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 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. 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 03.. . . . . . . . . . . . . . . . . . . . . . . . . . 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 18.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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

* 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.

Basic Operation
Editing on the GT-100 is extremely simple; the procedure is always the same..

1
Effect

Choose what youre going to edit

Press one of the following buttons.
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.

Control/Expression

page 31

Here you can assign the desired functions to the [ACCEL/CTL] pedal, [EXP] pedal, and external pedals.

2 3 4

Select an item
Turn knob [4] to select the desired item (the cursor will move).

Use display.

to select an item shown in the left

The screen shown here is an example of when youve pressed the [EFFECT] button.

Edit the values

to edit the values Use shown in the right display.
If page tabs are shown in the screen, you can use the [PAGE] buttons to move between tabs. Turn the knobs to edit the values.

Exit the settings

Press .

Youll be returned to the Play screen.

NOTE The settings youve edited will be lost when you switch patches. If you want to keep the edited settings, you must save them as a user patch (Owners Manual: p. 13).

EZ TONE
PATCH CREATE
Lets you easily create your sound starting from your choice of musical style and type of song.
Parameter Value BLUES Soul Funk Jazz LIVERPOOL 70's HARD ROCK 80s METAL MODERN METAL BASIC TONE West Coast Fuzz Rock STUDIO PROGRESSIVE SURF ROCK COUNTRY Acoustic Punk Pop SOFT HARD BACKING SOLO AMBIENCE -50+50 -50+50 0100 Explanation Blues sound Soul and Funk sound Jazz sound British Rock The Hard Rock sound popular in the 70s The Metal sound popular in the 80s Modern Metal sound West Coast sound Fuzz Recording Studio Progressive Surf Rock sound Country For Acoustic Guitar Punk Pop +: Sharp distortion -: Warm distortion +: For soloing -: For backing Adjusts the length of the resonance SOFT HARD BACKING SOLO CUSTOM TYPE

OD/DS CUSTOMIZE
Lets you intuitively customize the overdrive/distortion.
Parameter Value OD-1 OD-2 CRUNCH DS-1 DS-2 METAL1 METAL2 FUZZ -50+50 -50+50 Explanation This models the sound of the BOSS OD-1. This is a overdrive sound with high gain. This is a crunch sound. This gives a basic, traditional distortion sound. This creates a heavier distortion sound. This is a metal sound with a characteristic midrange. This gives a heavy metal sound. This gives a basic, traditional fuzz sound. +: Sharp distortion -: Warm distortion +: For soloing -: For backing

AMP CUSTOMIZE
Lets you intuitively customize the amp.
Parameter Value JC CLEAN TW CLEAN CRUNCH COMBO DRIVE CUSTOM TYPE COMBO LEAD Explanation This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This is a crunch sound that can faithfully reproduce the nuances of picking. This is a combo amp sound that it suited to sixties-style British rock. This is a lead sound of a combo tube amp typical of the late 70s to 80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. MODERN STACK This original high-gain amp delivers thick lows and intense distortion while still preserving the sounds clear definition. +: Sharp distortion -: Warm distortion +: For soloing -: For backing

MS HiGAIN

SOFT HARD BACKING SOLO

-50+50 -50+50

EFFECT
COMP
This is an effect that produces a long sustain by evening out the volume level of the input signal.
Parameter ON/OFF Value OFF, ON BOSS COMP HI-BAND LIGHT D-COMP TYPE ORANGE FAT MILD STEREO COMP SUSTAIN ATTACK LEVEL TONE 0100 0100 0100 -50+50 Explanation Turns this effect on/off. This models a BOSS CS-3. This is a compressor that adds an even stronger effect in the high end. This is a compressor with a light effect. This models a MXR DynaComp. This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER. When applied heavily, this compressor effect provides a fat tone with a boosted midrange. When applied heavily, this compressor effect produces a sweet tone with the high end cut. This selects a stereo compressor. Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain. Adjusts the attack time. Adjusts the tone. Adjusts the volume. CRUNCH ADVANCED NATURL OD WARM OD FAT DS LEAD DS METAL DS OCT FUZZ BLUES OD CLEAN BOOST TREBLE BOOST

OD/DS TYPE
This is a list of distortion types that can be selected for OD/DS.
Category Type Explanation This is a booster with unique characteristics in the midrange. Making the connection before the COSM amp produces sound suitable for solos. This not only functions as a booster, but also produces a clean tone that has punch even when used alone. This is a booster that has bright characteristics. A lustrous crunch sound with an added element of amp distortion. This is an overdrive sound that provides distortion with a natural feeling. This is a warm overdrive. A distortion sound with thick distortion. Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion. This is distortion sound that is ideal for performances of heavy riffs. A fuzz sound with rich harmonic content. This is a crunch sound of the BOSS BD-2. This produces distortion that faithfully reproduces the nuances of picking. This models the sound of the BOSS OD-1. This produces sweet, mild distortion. This models an Ibanez TS-808. This is the high-gain overdrive sound of the BOSS OD-2. This gives a basic, traditional distortion sound. This models a Proco RAT. This models a Marshall GUV NOR. This models a MXR DISTORTION+. This models the sound of the BOSS MT-2. METAL ZONE 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 . Custom OD/DS CUSTOM You can customize it however you like to match the sound you want.

