle of the step function that
changes the rate and depth. When it is set
to a higher value, the change will be finer.
Set this to “Off” when not using the Step
function.
This processor allows you to change the sound produced by the pickup on
an acoustic electric guitar, creating a richer sound similar to that obtained
with a microphone placed close to the guitar.
Parameter
Value
Explanation
Selects the modeling type.
TYPE
SMALL
This is the sound of a small-bodied acoustic
guitar.
MEDIUM
This is a standard, unadorned acoustic guitar
sound.
BRIGHT
This is a bright acoustic guitar sound.
POWER
This is a powerful acoustic guitar sound.
BASS
-50–+50
Adjusts the low-end balance.
MIDDLE
-50–+50
Adjusts the midrange balance.
MIDDLE FREQ 20.0 Hz–10.0 kHz
Specifies the frequency range to be adjusted
with Middle.
TREBLE
-50–+50
Adjusts the high-end balance.
PRES
-50–+50
Adjusts the balance in the extended upper
range.
LEVEL
0–100
Adjusts the volume.
STEP RATE
OFF, 0–100,
BPM –
EFFECT LEVEL 0–100
Adjusts the volume of the phaser.
DIRECT MIX
Adjusts the volume of the direct sound.
0–100
FLANGER
The flanging effect gives a twisting, jet-airplane-like character to the
sound.
Value
By adding varied-phase portions to the direct sound, the phaser effect
gives a whooshing, swirling character to the sound.
Value
RATE
0–100,
BPM –
Explanation
4 STAGE
This is a four-phase effect. A light phaser
effect is obtained.
8 STAGE
This is an eight-phase effect. It is a popular
phaser effect.
DEPTH
0–100
Determines the depth of the flanging effect.
RESO
0–100
Determines the amount of resonance (feedback). Increasing the value will emphasize
the effect, creating a more unusual sound.
12 STAGE
This is a twelve-phase effect. A deep phase
effect is obtained.
BiPHASE
This is the phaser with two phase shift circuits
connected in series.
MANUAL
0–100
Adjusts the center frequency at which to
apply the effect.
This sets the rate of the phaser effect.
SEPARATION
0–100
Adjusts the diffusion. The diffusion increases
as the value increases.
LOW CUT
FLAT,
55 Hz–800 Hz
This sets the frequency at which the low
cut filter begins to take effect. When “Flat” is
selected, the low cut filter will have no effect.
EFFECT LEVEL
0–100
Adjusts the volume of the flanger.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
0–100,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
DEPTH
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
Selects the number of stages that the phaser effect will use.
RATE
Explanation
This sets the rate of the flanging effect.
PHASER
TYPE
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
Parameter
Parameter
Explanation
0–100
Determines the depth of the phaser effect.
RESO
0–100
Determines the amount of resonance (feedback). Increasing the value will emphasize
the effect, creating a more unusual sound.
MANUAL
0–100
Adjusts the center frequency of the phaser
effect.
15
EFFECT
TREMOLO
UNI-V
Tremolo is an effect that creates a cyclic change in volume.
Parameter
Value
Explanation
WAVE SHAPE
0–100
Adjusts changes in volume level. A higher
value will steepen wave’s shape.
RATE
0–100,
BPM –
This models a Uni-Vibe.
Although this resembles a phaser effect, it also provides a unique
undulation that you can’t get with a regular phaser.
Parameter
Value
Explanation
Adjusts the frequency (speed) of the change.
Adjusts the rate of the UNI-V effect.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
RATE
0–100,
BPM –
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
DEPTH
0–100
Adjusts the depth of the effect.
DEPTH
0–100
Adjusts the depth of the UNI-V effect.
LEVEL
0–100
Adjusts the volume.
LEVEL
0–100
Adjusts the volume.
ROTARY
PAN
This produces an effect like the sound of a rotary speaker.
Parameter
Value
Explanation
SPEED
SELECT
SLOW, FAST
This parameter changes the simulated
speaker’s rotating speed (SLOW or FAST).
RATE-SLOW
0–100,
BPM –
This parameter adjusts the SPEED SELECT of
rotation when set to “SLOW.”
This parameter adjusts the SPEED SELECT of
rotation when set to “FAST.”
RATE-FAST
0–100,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
With the volume level of the left and right sides alternately changing,
when playing sound in stereo, you can get an effect that makes the guitar
sound appear to fly back and forth between the speakers.
Parameter
Value
Explanation
AUTO
This varies the volume level on the left and
right according to the settings for WAVE
SHAPE, RATE, and DEPTH.
MANUAL
Output uses the volume balance set with
POS.
TYPE
WAVE SHAPE
*1
0–100
Adjusts changes in volume level.
A higher value will steepen wave’s shape.
Adjusts the frequency (speed) of the change.
RATE *1
0–100,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
DEPTH
0–100
This parameter adjusts the amount of depth
in the rotary effect.
RISE TIME
0–100
This parameter adjusts the time it takes for
the rotation SPEED SELECT to change when
switched from “SLOW” to “FAST.”
DEPTH *1
0–100
Adjusts the depth of the effect.
FALL TIME
0–100
This parameter adjusts the time it takes for
the rotation SPEED SELECT to change when
switched from “FAST” to “SLOW.”
POS *2
L 100–CENTER–
R 100
This adjusts the volume balance between the
left and right channels.
LEVEL
0–100
Adjusts the volume.
LEVEL
0–100
Adjusts the volume.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
*1 Setting available when TYPE is set to AUTO.
*2 Setting available when TYPE is set to MANUAL.
16
EFFECT
SLICER
RING MOD.
This consecutively interrupts the sound to create the impression that a
rhythm backing phrase is being played.
Parameter
Value
Explanation
PATTERN
P1–P20
Select the slice pattern that will be used to
cut the sound.
This creates a bell-like sound by ring-modulating the guitar sound with the
signal from the internal oscillator. The sound can be unmusical and lack
distinctive pitches.
Parameter
RATE
0–100,
BPM –
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
Adjust the sensitivity of triggering.
TRIGGER
SENS
0–100
With low settings of this parameter, softly
picked notes will not retrigger the phrase
(i.e., the phrase will continue playing), but
strongly picked notes will retrigger the
phrase so that it will playback from the beginning. With high settings of this parameter,
the phrase will be retriggered even by softly
picked notes.
EFFECT LEVEL 0–100
Adjusts the volume of the effect sound.
DIRECT MIX
Adjusts the volume of the direct sound.
0–100
Explanation
This selects the mode for the ring modulator.
Adjust the rate at which the sound will be
cut.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
Value
NORMAL
This is a normal ring modulator.
INTELLIGENT
By ring-modulating the input signal, a bell
like sound is created. The intelligent ring
modulator changes the oscillation frequency
according to the pitch of the input sound and
therefore produces a sound with the sense of
pitch, which is quite different from NORMAL.
This effect does not give a satisfactory
result if the pitch of the guitar sound is not
correctly detected. So, you must use single
notes, not chords.
FREQUENCY
0–100
Adjusts the frequency of the internal
oscillator.
EFFECT LEVEL
0–100
Adjusts the volume of the effect sound.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
MODE
HUMANIZER
This can create human vowel-like sounds.
Parameter
Value
Explanation
This sets the mode that switches the vowels.
VIBRATO
This effect creates vibrato by slightly modulating the pitch.
Parameter
RATE
Value
0–100,
BPM –
MODE
PICKING
It changes from VOWEL 1 to VOWEL 2 along
with the picking. The time spent for the
change is adjusted with the rate.
AUTO
By adjusting the rate and depth, two vowels
(VOWEL 1 and VOWEL 2) can be switched
automatically.
Selects the first vowel.
Explanation
Adjusts the rate of the vibrato.
VOWEL 1
a, e, i, o, u
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
VOWEL 2
a, e, i, o, u
Selects the second vowel.
0–100
Adjusts the sensitivity of the humanizer.
When it is set to a lower value, no effect
of the humanizer is obtained with weaker
picking, while stronger picking produces
the effect. When it is set to a higher value,
the effect of the humanizer can be obtained
whether the picking is weak or strong.
SENS *1
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
DEPTH
0–100
Adjusts the cycle for changing the two
vowels.
Adjusts the depth of the vibrato.
This selects on/off of the vibrato.
TRIGGER
OFF, ON
* It is assumed that this parameter will be
assigned to the footswitch.
RATE
This sets the time passing from the moment
the Trigger is turned on until the set vibrato
is obtained.
RISE TIME
LEVEL
0–100
0–100
* When a patch with TRIGGER set to ON is
called up, the effect obtained is identical to
what happens when TRIGGER is switched
from Off to On. If you want the vibrato
effect to be produced immediately after the
patches are switched, set RISE TIME to 0.
Adjusts the volume.
0–100,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
DEPTH
0–100
Adjusts the depth of the effect.
MANUAL *2
0–100
This determines the point where the two
vowels are switched. When it is set to 50,
VOWEL 1 and VOWEL 2 are switched in the
same length of time. When it is set to lower
than 50, the time for VOWEL 1 is shorter.
When it is set to higher than 50, the time for
VOWEL 1 is longer.
LEVEL
0–100
Adjusts the volume.
*1 Setting available when MODE is set to PICKING.
*2 Setting available when MODE is set to AUTO.
17
EFFECT
2X2 CHORUS
SUB DELAY
Frequency band division is employed to produce two different choruses,
one for low frequencies and one for higher frequencies, for both the left
and right channels (for a total of four). This allows you to achieve a more
natural chorus sound.
Parameter
Value
LOW RATE
0–100
0–100,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
0–100
Adjust the depth of the chorus effect for the
high frequency range. If you wish to use this
as a doubling effect, use a setting of 0.
LOW PRE
DELAY
0.0 ms–40.0 ms
Adjusts the delay of the effect sound in
the low-frequency range. Extending the
pre-delay will produce the sensation of
multiple sounds (doubling effect).
