Download Boss Audio Systems GT-100 Owner`s manual
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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