MID BOOST

OD/DS
This effect distorts the sound to create long sustain.
Parameter ON/OFF TYPE DRIVE TONE Value OFF, ON Refer to OD/DS TYPE 0120 -50+50 Adjusts the depth of distortion. Adjusts the tone. Adjusts the volume of the OD/DS sound. 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. Adjusts the volume of the direct sound. The tone to one suitable for solos. Adjusts the volume level when the Solo Sw is ON. Explanation Turns this effect on/off. VINTAGE

OD-1 T-SCREAM TURBO OD DIST RAT GUV DS DST+

EFFECT LEVEL 0100

BOTTOM

-50+50

60S FUZZ MUFF FUZZ

DIRECT MIX SOLO SW SOLO LEVEL

0100 OFF, ON 0100

EFFECT

CUSTOM OD/DS SETTING

Parameter Value OD-1 OD-2 CRUNCH DS-1 CUSTOM TYPE DS-2 METAL1 METAL2 FUZZ CUSTOM CHAR -50+50 CUSTOM BOTTOM CUSTOM TOP CUSTOM LOW Explanation This models the sound of the BOSS OD-1. This is a overdrive sound with high gain. This is a crunch sound. This gives a basic, traditional distortion sound. This creates a heavier distortion sound. This is a metal sound with a characteristic midrange. This gives a heavy metal sound. This gives a basic, traditional fuzz sound. +: For soloing -: For backing This controls the input sounds low-frequency range and adjusts the amount of distortion in the low-frequency range This controls the input sounds high-frequency range and adjusts the amount of distortion in the high-frequency range. Adjusts the low-range tones after distortion is applied. Adjusts the high-range tones after distortion is applied.

Parameter

Value OFF ORIGIN (ORIGINAL) 1x8" 1x10" 1x12"

Explanation This turns off the speaker simulator. This is the built-in speaker of the amp you selected with PREAMP TYPE. This is a compact open-back speaker cabinet with one 8-inch speaker. This is a compact open-back speaker cabinet with one 10-inch speaker. This is a compact open-back speaker cabinet with one 12-inch speaker. This is a general open-back speaker cabinet with two 12-inch speakers. This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers. This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers. This is a double stack of two cabinets, each with four 12-inch speakers. Custom speaker You can customize it however you like to match the sound you want. This is the sound of the SHURE SM-57. General dynamic mic used for instruments and vocals. Optimal for use in miking guitar amps. This is the sound of the SENNHEISER MD-421. Dynamic mic with extended low end. This is the sound of the AKG C451B. Small condenser mic for use with instruments. This is the sound of the NEUMANN U87. Condenser mic with flat response. Simulates a mic with perfectly flat response. Produces a sonic image close to that of listening to the sound directly from the speakers (on site). This setting points the mic away from the speaker. Provides conditions whereby the mic is directed more towards the speaker. Simulates the condition that the mic is set in the middle of the speaker cone. Simulates the condition that the mic is moved away from the center of the speaker cone. Adjusts the volume of the mic. Adjusts the volume of the direct sound.

Select the speaker type.

SP TYPE *1

2x12" 4x10" 4x12" 8x12"

-50+50

-50+50 -50+50

CUSTOM

This setting selects the simulated mic type. DYN57 DYN421

CUSTOM HIGH -50+50

PREAMP
COSM technology simulates different preamp characteristics, speaker sizes, and cabinet shapes.
Parameter ON/OFF TYPE GAIN T-COMP LEVEL BASS MIDDLE TREBLE Value OFF, ON 0120 -100+10 0100 0100 0100 0100 Explanation Turns the COSM AMP effect on/off.

MIC TYPE *1

CND451 CND87 FLAT

Simulates the distance between the mic and speaker. MIC DIS *1 OFF MIC ON MIC

Refer to PREAMP TYPE Adjusts the distortion of the amp. Adjusts the sense of compression of the amp. Adjusts the volume of the entire preamp. * Be careful not to raise the Level setting too high. Adjusts the tone for the low frequency range. Adjusts the tone for the middle frequency range. Adjusts the tone for the high frequency range. 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. * 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 is switched on to create the tone to one suitable for solos. Adjusts the volume level when the SOLO SW is ON.