LOW LEVEL
0–100
Adjusts the volume of the effect sound in the
low-frequency range.
HIGH PRE
DELAY
0.0 ms–40.0 ms
Adjusts the delay of the effect sound in
the high-frequency range. Extending the
pre-delay will produce the sensation of
multiple sounds (doubling effect).
HIGH LEVEL
0–100
Adjusts the volume of the effect sound in the
high-frequency range.
XOVER FREQ
100 Hz–4.00 kHz
This sets the frequency dividing the low- and
high-frequency ranges.
HIGH DEPTH
18
TYPE
Explanation
MONO
A simple monaural delay.
PAN
Provides a tap delay effect that divides
the delay time between the left and right
channels.
Adjusts the delay time.
DELAY TIME
1 ms–1000 ms,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
Adjust the depth of the chorus effect for the
low frequency range. If you wish to use this
as a doubling effect, use a setting of 0.
Adjust the speed of the chorus effect for the
high frequency range.
HIGH RATE
Value
Use this to choose the type of delay.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
LOW DEPTH
Parameter
Explanation
Adjust the speed of the chorus effect for the
low frequency range.
0–100,
BPM –
This is a delay with the maximum delay time of 1,000 ms. This effect is
useful for making the sound fatter.
F.BACK
0–100
EFFECT LEVEL 0–120
Adjusts the volume that is returned to the
input. Higher settings will result in more
delay repeats.
Adjusts the volume of the delay sound.
HIGH CUT
630 Hz–12.5 kHz,
FLAT
This sets the frequency at which the high
cut filter begins to take effect. When “FLAT”
is selected, the high cut filter will have no
effect.
TAP TIME *1
0–100%
Adjusts the delay time of the left channel
delay. This setting adjusts the L channel delay
time relative to the R channel delay time
(considered as 100%).
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
*1 Setting available when TYPE is set to PAN.
EFFECT
COMMON
DELAY
This effect adds delayed sound to the direct sound, giving more body to
the sound or creating special effects.
Parameter
Value
Explanation
DELAY
ON/OFF
OFF, ON
Turns this effect on/off.
Parameter
1 ms–2000 ms,
BPM –
* If you switch patches with the Type set to either DUAL-S, DUAL-P,
or DUAL- L/R and then begin to play immediately after the
patches change, you may be unable to attain the intended effect
in the first portion of what you perform.
* The stereo effect is cancelled if a monaural effect or COSM amp is
connected after a stereo delay effect.*
SINGLE
PAN
Tap Time
OUTPUT L
EffectLev
DELAY
INPUT
TYPE
DUAL-S
0–100
This sets the amount of delay sound returned
to the input. A higher value will increase the
number of the delay repeats.
HIGH CUT
630 Hz–12.5 kHz,
FLAT
This sets the frequency at which the high
cut filter begins to take effect. When “Flat”
is selected, the high cut filter will have no
effect.
EFFECT LEVEL 0–120
Adjusts the volume of the delay sound.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
PAN
The direct sound is output from the left channel,
and the effect sound is output from the right
channel.
Parameter
Value
Explanation
This is a delay comprising two different delays
connected in series. Each delay time can be set in
a range from 1 ms to 1000 ms.
TAP TIME
0–100%
Adjusts the delay time of the left channel
delay. This setting adjusts the L channel delay
time relative to the R channel delay time
(considered as 100%).
D1
D1: DELAY 1
D2: DELAY 2
D2
This is a delay comprising two delays connected in
parallel. Each delay time can be set in a range from
1 ms to 1000 ms.
DUAL-P
F.BACK
Dly Time
OUTPUT R
Feedback
STEREO
DUAL-S, DUAL-P, DUAL-L/R
Parameter
Value
This is a delay with individual settings available for
the left and right channels. Delay 1 goes to the left
channel, Delay 2 to the right.
D1
L
D2
R
D1:TIME
D2:TIME
D1:F.BACK
This produces an effect where the sound is played
back in reverse.
D2:F.BACK
ANALOG
This gives a mild analog delay sound. The delay
time can be set within the range of 1 to 2000 ms.
D1:HI CUT
TAPE
This setting provides the characteristic wavering
sound of the tape echo. The delay time can be set
within the range of 1 to 3400 ms.
D1:LEVEL
(MODULATE)
1 ms–1000 ms,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
REVERSE
MOD
Explanation
This determines the delay time.
D1
D2
DUAL-L/R
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
This is a simple monaural delay.
This delay is specifically for stereo output. This
allows you to obtain the tap delay effect that
divides the delay time, then deliver them to L and
R channels.
Explanation
This determines the delay time.
DELAY TIME
This selects which type of delay.
Value
D2:HI CUT
D2:LEVEL
0–100
Adjusts the amount of feedback of the DELAY
1 (or DELAY 2). A higher value will increase
the number of the delay repeats.
630 Hz–12.5 kHz,
FLAT
This sets the frequency at which the high
cut filter begins to take effect. When “FLAT”
is selected, the high cut filter will have no
effect.
0–120
Adjusts the volume of the DELAY 1 (or DELAY
2).
This delay adds a pleasant wavering effect to the
sound.
19
EFFECT
MODULATE
REVERB
This effect adds reverberation to the sound.
Parameter
Value
Explanation
MOD RATE
0–100
Adjusts the modulation rate of the delay
sound.
Parameter
Value
Explanation
0–100
Adjusts the modulation depth of the delay
sound.
REVERB ON/
OFF
OFF, ON
Turns this effect on/off.
MOD DEPTH
This selects the reverb type. Various different simulations of space
are offered.
CHORUS
In this effect, a slightly detuned sound is added to the original sound to
add depth and breadth.
Parameter
Value
Explanation
CHORUS ON/
OFF
OFF, ON
Turns this effect on/off.
TYPE
Selection for the chorus mode.
MODE
HALL 1
Simulates the reverberation in a concert hall.
Provides clear and spacious reverberations.
HALL 2
Simulates the reverberation in a concert hall.
Provides mild reverberations.
PLATE
STEREO 1
This is a stereo chorus effect that adds
different chorus sounds to L channel and R
channel.
Simulates plate reverberation (a reverb unit
that uses the vibration of a metallic plate).
Provides a metallic sound with a distinct
upper range.
SPRING
STEREO 2
This stereo chorus uses spatial synthesis, with
the direct sound output in the L channel and
the effect sound output in the R channel.
This simulates the sound of a guitar amp’s
built-in spring reverb.
MOD (MODULATE)
This reverb adds the wavering sound found
in hall reverb to provide an extremely
pleasant reverb sound.
REV TIME
0.1 s–10.0 s
Adjusts the length (time) of reverberation.
PRE DELAY
0 ms–500 ms
Adjusts the time until the reverb sound
appears.
0–100,
BPM –
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specified for
each patch. This makes it easier to achieve
effect sound settings that match the tempo
of the song.
Adjusts the depth of the chorus effect.
0–100
* To use it for doubling effect, set the value
to 0.
EFFECT LEVEL 0–100
Adjusts the volume of the effect sound.
PRE DELAY
0.0 ms–40.0 ms
Adjusts the time needed for the effect sound
to be output after the direct sound has been
output. By setting a longer pre delay time,
you can obtain an effect that sounds like
more than one sound is being played at the
same time (doubling effect).
LOW CUT
This sets the frequency at which the low
FLAT, 20 Hz–800 Hz cut filter begins to take effect. When “Flat” is
selected, the low cut filter will have no effect.
HIGH CUT
630 Hz–12.5 kHz,
FLAT
20
Simulates the reverberation in a small room.
Provides warm reverberations.
MONO
* If, due to the tempo, the time is longer than
the range of allowable settings, it is then
synchronized to a period either 1/2 or 1/4
of that time.
DEPTH
ROOM
This chorus effect outputs the same sound
from both L channel and R channel.
Adjusts the rate of the chorus effect.
RATE
AMBIENC
(AMBIENCE)
Simulates an ambience mic (off-mic, placed
at a distance from the sound source) used in
recording and other applications. Rather than
emphasizing the reverberation, this reverb
is used to produce a sense of openness and
depth.
This sets the frequency at which the high
cut filter begins to take effect. When “Flat”
is selected, the high cut filter will have no
effect.
EFFECT LEVEL 0–100
Adjusts the volume of the reverb sound.
LOW CUT
This sets the frequency at which the low
FLAT, 20 Hz–800 Hz cut filter begins to take effect. When “Flat” is
selected, the low cut filter will have no effect.
HIGH CUT
630 Hz–12.5 kHz,
FLAT
This sets the frequency at which the high
cut filter begins to take effect. When “Flat”
is selected, the high cut filter will have no
effect.
DENSITY
0–10
Adjusts the density of the reverb sound.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
0–100
Adjusts the sensitivity of the spring effect.
When the value is set higher, the effect is
obtained even with a weak picking.
SPRING SENS
(TYPE =
SPRING only)
EFFECT
PEDAL FX
FOOT VOLUME
PEDAL BEND
FOOT VOLUME
This lets you use the pedal to get a pitch bend effect.
This is a volume control effect.
* Because of the need to analyze the pitch, chords (two or more sounds played
simultaneously) cannot be played.
Normally, this is controlled with the EXP Pedal or the [EXP] pedal
connected to the SUB CTL 1, 2/SUB EXP jack.
Parameter
Value
Explanation
Parameter
Value
Explanation
PITCH
-24–+24
This sets the pitch at the point where the EXP
Pedal is all the way down.
VOLUME MIN
0–100
Sets the volume when the heel of the EXP
Pedal is depressed.
PEDAL POS
0–100
Adjusts the pedal position for pedal bend.
This parameter is used after it’s been
assigned to an EXP Pedal or similar controller.
VOLUME MAX 0–100
EFFECT LEVEL 0–100
Adjusts the volume of the pitch bend sound.
DIRECT MIX
Adjusts the volume of the direct sound.
0–100
Selects the volume when the toe of the EXP
Pedal is depressed.
You can select how the actual volume
changes relative to the amount the pedal is
pressed.
Volume
WAH
You can control the wah effect in real time by adjusting the [EXP] pedal or
the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack.
Parameter
Value
VOLUME
CURVE
SLOW 1, SLOW 2,
NORMAL, FAST
ST
FA
AL
RM
O
N
2
OW
L
S
Explanation
OW
SL
Selects the type of wah.
TYPE
CRY WAH
This models the sound of the CRY BABY wah
pedal popular in the ‘70s.
VO WAH
This models the sound of the VOX V846.
FAT WAH
This is a wah sound featuring a bold tone.
LIGHT WAH
This wah has a refined sound with no unusual
characteristics.
7STRING WAH
This expanded wah features a variable range
compatible with seven-string and baritone
guitars.
RESO WAH
This completely original effect offers enhancements on the characteristic resonances
produced by analog synth filters.
When the pedal is
fully raised
LEVEL
0–100
1
When the pedal is
fully advanced
Adjusts the volume.
Adjusts the position of the wah pedal.
PEDAL POS
0–100
PEDAL MIN
0–100
Selects the tone produced when the heel of
the EXP Pedal is depressed.
PEDAL MAX
0–100
Selects the tone produced when the toe of
the EXP Pedal is depressed.
* This parameter is used after it’s been assigned to an EXP Pedal or similar controller.
EFFECT LEVEL 0–100
Adjusts the volume of the effect sound.
DIRECT MIX
Adjusts the volume of the direct sound.
0–100
21
EFFECT
DIVIDER
MIXER
Within the effect chain, the point where the signal is split into channels
“A” and “B” is called the “divider,” and the point where the two signals are
recombined is called the “mixer.”
You can use the divider to switch between channels “A” and “B,” to assign
strongly picked notes and softly picked notes to different channels, or
to assign different frequency bands of your guitar sound to different
channels.
The mixer lets you adjust the volume balance of channels “A” and “B,”
place them in the stereo field, or slightly delay the sound of channel “B” to
produce a spacious sound.
DIVIDER
Parameter
MIXER
Value
Explanation
SINGLE
Use only one channel, either “A” or “B.”
DUAL
Use the two channels “A” and “B.”
Parameter
Value
Explanation
CH SELECT
Ch. A, Ch. B
Selects the channel to use.
MODE
SINGLE
DUAL Ch. A, DUAL Ch. B
Parameter
Ch. A/Ch. B
DYNAMIC
Ch. A/Ch. B
DYNAMIC
SENS
Ch. A/Ch. B
FILTER
Value
Explanation
OFF
DYNAMIC will not be used.
POLAR+
Only notes picked more strongly than the
DYNAMIC SENS setting will be output.
POLAR-
Only notes picked more softly than the
DYNAMIC SENS setting will be output.
0–100
Specifies the picking sensitivity.
OFF
The filter will not be used.
LPF
Only the region below the cutoff frequency
will be output.
HPF
Only the region above the cutoff frequency
will be output.
Ch. A/Ch. B
100 Hz–2 kHz
CUTOFF FREQ
22
Cutoff frequency
Parameter
Value
Explanation
STEREO
Channels “A” and “B” will be mixed and output
in stereo.
PAN L/R
Channels “A” and “B” will be assigned
respectively to the L and R OUTPUT jacks.
MODE
CH A/B
BALANC
SPREAD
100:0–0:100
0–100
Adjusts the volume balance of channels “A”
and “B.”
* This is shown only if DIVIDER MODE is set
to “DUAL.”
Slightly delays the sound of channel “B” to
make the sound more spacious.
* This is shown only if DIVIDER MODE is set
to “DUAL.”
EFFECT
SEND/RETURN
NS1/NS2
You can connect an external effects processor between the SEND jack and
RETURN jack, and use it as one of the GT-100’s effects processors.
This effect reduces the noise and hum picked up by guitar pickups. Since
it suppresses the noise in synchronization with the envelope of the guitar
sound (the way in which the guitar sound decays over time), it has very
little effect on the guitar sound, and does not harm the natural character
of the sound.
Parameter
Value
Explanation
NS ON/OFF
OFF, ON
Switches the noise suppressor effect on/off.
0–100
Adjust this parameter as appropriate for the volume
of the noise. If the noise level is high, a higher setting
is appropriate. If the noise level is low, a lower setting
is appropriate. Adjust this value until the decay of the
guitar sound is as natural as possible.
THRESH
* High settings for the threshold parameter may result
in there being no sound when you play with your
guitar volume turned down.
RELEASE
0–100
Adjusts the time from when the noise suppressor
begins to function until the noise level reaches “0.”
This controls the noise suppressor based on the volume level for
the point specified in Detect.
The sound that is input to SEND/RETURN within the effect chain will be
output to the SEND jack. The sound that is input via the RETURN jack will
be input to SEND/RETURN within the effect chain.
INPUT
Input volume from input jack.
* Ordinarily, DETECT should be set to “INPUT.”
Noise suppressor input volume.
Parameter
Value
Explanation
SEND/
RETURN
ON/OFF
OFF, ON
Turns the SEND/RETURN on/off.
The input to SEND/RETURN within the effect
chain will be output to the SEND jack, and
the input from the RETURN jack will be
output following SEND/RETURN.
NORMAL
NS INPUT
* When connected as illustrated below, and you want
to prevent a spatial-type effects sound (such as a
delay sound) from being eradicated by the NS, you
should set DETECT to “NS INPUT.”
DLY
DETECT
NS1
(Spatial-type effect)
Volume after passing through Foot Volume.
* If you want to use FV (Foot Volume) in place of the
guitar’s volume control, you need to set DETECT to
“FV OUT.”
Use this setting if you want to connect an
external effects processor in series within the
GT-100’s effect chain.
FV OUT
SEND
RETURN
INPUT
FV
NS1
Foot Volume
The input to SEND/RETURN within the effect
chain will be output to the SEND jack, and
the input from the RETURN jack and the input
to SEND/RETURN (the direct sound) will be
mixed and output following SEND/RETURN.
MODE
DIRECT MIX
Use this when you want to mix the GT-100’s
effects sounds together with the sound with
the external effects device applied to it.
SEND
RETURN
The input to SEND/RETURN within the effect
chain will be output to the SEND jack. The
input from the RETURN jack will be ignored.
BRANCH OUT
For example, by placing SEND/RETURN in
the GT-100’s effect chain in front of reverb or
delay, this allows you to use the SEND jack as
a dry out.
SEND
SEND LEVEL
0–200
Adjusts the volume of the output to the
external effects device.
RETURN
LEVEL
0–200
Adjusts the volume of the input from the
external effects device.
23
EFFECT
ACCEL FX
TWIST
This allows for the use of six different types of Accel effects, which modify
the sound over time when you depress the [ACCEL/CTL] pedal.
Parameter
Value
Explanation
S-BEND
Applies intense bending.
LASER BEAM
Produces a laser beam-like sound.
RING MOD.
Produces a metallic sound, creating the
impression that the sound is being focused.
TWIST
Produces an aggressive sense of rotation.
Using this in conjunction with distortion will
produce an even wilder sense of rotation.
WARP
Produces a dream-like sound.
FEEDBACKER
Generates feedback performance.
TYPE
S-BEND
Produces an aggressive sense of rotation. Using this in conjunction with
distortion will produce an even wilder sense of rotation.
Parameter
Value
Explanation
RISE TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
maximum.
FALL TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
original.
LEVEL
0–100
Adjusts the volume of the effect sound.
WARP
Produces a dream-like sound.
Applies intense bending.
Parameter
Value
Explanation
PITCH
-3 oct, -2 oct,
-1 oct, +1 oct,
+2 oct, +3 oct,
+4 oct
Adjusts the amount of pitch shift in octave
steps.
RISE TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
maximum.
FALL TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
original.
Parameter
Value
Explanation
RISE TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
maximum.
FALL TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
original.
LEVEL
0–100
Adjusts the volume of the effect sound.
FEEDBACKER
Generates feedback performance.
* Note that the notes you want to apply feedback to must be played
singly and cleanly.
LASER BEAM
Parameter
Produces a laser beam-like sound.
Parameter
Value
Explanation
RATE
0–100
Adjusts the modulation rate of the sound.
DEPTH
0–100
Adjusts the modulation depth of the sound.
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
maximum.
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
original.
RISE TIME
FALL TIME
RING MOD.
Produces a metallic sound, creating the impression that the sound is being
focused.
Value
Explanation
NORMAL
Analyzes the pitch of the guitar sound being
input, and then creates a feedback sound.
OSC
An artificial feedback sound will be created
internally. When OSC is selected, the effect is
activated after a single note is played and the
note stabilizes. A feedback effect is created
when the effect switches on; the feedback
disappears when the OSC effect switches off.
DEPTH *1
0–100
Adjusts the ease with which feedback will
occur when the FEEDBACKER is on.
RISE TIME *2
0–100
This determines the time needed for the
volume of the feedback sound to reach its
maximum from the moment the effect is
turned on.
OCTAVE RISE
TIME *2
0–100
This determines the time needed for the
volume of the one octave higher feedback
sound to reach its maximum from the
moment the effect is turned on.
F.BACK LEVEL
0–100
*2
Adjusts the volume of the feedback sound.
MODE
Parameter
Value
Explanation
FREQ
0–100
Adjusts the frequency of the internal
oscillator.
OCTAVE
F.BACK LEVEL 0–100
*2
Adjusts the volume of the one octave higher
feedback sound.
RISE TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
maximum.
VIB RATE *2
0–100
Adjusts the rate of the vibrato when the
FEEDBACKER is on.
VIB DEPTH *2
0–100
FALL TIME
0–100
This parameter adjusts the amount of time
it is to take for the effect to transition to the
original.
Adjusts the depth of the vibrato when the
FEEDBACKER is on.
RING LEVEL
0–100
Adjusts the volume of the effect sound.
OCTAVE
LEVEL
0–100
Adjusts the volume of the one octave low
sound.
DIRECT MIX
0–100
Adjusts the volume of the direct sound.
24
*1 MODE=NORMAL only
*2 MODE=OSC only
EFFECT
MASTER SETTING
AMP CONTROL
These settings are applied to the overall patch.
MASTER SETTING
Parameter
Value
Explanation
PATCH LEVEL
0–200
Adjusts the volume of the patch.
By connecting your guitar amp’s channel switching jack to the GT-100’s
AMP CONTROL jack, you can then use Amp Control to switch the amp
channel.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number
of quarter note beats that occur each minute.
MASTER BPM
40–250
* When you have an external MIDI device
connected, the MASTER BPM synchronizes to
the external MIDI device’s tempo, making it
impossible to set the MASTER BPM. To enable
setting of the MASTER BPM, set”SYNC
CLOCK” (p. 29) to INTERNAL.
This sets the key for the FX HARMONIST.
Major
MASTER KEY
C (Am)–B (G#m)
Minor
This combining of the GT-100 and the amp channels allows you to get an
even wider variety of distortion sounds. Since the Amp Control setting is
handled as one of the effects parameters saved to each individual patch, it
allows you to switch guitar amp channels with each patch.
Major
Parameter
Value
Explanation
GT-100
Minor
(AMP CONTROL jack)
MASTER EQ
OFF
Parameter
Value
Explanation
MASTER LOW
-20–+20 dB
GAIN
Adjusts the low frequency range tone.
MASTER HIGH
-20–+20 dB
GAIN
Adjusts the high frequency range tone.
MASTER MID
FREQ
20.0 Hz–10.0 kHz
Specify the center of the frequency range
that will be adjusted by the MASTER MID
GAIN.
MASTER
MID Q
0.5–16
Adjusts the width of the area affected by the
EQ centered at the MASTER MID FREQ. Higher
values will narrow the area.
MASTER MID
GAIN
-20–+20 dB
Adjusts the middle frequency range tone.
Guitar Amp
(Channel switching jack)
AMP
CONTROL
GT-100
(AMP CONTROL jack)
ON
Guitar Amp
(Channel switching jack)
* To determine how the amp channels are switched when the circuit is
open and shorted, refer to the amp owner’s manual, or actually confirm
the sounds by operating the amp.
* Note that, depending on the circuitry of the channel switching jack in
the guitar amp used, the Amp Control function may not operate.
* Since this is a single mono plug, it can’t switch a three-channel amp.
MEMO
With Amp Control, not only can you switch amp channels,
you can also use it to switch the amp’s effects on and off, like a
footswitch controller.
25
SYSTEM
OUTPUT SELECT
TOTAL
Specify the device (amp) that’s connected to the OUTPUT jacks.
Parameter
Value
Explanation
JC-120
Choose this setting if the GT-100 is connected
to the guitar input of a Roland JC-120 guitar
amp.
SMALL AMP
Choose this setting if the GT-100 is connected
to a small guitar amp.
COMBO AMP
NS THRESH
Value
Explanation
-20–+20 dB
Control the threshold level of the noise
suppressor used by each patch. This does not
affect the settings of each patch.
* If you want to use the settings specified for
each patch, set this to 0 dB.
For some types of guitar amps, the “JC-120”
setting might produce better results.
It is useful to adjust the reverb level
appropriately for the space in which you’re
performing. This does not affect the settings
of each patch.
STACK AMP
JC-120 RETURN
Choose this setting if the GT-100 is connected
to the RETURN jack of the JC-120.
COMBO RETURN
Choose this setting if the GT-100 is connected
to the RETURN jack of a combo-type guitar
amp.
STACK RETURN
Choose this setting if the GT-100 is connected
to the RETURN jack of a stack-type guitar
amp. You should also choose the “STACK
RETURN” setting if you’re using a guitar
power amp together with a speaker cabinet.
LINE/PHONES
Parameter
Choose this setting if the GT-100 is connected
to the guitar input of a combo-type guitar
amp (i.e., a single unit that contains the amp
and speaker) other than the JC-120.
Choose this setting if the GT-100 is connected
to the guitar input of a stack-type guitar amp
(i.e., one in which the amp and speaker are
separate units).
SELECT
These parameters control the threshold level of the noise suppressor used
by each patch, the overall reverb level, and the overall output. They do not
affect the settings of each patch.
Choose this setting if you’re using
headphones, or if the GT-100 is connected to
a keyboard amp, mixer, or digital recorder.
Adjusts the reverb level specified for each
patch.
REVERB
0–200%
* If you want to use the settings specified for
each patch, set this to 100 %.
MAIN
OUTPUT
LEVEL
-10 dB, +4 dB
PHRASE LOOP
Here are various settings for the Phrase Loop function.
Parameter
Value
PERFORM
INPUT
MODE
PATCH EDIT
Adjust the input level according to the output level of the guitar that
you’ve connected.
Parameter
Value
Explanation
INPUT LEVEL
-20–+20 dB
Adjusts the guitar input level.
This adjusts the tone of the OUTPUT regardless of the equalizer on/off
settings of individual patches.
The sound processed by the effects will be
recorded.
This lets you create a variety of performances
by layering different sounds.
The sound before being processed by the
effects will be recorded, and the effects will
be applied when the loop is played back.
MONO
The phrase will be recorded in monaural
(maximum 38 seconds).
STEREO
The phrase will be recorded in stereo
(maximum 19 seconds).
0–120
Specifies the phrase playback volume.
OFF
Phrase Loop will not operate even if you
press the [PHRASE LOOP] pedal.
PHRASE LOOP
You can use the [PHRASE LOOP] pedal to
switch Phrase Loop on/off or to record.
REC MODE
PEDAL FUNC
Parameter
Value
Explanation
LOW GAIN
-20–+20 dB
Adjusts the low frequency range tone.
MID GAIN
-20–+20 dB
Adjusts the middle frequency range tone.
MID FREQ
20.0 Hz–10.0 kHz
Specifies the center of the frequency range
that will be adjusted by the MID GAIN.
MID Q
0.5–16
Adjusts the width of the area affected by the
EQ centered at the MID FREQ. Higher values
will narrow the area.
Parameter
HIGH GAIN
-20–+20 dB
Adjusts the high frequency range tone.
BANK
CHANGE
MODE
26
Explanation
This is a convenient way to adjust the effects,
or to compare the sound of different patches.
PLAY LEVEL
GLOBAL EQ
Specifies the output reference level as
appropriate for the input level of the device
connected to the OUTPUT jacks.
PLAY OPTION
Here you can specify how the pedals will work during performance.
Value
Explanation
WAIT
Although the indication in the display is
updated to reflect the change in the bank
when a BANK pedal is pressed, the patch will
not change until a number pedal has been
pressed.
IMMED
The patch switches instantly when a BANK
pedal or any of the number pedals is pressed.
SYSTEM
Parameter
Value
Explanation
OFF
The operational status of the EXP PEDAL’s
FUNC (p. 31) is not carried over when patches
are switched.
If the EXP PEDAL’s FUNC (p. 31) are the same
between 2 patches, the operational status is
carried over when patches are switched.
Display of parameters you can set with KNOB
SETTING
The parameter names displayed in the Play screen are abbreviated.
For details about the parameter names, refer to the chart shown below.
Value
Display
Value
Display
OFF
OFF
DELAY F.BACK
DlyFBK
PATCH
PATCH
DELAY HI CUT
DlyHC
COMP SUSTAIN
CmpSUS
DELAY E.LEV
DlyELV
COMP ATTACK
CmpATK
DELAY D1TIME
D1 TIM
COMP LEVEL
CmpLEV
DELAY D1F.BK
D1 FBK
OD/DS DRIVE
OD DRV
DELAY D1HICUT
D1 HC
OD/DS TONE
OD TNE
DELAY D1LEV
D1 LEV
OD/DS E.LEV
OD ELV
DELAY D2TIME
D2 TIM
OD/DS SOLO LV
OD SLV
DELAY D2F.BK
D2 FBK
PRE A TYPE
A:TYPE
DELAY D2HICUT
D2 HC
PRE A GAIN
A:GAIN
DELAY D2LEV
D2 LEV
PRE A LEVEL
A:LEV
CHORUS RATE
ChoRAT
PRE A BASS
A:BASS
CHORUS DEPTH
ChoDPT
PRE A MID
A:MID
CHORUS PREDLY
ChoDLY
PRE A TREBLE
A:TRB
CHORUS E.LEV
ChoLEV
PRE A PRES
A:PRES
REVERB TIME
RevTIM
PRE A SOLO LV
A:SLV
REVERB HI CUT
RevHC
PRE A MIC LEV
A:MLV
REVERB E.LEV
RevELV
PRE B TYPE
B:TYPE
MASTER LOW
MT LOW
PRE B GAIN
B:GAIN
MASTER MID
MT MID
PRE B LEVEL
B:LEV
MASTER HIGH
MT HI
Here you can assign the desired parameters to knobs [1]–[8] in the Play
Screen.
PRE B BASS
B:BASS
PATCH LEVEL
PAT LV
PRE B MID
B:MID
PEDAL WAH LEV
WahLEV
* The settings you make here are only for the knobs in the Play Screen.
PRE B TREBLE
B:TRB
PEDAL PB LEV
PB LEV
PRE B PRES
B:PRES
DIV CH SELECT
CH A/B
PRE B SOLO LV
B:SLV
SR SEND LEVEL
SR SND
PRE B MIC LEV
B:MLV
SR RTN LEVEL
SR RTN
EQ LO CUT
EQ LC
NS1 THRESH
NS1THR
EQ LOW
EQ LOW
NS1 RELEASE
NS1REL
EQ LO-MID
EQ LMD
NS2 THRESH
NS2THR
EQ HI-MID
EQ HMD
NS2 RELEASE
NS2REL
EQ HIGH
EQ HI
GLOBAL EQ LOW
GB LOW
EQ HI CUT
EQ HC
GLOBAL EQ MID
GB MID
DELAY TIME
DlyTIM
GLOBAL EQ HIGH
GB HI
EXP PEDAL
HOLD
ON
For example, if EXP PEDAL FUNC is set to
FOOT VOLUME in both patches, the one
before and the one after the change, the
volume corresponding to the position the
pedal is in (angle) at the time of the patch
change will be maintained after the patch
change. On the other hand, if the patch being
changed to is set to WAH, the volume will be
in accordance with the value set within the
patch, and you’ll obtain a wah effect that is
in accordance with a value that reflects the
current position (angle) of the pedal.
KNOB LOCK
OFF, ON
Specifies whether knob operations will be
disabled. If this is ON, knob operations will
be disabled.
NUM PEDAL
SW
OFF, TUNER,
Ch. A/B, OD SOLO,
A/B SOLO,
A&B SOLO
Selects the function that will be recalled
when you press the pedal of the same
number as the currently selected patch.
BANK EXTENT P01–P50,
MIN
U01–U50
Sets the lower limit for the banks.
BANK EXTENT P01–P50,
MAX
U01–U50
Sets the upper limit for the banks.
PEDAL
INDICAT
If this is ON, all currently unlit pedal
indicators will blink dimly.
OFF, ON
KNOB SETTING
Parameter
Value
KNOB 1
OFF, PATCH, COMP SUSTAIN, COMP ATTACK, COMP LEVEL,
OD/DS DRIVE, OD/DS TONE, OD/DS E.LEV, OD/DS SOLO LV,
PRE A TYPE, PRE A GAIN, PRE A LEVEL, PRE A BASS, PRE A MID,
PRE A TREBLE, PRE A PRES, PRE A SOLO LV, PRE A MIC LEV,
PRE B TYPE, PRE B GAIN, PRE B LEVEL, PRE B BASS, PRE B MID,
PRE B TREBLE, PRE B PRES, PRE B SOLO LV, PRE B MIC LEV,
EQ LO CUT, EQ LOW, EQ LO-MID, EQ HI-MID, EQ HIGH, EQ HI CUT,
DELAY TIME, DELAY F.BACK,DELAY HI CUT, DELAY E.LEV,
DELAY D1TIME, DELAY D1F.BK, DELAY D1HICUT, DELAY D1LEV,
DELAY D2TIME, DELAY D2F.BK, DELAY D2HICUT, DELAY D2LEV,
CHORUS RATE , CHORUS DEPTH, CHORUS PREDLY, CHORUS E.LEV,
REVERB TIME, REVERB HI CUT, REVERB E.LEV, MASTER LOW,
MASTER MID, MASTER HIGH, PATCH LEVEL, PEDAL WAH LEV,
PEDAL PB LEV, DIV CH SELECT, SR SEND LEVEL, SR RTN LEVEL,
NS1 THRESH, NS1 RELEASE, NS2 THRESH, NS2 RELEASE,
GLOBAL EQ LOW, GLOBAL EQ MID, GLOBAL EQ HIGH
KNOB 2
KNOB 3
KNOB 4
KNOB 5
KNOB 6
KNOB 7
KNOB 8
27
SYSTEM
PREFERENCE
USB
Here you can specify whether settings for the type of connected amp and
preamp, control pedal, expression pedal, etc. will be independent for each
patch, or whether the same settings will be shared by all patches.
Parameter
Value
OUTPUT
SELECT
ACCEL/CTL
If this is set to PATCH, different settings can
be made independently for each patch. If this
PATCH, SYSTEM 1–3 is set to SYSTEM, the same settings will be
shared by all patches.
PATCH, SYSTEM
EXP
PATCH, SYSTEM
EXP SW
PATCH, SYSTEM
SUB CTL 1
PATCH, SYSTEM
PREAMP
Explanation
PATCH, SYSTEM
SUB CTL 2
PATCH, SYSTEM
SUB EXP
PATCH, SYSTEM
Here you can make USB-related settings for when the GT-100 is connected
to a computer via USB.
USB audio flow
USB IN-OUT MODE: NORMAL
GT-100
* Here, even if a CTL/EXP pedal that has been
set to SYSTEM is set to ASSIGN SOURCE (p.
32), that setting will be ignored. In the case
of the ACCEL/CTL pedal, in addition to the
above, settings for Manual mode (p. 37) will
also be ignored.
USB OUT
OUTPUT
USB IN
INPUT
MIX
Level
OUTPUT
Level
Effect Chain
LCD
USB IN-OUT MODE: DRY OUT
Here you can adjust the brightness of the characters in the display.
Parameter
CONTRST
LEFT
CONTRST
RIGHT
Value
Explanation
1–16
Higher values increase the brightness.
GT-100
USB OUT
OUTPUT
USB IN
INPUT
MIX
Level
OUTPUT
Level
Effect Chain
USB IN-OUT MODE: REAMP
GT-100
USB OUT
USB IN
INPUT
OUTPUT
OUTPUT
Level
INPUT
Level
Effect Chain
Parameter
Value
Explanation
Here you can specify the audio flow for USB input/output.
NORMAL
The guitar input will be sent through the
GT-100’s effects and output to the computer. The
input from the computer will be mixed with the
GT-100’s output, and then output.
DRY OUT
The sound of the guitar processed by the effects
will be monitored, while the guitar input will
be output to the computer without passing
through the GT-100’s effects. The input from the
computer will be mixed with the GT-100’s output
(effect-processed guitar sound) and then output.
USB IN-OUT
MODE
REAMP
The sound being input from the computer will
pass through the GT-100’s effects, and then be
output from the GT-100’s OUTPUT and USB OUT.
With this setting, the guitar sound recorded on
the computer can be played back through the
GT-100’s effects and output from the GT-100’s
guitar OUTPUT and USB OUT.
* If REAMP is selected, the GT-100’s INPUT
cannot be used.
28
SYSTEM
Parameter
MIX LEVEL
Value
Adjusts the input level from the computer to the
GT-100’s effects .
Value
* When you have an external MIDI device connected, the
MASTER BPM is then synchronized to the external MIDI
device’s tempo, thus disabling the MASTER BPM setting. To
enable setting of the MASTER BPM, set to “INTERNAL.”
SYNC
CLOCK
* When synchronizing performances to the MIDI Clock
signal from an external MIDI device, timing problems in the
performance may occur due to errors in the MIDI Clock.
AUTO
Operations are synchronized to the MIDI Clock
received via MIDI. However, operations are
automatically synchronized to the GT-100’s
internal Clock if the GT-100 is unable to receive
the external Clock.
INTERNAL
Operations are synchronized to the GT-100’s
internal Clock.
Adjusts the level of the output from the GT-100 to the computer.
0–200%
Adjusts the level of the output to the computer.
Switches the output of the GT-100 sound to the OUTPUT and
PHONES jacks.
* This setting cannot be saved. It is set to ON when the power
is turned on.
This selects whether MIDI messages will be received from the
MIDI IN connector or from the USB port.
* If you are using the special driver, you can control DIR.
MONITOR On/Off from ASIO 2.0 - compatible application.
DIR. MONITOR
OFF
ON
Set this to Off if transmitting audio data
internally through a computer (Thru).
No sound is heard at this time unless the setting
for the computer is Thru.
DIR. MONITOR
CMD
DISABLE
ENABLE
MIDI messages will be received via the USB port.
MIDI IN
SELECT
The GT-100 sound is output. Set this to ON
when using the GT-100 as a standalone device,
without connecting to a computer (only USB
input sound will be output if this is set to Off ).
This setting determines whether or not the command (the
Direct Monitor command) controlling the Direct Monitor setting
is enabled.
Explanation
This setting determines the basis used for synchronizing
the timing for effect modulation rates and other time-based
parameters.
Adjusts the level of the audio input from the
computer that will be mixed with the sound
processed by the GT-100’s effects.
Adjusts the input level from the computer to the GT-100’s effects
when “USB IN-OUT MODE” is set to “REAMP”.
-20–+20 dB
OUTPUT LEVEL
Parameter
Adjusts the level of the audio input from the computer that
will be mixed with the sound processed by the GT-100’s effects
when “USB IN-OUT MODE” is not set to “REAMP”.
0–200 %
INPUT LEVEL
Explanation
USB (AUTO)
MIDI
* If the USB port is not connected to a
computer, MIDI messages will be received
from the MIDI IN connector.
MIDI messages will be received from the MIDI
IN connector.
This setting determines whether or not Program Change
messages are output when patches are switched on the GT-100.
PC OUT
The Direct Monitor command is disabled,
maintaining the Direct Monitor mode set by the
GT-100.
The Direct Monitor command is enabled, allowing the Direct Monitor mode to be switched
from an external device.
* On the GT-100, Bank Select messages are output simultaneously with Program Change messages.
OFF
Program Change messages are not output, even
when patches are switched.
ON
Program Change messages are simultaneously
output when patches are switched.
This setting determines whether patches are switched according
to the Program Change Map settings, or to the default settings.
This deactivates the Program Change Map.
MAP
SELECT
MIDI SETTING
RX CHANNEL
Value
Explanation
This sets the MIDI channel used for receiving MIDI messages.
Ch. 1– Ch. 16
PH.LOOP
OUT
Specifies the receive channel.
OFF
Information is received on the channel specified
by the RX CHANNEL setting.
ON
Messages are received on all channels, regardless of the MIDI channel settings.
DEVICE ID
Ch. 1– Ch. 16.
Specifies the transmit channel.
RX
Transmits on the same channel as the RX
CHANNEL.
ACC/CTL
OUT
Control Change messages are not output.
This sets the controller number when [PHRASE
CC#1–CC#31,
LOOP] pedal operation data is output as Control
CC#64–CC#95
Change messages.
OFF
Control Change messages are not output.
This sets the controller number when [ACCEL/
CC#1–CC#31,
CTL] pedal operation data is output as Control
CC#64–CC#95
Change messages.
This sets the controller number when [EXP] pedal operation data
is output as Control Change messages.
EXP OUT
OFF
Control Change messages are not output.
This sets the controller number when [EXP]
CC#1–CC#31,
pedal operation data is output as Control
CC#64–CC#95
Change messages.
This sets the MIDI Device ID used for transmitting and receiving
Exclusive messages.
1–32
OFF
This sets the controller number when [ACCEL/CTL] pedal switch
operation data is output as Control Change messages.
This sets the MIDI channel used for transmitting MIDI messages.
TX CHANNEL
Switches to the patches according to the
Program Change Map.
This sets the controller number when [PHRASE LOOP] pedal
switch operation data is output as Control Change messages.
This makes the settings for the channels used for MIDI
information.
OMNI MODE
Switches to the patches according to the default
settings.
This activates the Program Change Map.
PROG
Here you can make settings for using the GT-100 connected with an
external MIDI device or with a second GT-100 unit.
Parameter
FIX
Sets the MIDI Device ID.
This sets the controller number when EXP PEDAL SW operation
data is output as Control Change messages.
EXP SW
OUT
OFF
Control Change messages are not output.
This sets the controller number when EXP
CC#1–CC#31,
PEDAL SW operation data is output as Control
CC#64–CC#95
Change messages.
29
SYSTEM
Parameter
SUB
CTL 1
OUT
SUB
CTL 2
OUT
SUB
EXP
OUT
Value
Explanation
This sets the controller number when operation data from the
footswitch connected to the SUB CTL 1, 2/SUB EXP jack is output
as Control Change messages.
OFF
Control Change messages are not output.
This sets the controller number when SUB CTL
CC#1–CC#31,
1 pedal operation data is output as Control
CC#64–CC#95
Change messages.
OFF
Control Change messages are not output.
This sets the controller number when SUB CTL
CC#1–CC#31,
2 pedal operation data is output as Control
CC#64–CC#95
Change messages.
This sets the controller number when operation data from the
expression pedal connected to the SUB CTL 1, 2/SUB EXP jack is
output as Control Change messages.
OFF
AUTO OFF
The GT-100 can turn off its power automatically. The power will turn
off automatically when 10 hours have passed since you last played or
operated the unit. The display will show a message approximately 15
minutes before the power turns off.
With the factory settings, this function is turned “ON” (power-off in 10
hours). If you want to have the power remain on all the time, turn it “OFF.”
* When the power is turned off, any settings you were editing will be lost.
You must save settings that you want to keep.
Parameter
AUTO OFF
Control Change messages are not output.
Value
Explanation
OFF
The power will not turn off automatically.
ON
The power will automatically turn off when
10 hours have passed since you last played or
operated the GT-100.
This sets the controller number when external
CC#1–CC#31,
SUB EXP Pedal operation data is output as
CC#64–CC#95
Control Change messages.
FACTORY RESET
MIDI PROGRAM MAP BANK 0–3
When switching patches using Program Change messages transmitted by
an external MIDI device, you can freely set the correspondence between
Program Change messages received by the GT-100 and the patches to be
switched to in the “Program Change Map.”
Parameter
Value
PC#1–PC#128
This sets the patch number (P01-1 through
U01-1–U50-4,
U50-4) for the corresponding Program Change
P01-1–P50-4
number.
You can use Exclusive messages to provide another GT-100 with identical
settings, and save effect settings on a MIDI sequencer or other device.
FROM
TO
Value
Explanation
SYSTEM
System parameter settings
QUICK
Settings for User Quick Setting
U01-1–U50-4 Settings for Patch Number U01-1 through U50-4
TEMP
Settings for the patch that is currently selected
SYSTEM
System parameter settings
QUICK
Settings for User Quick Setting
U01-1–U50-4 Settings for Patch Number U01-1 through U50-4
TEMP
Settings for the patch that is currently selected
PEDAL CALIBRATION
You can readjust the [EXP] pedal so that it will operate optimally.
Parameter
Value
Explanation
THRESHOLD
1–16
Adjusts the sensitivity at which the EXP PEDAL SW will
respond.
30
Parameter
FROM
Explanation
MIDI BULK DUMP
Parameter
Initializes the GT-100 to its factory-set condition. Refer to “Restoring the
Factory Settings.
TO
Value
Explanation
SYSTEM
System parameter settings
QUICK
Settings for User Quick Setting
U01-1–U50-4
Settings for Patch Number U01-1 through U50-4
SYSTEM
System parameter settings
QUICK
Settings for User Quick Setting
U01-1–U50-4
Settings for Patch Number U01-1 through U50-4
CTL/EXP
ACCEL/CTL, EXP SW, SUB CTL 1, SUB
CTL 2
Here’s how to assign the parameters that will be controlled by the ACCEL/
CTL, EXP SW, SUB CTL 1 and SUB CTL 2 pedals.
Parameter
Value
Explanation
OFF
No assignment.
ACCEL
Switches the ACCEL effect on and off.
P.LOOP ON/OFF
Switches the PHRASE LOOP on and off.
P.LOOP REC/PLY
Records/plays back the phrase.
P.LOOP STP/PLY
Stops/plays back the phrase.
P.LOOP CLEAR
Clears the phrase
DIV CH SELECT
Switches between Preamp channel A and B.
OD/DS SOLO
Switches the OD/DS SOLO on and off.
A/B SOLO
Switches the Preamp SOLO on and off.
A&B SOLO
FUNC
Switches the preamp SOLO, for both
channel A and B, on and off.
If one of the two channels is off, both will be
turned on.
COMP
Switches the COMP on and off.
OD/DS
Switches the OD/DS on and off.
PREAMP
Switches the PREAMP/SPEAKER on and off.
EQ
Switches the EQ on and off.
FX1
Switches the FX1 on and off.
FX2
Switches the FX2 on and off.
DELAY
Switches the DELAY on and off.
CHORUS
Switches the CHORUS on and off.
REVERB
Switches the REVERB on and off.
PEDAL FX
Switches the Pedal FX on and off.
SEND/RETURN
Switches the SEND/RETURN on and off.
AMP CTL
Switches the Amp Control on and off.
TUNER
Switches the TUNER/BYPASS on and off.
MANUAL MODE
Switches the MANUAL MODE on and off.
BPM TAP *1
Used for tap input of the MASTER BPM.
DELAY TAP *1
Used for tap input of the delay time.
MIDI START
Controls the Start/Stop of external MIDI
devices (such as sequencers).
MMC PLAY
Controls the Play/Stop of external MIDI
devices (such as hard disk recorders).
LEVEL +10 *1
Increases the patch volume level by 10
units.
LEVEL +20 *1
Increases the patch volume level by 20
units.
LEVEL -10 *1
Decreases the patch volume level by 10
units.
LEVEL -20 *1
Decreases the patch volume level by 20
units.
NUMBER INC *1
Switches to the next higher patch number
in the same bank as the currently selected
patch.
NUMBER DEC *1
Switches to the next lower patch number
in the same bank as the currently selected
patch.
BANK INC *1
Switches to the next higher bank number.
BANK DEC *1
Switches to the next lower bank number.
Parameter
MIN
MAX
Value
Explanation
OFF, ON
This sets the value for times when the
switch is Off.
(or STOP, START)
OFF, ON
(or STOP, START)
This sets the value for times when the
switch is On.
This sets the behavior of the value each time the switch is
operation.
SOURCE
MODE
MOMENT
The normal state is Off (minimum value),
with the switch On (maximum value) only
while the footswitch is depressed.
TOGGLE
The setting is toggled On (maximum value)
or Off (minimum value) with each press of
the footswitch.
EXP, SUB EXP
Here’s how to assign the parameters that will be controlled by the GT-100’s
[EXP] pedal, and by an expression pedal (such as the separately available
EV-5) connected to the SUB CTL 1, 2/SUB EXP jack.
Parameter
FUNC
Value
Explanation
OFF
No assignment.
FOOT VOLUME
Foot volume will be assigned.
PEDAL BEND
Pedal bend will be assigned.
WAH
Wah will be assigned.
PB/FV
Pedal bend and foot volume will be assigned.
WAH/FV
Wah and foot volume will be assigned.
Patch level will be assigned.
PATCH LEVEL
* This is shown only if PERFORMANCE (p. 28) is set
to SYSTEM.
Specifies the minimum value.
PATCH LEVEL
MIN
0–200
PATCH LEVEL
MAX
0–200
* This is shown only if FUNC is set to PATCH
LEVEL.
Specifies the maximum value.
* This is shown only if FUNC is set to Patch Level.
* Only FOOT VOLUME can be assigned to SUB EXP (external expression
pedal). If you want to assign a function other than FOOT VOLUME, use
Assign.
Lights/extinguishes the pedal’s LED
indicator.
LED ON/OFF
* This is shown only when ACCEL/CTL pedal
is selected.
* This is shown only if PERFORMANCE (p. 28)
is set to PATCH.
*1 The function will activate as soon as you press the pedal, regardless of
whether the SOURCE MODE parameter is MOMENT or TOGGLE.
31
CTL/EXP
ASSIGN COMMON
Parameter
Value
Explanation
INPUT SENS
0–100
This adjusts the input sensitivity when INPUT
LEVEL is selected for SOURCE.
Parameter
Value
Explanation
SAW
WAVEFORM *1 TRI
SINE
ASSIGN 1–8
PATCH CHANGE This is activated when a patch is selected.
* If you want to light the ACCEL/CTL pedal’s LED indicator while the
ASSIGN 1–8 function is assigned to the ACCEL/CTL pedal, set the ACCEL/
CTL pedal FUNC (p. 31) to “LED ON/OFF.”
Parameter
Value
Explanation
OFF/ON
OFF, ON
Turns the ASSIGN 1–8 on/off.
SOURCE
EXP PDL-HI
This is activated when the GT-100’s [EXP] pedal is
set to the maximum position.
EXP PDL SW
This is activated when the EXP pedal switch is
operated.
P.LOOP PEDAL
This is activated when the [PHRASE LOOP] pedal
is operated.
ACC/CTL PDL
This is activated when the [ACCEL/CTL] Pedal is
operated.
Assigns the GT-100’s [EXP] pedal.
P.LOOP PEDAL
Assigns the GT-100’s [PHRASE LOOP] pedal.
ACC/CTL PDL
Assigns the [ACCEL/CTL] pedal.
SUB EXP PDL
Assigns the external expression pedal (such as
the separately available EV-5) connected to the
SUB CTL 1, 2/SUB EXP jack.
SUB EXP PDL
This is activated when an external expression
pedal connected to the SUB CTL 1, 2/SUB EXP
jack is operated.
SUB CTL1 PDL
Assigns the external footswitch (FS-5U, FS-6;
available separately) connected to the SUB CTL
1, 2/SUB EXP jack.
SUB CTL1 PDL
This is activated when an external footswitch
connected to the SUB CTL 1, 2/SUB EXP jack is
operated.
SUB CTL2 PDL
Assigns the external foot switch (FS-5U, FS-6;
available separately) connected to the SUB CTL
1, 2/SUB EXP jack.
SUB CTL2 PDL
This is activated when an external footswitch
connected to the SUB CTL 1, 2/SUB EXP jack is
operated.
INT PEDAL
Refer to “Virtual expression pedal system
(Internal Pedal / Wave Pedal)” (p. 35)
CC#1–#31
This is activated when a control change is
received.
WAVE PEDAL
Refer to “Virtual expression pedal system
(Internal Pedal / Wave Pedal)” (p. 35)
CC#64–#95
This is activated when a control change is
received.
INPUT LEVEL
The assigned target parameter will change
according to the input level.
0–100
This specifies the time over which the internal
pedal will move from the toe-raised position to
the toe-down position.
CC#1–#31
Control Change messages from an external MIDI
device.
CC#64–#95
Control Change messages from an external MIDI
device.
MOMENT
The normal state is Off (minimum value), with
the switch On (maximum value) only while the
footswitch is depressed.
TOGGLE
The setting is toggled On (maximum value)
or Off (minimum value) with each press of the
footswitch.
This selects the parameter to be changed.
Refer to TARGET list
This sets the minimum value for the range in which the parameter
can change. The value differs depending on the parameter
assigned for TARGET parameter.
TARGET MAX
This sets the maximum value for the range in which the parameter
can change. The value differs depending on the parameter
assigned for TARGET parameter.
ACT RANGE LO 0–126
1–127
0–100,
BPM –
You can set the controllable range for target
parameters within the source’s operational
range. Target parameters are controlled within
the range set with ACT RANGE LO and ACT
RANGE HI. You should normally set ACT RANGE
LO to 0 and ACT RANGE HI to 127.
This determines the time spend for one cycle of
the assumed EXP Pedal.
When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch. This
makes it easier to achieve effect sound settings that match the
tempo of the song.
* If, due to the tempo, the time is longer than the range of
allowable settings, it is then synchronized to a period either 1/2
or 1/4 of that time.
32
This is activated when the GT-100’s [EXP] pedal is
moved through the middle position.
Assigns the EXP pedal switch.
TARGET MIN
WAVE RATE *1
EXP PDL-MID
EXP PDL SW
TARGET
ACT RANGE HI
This is activated when the GT-100’s [EXP] pedal is
set to the minimum position.
EXP PEDAL
SOURCE MODE
TARGET
CATEGRY
EXP PDL-LO
INT PDL
TRIGGER *2
INT PDL TIME
*2
LINEAR
INT PDL
CURVE *2
SLOW RISE
FAST RISE
*1The WAVE RATE and WAVEFORM parameters are enabled when the Source
parameter is set to WAVE PEDAL.
*2The INT PDL TRIGGER, INT PDL TIME, and INT PDL CURVE parameters are enabled
when the SOURCE parameter is set to INT PEDAL.
CTL/EXP
TARGET list
CATEGORY
COMP
TARGET
TARGET
CATEGORY
TARGET
TYPE
LOW CUT
62Hz
SUSTAIN
LOW GAIN
125 Hz
ATTACK
LOW-MID FREQ
250 Hz
VOICE
TONE
LOW-MID Q
500 Hz
PS1 MODE
LEVEL
LOW-MID GAIN
1 kHz
PS1 PITCH
2 kHz
PS1 FINE
PS1 PRE DLY
EQ
HI-MID FREQ
FX1/FX2
GEQ
FX1/FX2
OCTAVE
RANGE
OCTAVE LEVEL
DIRECT MIX
TYPE
HI-MID Q
4 kHz
DRIVE
HI-MID GAIN
8 kHz
BOTTOM
HIGH GAIN
16 kHz
TONE
HIGH CUT
LEVEL
SOLO SW
LEVEL
LOW CUT
PS2 FINE
SOLO LEVEL
ON/OFF
LOW GAIN
PS2 PRE DLY
TYPE
LOW-MID FREQ
PS2 LEVEL
DIRECT MIX
MODE
LOW-MID Q
PS1 F.BACK
CUSTOM TYPE
POLARITY
LOW-MID GAIN
DIRECT MIX
CUSTOM BOTTOM
SENS
HI-MID FREQ
VOICE
HI-MID Q
HR1 HARMONY
PEAK
HI-MID GAIN
HR1 PRE DLY
CUSTOM HIGH
EFFECT LEVEL
HIGH CUT
CUSTOM CHAR
DIRECT MIX
HIGH GAIN
ON/OFF
MODE
LEVEL
TYPE
FREQ
TYPE
HR2 LEVEL
GAIN
PEAK
RESO
HR1 F.BACK
LOW
DIRECT MIX
EFFECT LEVEL
CUSTOM LOW
T-COMP
FX1/FX2
FX1/FX2
T.WAH
FX1/FX2
A.WAH
FREQ
RATE
FX1/FX2
PEQ
FX1/FX2
ToneMOD
HIGH
FX1/FX2
P.SHIFT
FX1/FX2
HARM
PS1 LEVEL
PS2 MODE
PS2 PITCH
HR1 LEVEL
HR2 HARMONY
HR2 PRE DLY
HOLD
BASS
DEPTH
MIDDLE
EFFECT LEVEL
LEVEL
TREBLE
DIRECT MIX
TYPE
PRES
TYPE
LOW
TYPE
LEVEL
PDL POS
HIGH
BASS
BRIGHT
PEDAL MIN
FX1/FX2
SUB WAH
FX1/FX2
GTR SIM
BODY
PEDAL MAX
LEVEL
SOLO SW
EFFECT LEVEL
SENS
SOLO LEVEL
DIRECT MIX
SP TYPE
TYPE
MIC TYPE
GAIN SW
PREAMP
A/B
CATEGORY
31 Hz
CUSTOM TOP
PREAMP
TARGET
ON/OFF
ON/OFF
OD/DS
CATEGORY
ON/OFF
FX1/FX2
SL.GEAR
FX1/FX2
S.HOLD
FX1/FX2
AC.PRO
RISE TIME
EFFECT LEVEL
MIDDLE
MIDDLE FREQ
TREBLE
RISE TIME
PRES
LEVEL
LEVEL
SUSTAIN
TONE
TYPE
ATTACK
SENS
RATE
MIC POS
TONE
ATTACK
MIC LEVEL
LEVEL
DIRECT MIX
TYPE
CUSTOM TYPE
ATTACK
EFFECT LEVEL
STEP RATE
THRESH
DIRECT MIX
EFFECT LEVEL
RATIO
WAVE
DIRECT MIX
CUSTOM LOW
RELEASE
CUTOFF
RATE
CUSTOM HIGH
LEVEL
RESO
DEPTH
CUSTOM CHAR
TYPE
FILTER SENS
MANUAL
SPCSTM SIZE
DRIVE
SPCSTM COLOR L
BOTTOM
FILTER DEPTH
SPCSTM COLOR H
TONE
SYNTH LEVEL
LOW CUT
SOLO SW
DIRECT MIX
EFFECT LEVEL
SOLO LEVEL
TONE
DIRECT MIX
EFFECT LEVEL
SENS
WAVE SHAPE
DIRECT MIX
DEPTH
MIC DIST
CUSTOM BOTTOM
CUSTOM EDGE
SPCSTM SP NUM
SPCSTM CABINET
FX1/FX2
ADV CMP
FX1/FX2
LIMITER
FX1/FX2
OD/DS
FX1/FX2
DEFRET
FX1/FX2
WAV SYN
FX1/FX2
SitarSIM
DEPTH
RESO
FILTER DECAY
RESO
BUZZ
DEPTH
FX1/FX2
PHASER
FX1/FX2
FLANGER
FX1/FX2
TREMOLO
MANUAL
RESO
RESO
SEPARATION
RATE
DEPTH
LEVEL
EFFECT LEVEL
DIRECT MIX
33
CTL/EXP
CATEGORY
FX1/FX2
ROTARY
FX1/FX2
UNIV
TARGET
PATCH LEVEL
MASTER LOW
RATE FAST
DELAY TIME
ChA DYNAMIC
RISE TIME
F.BACK
ChA DYN SENS
HIGH CUT
ChA FILTER
MASTER MID G
ChA CUTOFF
MASTER HIGH
FALL TIME
DELAY
MASTER MID Q
LEVEL
DIRECT MIX
ChB DYNAMIC
PAN TAP TIME
ChB DYN SENS
BPM/
KEY
MASTER BPM
RATE
DEPTH
TIME
ChB FILTER
TUNER
TUNER SW
F.BACK
ChB CUTOFF
MANUAL
MANUAL MODE SW
HIGH CUT
MODE
LEVEL
DELAY
D1
MIXER
WAVE SHAPE
LEVEL
RATE
TIME
SPREAD
F.BACK
ON/OFF
DEPTH
RATE
DELAY
D2
HIGH CUT
LEVEL
DELAY
MOD
SEND/
RETURN
MOD. RATE
MOD. DEPTH
ChA/B BALANCE
MODE
SEND LEVEL
RETURN LEVEL
AMP
CTL
ON/OFF
EFFECT LEVEL
MODE
DIRECT MIX
RATE
RATE
DEPTH
RELEASE
PRE DELAY
DETECT
TRIGGER
LOW CUT
ON/OFF
RISE TIME
HIGH CUT
LEVEL
EFFECT LEVEL
RELEASE
MODE
ON/OFF
DETECT
FREQ
TYPE
EFFECT LEVEL
REVERB TIME
DIRECT MIX
PRE DELAY
DEPTH
CHORUS
REVERB
LOW CUT
NS2
ACCEL
ACCEL
S-BEND
THRESH
ON/OFF
TYPE
PITCH
RISE TIME
VOWEL 2
DENSITY
RATE
SENS
EFFECT LEVEL
RATE
DIRECT MIX
DEPTH
SPRING SENS
XOVER FREQ
PITCH
LOW RATE
PDL POS
PEDAL
P.B.
DEPTH
RISE TIME
FALL TIME
FREQ
ON/OFF
RISE TIME
ACCEL
RING
FALL TIME
RING LEVEL
EFFECT LEVEL
OCTAVE LEVEL
LOW PRE DLY
DIRECT MIX
DIRECT MIX
LOW LEVEL
TYPE
HIGH RATE
PDL POS
LOW DEPTH
HIGH DEPTH
HIGH PRE DLY
PEDAL
WAH
PEDAL MIN
PEDAL MAX
ACCEL
TWIST
ACCEL
WARP
LEVEL
RISE TIME
FALL TIME
LEVEL
RISE TIME
HIGH LEVEL
EFFECT LEVEL
TYPE
DIRECT MIX
DELAY TIME
VOLUME CURVE
MODE
VOLUME MIN
DEPTH
VOLUME MAX
RISE TIME
F.BACK
HIGH CUT
EFFECT LEVEL
DIRECT MIX
TAP TIME
FOOT
VOLUME
LEVEL
ACCEL
F.BACK
STOP/ PLAY
CLEAR
TAP
MIDI
BPM TAP
DELAY TAP
START/ STOP
MMC PLY /STOP
LEVEL +20
THRESH
FALL TIME
ACCEL
LASER
REC/ PLAY
LEVEL +10
HIGH CUT
PEDAL
FX
PHRASE
LOOP
ON/OFF
NS1
MASTER KEY
ON/OFF
AMP CTL SW
TRIGGER SENS
LEVEL
FALL TIME
OCTAVE R.TIME
FB LEVEL
OCTAVE FB LEV
VIB RATE
VIB DEPTH
34
MASTER MID F
EFFECT LEVEL
MANUAL
FX1/FX2
SUB DLY
DIVIDER
MASTER
DEPTH
VOWEL 1
FX1/FX2
2x2CHO
TARGET
CHANNEL SELECT
MODE
FX1/FX2
HUMAN
CATEGORY
TYPE
PATTERN
FX1/FX2
RINGMOD
TARGET
RATE SLOW
LEVEL
FX1/FX2
VIBRATO
CATEGORY
MODE
POS
FX1/FX2
SLICER
TARGET
ON/OFF
TYPE
FX1/FX2
PAN
CATEGORY
SPEED SELECT
LEVEL -10
PATCH
LEVEL -20
NUMBER INC
NUMBER DEC
BANK INC
BANK DEC
CTL/EXP
By assigning a desired parameter to the virtual expression pedal, you can
produce an effect as though you were operating a physical expression
pedal to change the volume or tone quality in real time.
The virtual expression pedal system provides the following two types of
functions, and you can use the SOURCE setting for ASSIGN 1–8 to choose
the desired type.
* If you want to use the internal pedal or wave pedal, set the ASSIGN
parameter SOURCE MODE to “MOMENT.”
Internal pedal
About the Range of a Target’s Change
The value of the parameter selected as the target changes within
the range defined by “Min” and “Max,” as set on the GT-100.
When using an external footswitch, or other controller that acts as
an on/off switch, “Min” is selected with Off (CLOSED), and “Max” is
selected with On (OPEN).
When using an external expression pedal or other controller that
generates a consecutive change in the value, the value of the
setting changes accordingly, within the range set by the minimum
and maximum values. Also, when the target is of an on/off type,
the median value of the received data is used as the dividing line in
determining whether to switch it on or off.
When using the footswitch:
If SOURCE is set to “INT PEDAL,” the virtual expression pedal will begin
operating when started by the specified trigger (INT PDL TRIGGER),
modifying the parameter specified by TARGET.
Allowable
Parameter
The value changes in a curve
MAX
Settings Range
Virtual expression pedal system (Internal
Pedal / Wave Pedal)
MIN
OFF
ON
When using the expression pedal:
When the trigger occurs
Allowable
Parameter
If SOURCE is set to “WAVE PEDAL,” the virtual expression pedal will
cyclically modify the parameter specified by TARGET in a fixed wave form.
Settings Range
MAX
Wave pedal
MIN
0
When the pedal is
fully raised
Always changes in a fixed curve regardless of the actual pedal
127
When the pedal is
fully advanced
When controlling the On/Off target with the expression pedal:
Value
Input Level
ON
Input level
The parameter set as the target changes in response to the input level.
MEMO
If you want to adjust the input sensitivity, set the INPUT SENS.
Degree to
Which Expression Pedal Is
Depressed
OFF
0
When the pedal is
fully raised
When the pedal
is advanced
halfway
127
When the pedal
is fully advanced
*The range that can be selected changes according to the target
setting.
*When the “minimum” is set to a higher value than the “maximum,”
the change in the parameter is reversed.
*“ The values of settings can change if the target is changed after
the “minimum” and “maximum” settings have been made. If
you’ve changed the target, be sure to recheck the “minimum” and
“maximum” settings.
35
CTL/EXP
About the Range of a Controller’s Change
This sets the operational range within which the value of the setting
changes when an expression pedal or other controller that changes
the value consecutively is used as the source. If the controller is
moved outside the operational range, the value does not change, it
stops at “minimum” or “maximum.”
(Example) With ACT RANGE LO: 40, ACT RANGE HI: 80
Allowable
Parameter
Settings Range
MAX
MIN
0
When the
pedal is fully
raised
40
ACT
RANGE
LO
80
ACT
RANGE
HI
127
Degree to
Which Expression Pedal Is
Depressed
When the
pedal is fully
advanced
Value
ON
OFF
40
0
When the
ACT
pedal is fully RANGE
raised
LO
60
80
Center ACT
Value RANGE
HI
Degree to
Which Expression Pedal Is
Depressed
127
When the
pedal is fully
advanced
*When using a footswitch or other on/off switching controller as the
source, leave these at “ACT RANGE LO: 0” and “ACT RANGE HI: 127.”
With certain settings, the value may not change.
36
Other Settings
TUNER METRONOME MODE
MANUAL MODE
Editing procedure
Editing procedure
1. Simultaneously press pedals [1] and [2].
1. Simultaneously press pedals [BANK DOWN] and
The tuner function and the metronome function will turn on.
[BANK UP].
The MANUAL mode will turn on.
2. Use knobs [1], [4]–[8] to specify the settings.
3. Simultaneously press pedals [1] and [2] to return to
the Play screen.
You can also return to the Play screen by pressing the [EXIT]
button.
2. Use knobs [1]–[8] to specify the settings.
3. Simultaneously press pedals [BANK DOWN] and
[BANK UP] to return to the Play screen.
Here you can make settings for the MANUAL mode.
TUNER
Parameter
Here you can make settings for the TUNER mode.
BANK UP
NUMBER
PEDAL 1
Parameter
Value
Explanation
PITCH
435 Hz–445 Hz
Specifies the reference pitch.
MUTE
Sound will not be output while tuning.
NUMBER
PEDAL 2
BYPASS
While tuning, the sound of the guitar being
input to the GT-100 will be output without
change. All effects will be off.
NUMBER
PEDAL 3
THRU
Allows you to tune while hearing the
current effect sound.
OUTPUT
Value
Explanation
BANK DOWN
NUMBER
PEDAL 4
PHRASE LOOP
OFF, ACCEL, PL (PHRASE LOOP),
PL R/P, PL S/P, PL CLR, CH A/B,
OD SOLO, A/B SOLO, A&B SOLO,
CMP, OD, PREAMP, EQ, FX1, FX2,
DLY, CHO, REV, PDL FX, S/R,
You can assign the desired
AMP CTL, TUNER, MANUAL,
effects unit to each pedal.
BPM TAP, DLY TAP,
MIDI (MIDI START), MMC PLAY,
LEV +10, LEV +20, LEV -10, LEV -20,
NUM INC, NUM DEC,
BANK INC, BANK DEC
ACCEL/CTL
METRONOME
Here you can make settings for the METRONOME mode.
Parameter
Value
Explanation
TEMPO
40–250
Specifies the tempo of the metronome.
BEAT
1/1–8/1,
1/2–8/2,
1/4–8/4,
1/8–8/8
Selects the time signature.
ON/OFF
OFF, ON
Turns the metronome on/off.
LEVEL
0–100
Adjusts the volume of the metronome.
37
1PS