This simulates the mic position. MIC POS *1 CENTER 110 cm MIC LEVEL *1 DIRECT MIX *1 0100 0100

PRESENCE

0100

*1 This is enabled when the OUTPUT SELECT parameter is set to LINE/PHONE.

BRIGHT

OFF, ON

GAIN SW

LOW, MIDDLE, HIGH

SOLO SW SOLO LEVEL

OFF, ON 0100

EFFECT PREAMP TYPE

This is a list of the amp types that can be selected for PREAMP.
CUSTOM Category Type NATURL CLEAN Explanation An unembellished, clean sound that minimizes the amps idiosyncrasies, such as its trebly character and boomy low end. 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. Great-feeling crunch sound that responds well to picking dynamics while retaining all the defining characteristics of a 4 x 12 speaker cabinet. High-gain sound of a vintage Marshall specially revamped in a way that is possible only with COSM modeling technology. 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. A new type of sound that smoothes out the uneven frequency response that is typical of existing large stack amps. A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound. This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This models a Fender Pro Reverb. This models a Fender Bassman 4 x 10 Combo. This models a Fender Deluxe Reverb. 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 R-FIER VINTAGE R-FIER MODERN T-AMP LEAD SLDN 5150 DRIVE The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I. Models the sound of the Channel 2 VINTAGE Mode on the MESA/Boogie DUAL Rectifier. Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL Rectifier. This models a Hughes & Kettner Triamp AMP3. This models a Soldano SLO-100. This is the typical sound of the eighties. This models the lead channel of a Peavey EVH 5150. Category Type Explanation This is a custom preamp. You can customize it however you like to match the sound you want.

FULL RANGE

STACK CRUNCH ADVANCED HiGAIN STACK

POWER DRIVE

EXTREM LEAD

CORE METAL JC-120 CLEAN TWIN PRO CRUNCH TWEED DELUXE CRUNCH

VO DRIVE

VO LEAD

MATCH DRIVE

VINTAGE

BG LEAD

BG DRIVE

MS1959 I

EFFECT

CUSTOM AMP SETTING

Parameter Value JC CLEAN TW CLEAN CRUNCH COMBO DRIVE CUSTOM TYPE COMBO LEAD Explanation This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This is a crunch sound that can faithfully reproduce the nuances of picking. This is a combo amp sound that it suited to sixties-style British rock. This is a lead sound of a combo tube amp typical of the late 70s to 80s. This models the sound input to Input I on a Marshall 1959. This is a trebly sound suited to hard rock. MODERN STACK CUSTOM CHAR -50+50 CUSTOM BOTTOM This original high-gain amp delivers thick lows and intense distortion while still preserving the sounds clear definition. +: For soloing -: For backing This controls the input sounds low-frequency range and adjusts the amount of distortion in the low-frequency range. This controls the input sounds high-frequency range and adjusts the amount of distortion in the high-frequency range. Adjusts the preamp sections low-frequency tone. Adjusts the preamp sections high-frequency tone.

EQ
This adjusts the tone as a equalizer. A parametric type is adopted for the high-middle and low-middle range.
Parameter ON/OFF LOW GAIN HIGH GAIN LEVEL LOW-MID FREQ LOW-MID Q LOW-MID GAIN HIGH-MID FREQ HIGH-MID Q HIGH-MID GAIN LOW CUT Value OFF, ON -20+20 dB -20+20 dB -20+20 dB 20 Hz10.0 kHz 0.516 -20+20 dB 20 Hz10.0 kHz Explanation Turns this effect on/off. Adjusts the low frequency range tone. Adjusts the high frequency range tone. Adjusts the overall volume level of the equalizer. Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN. Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area. Adjusts the low-middle frequency range tone. Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN. Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area. Adjusts the low-middle frequency range tone. 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. 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.

MS HiGAIN

-50+50

0.516 -20+20 dB FLAT, 20 Hz800 Hz 630 Hz 12.5 kHz, FLAT

CUSTOM EDGE -50+50 CUSTOM PREAMP LOW CUSTOM PREAMP HIGH -50+50 -50+50

HIGH CUT

CUSTOM SPEAKER SETTING

Parameter CUSTOM SP SIZE CUSTOM SP NUMBER Value 515" x1, x2, x4, x8 Explanation Selects the size of speaker. Sets the number of speakers.

Selects the speaker cabinet type. CUSTOM CABINET OPEN CLOSE CUSTOM COLOR LOW CUSTOM COLOR HIGH -10+10 -10+10 This is an open-backed cabinet This type of cabinet features an enclosed rear panel. Adjusts the speaker sections low-frequency tone. Adjusts the speaker sections high-frequency tone.

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 ON/OFF TYPE Value OFF, ON Explanation Turns this effect on/off.

Effect Name PAN

Explanation 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. This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played. This effect creates vibrato by slightly modulating the pitch. 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. This can create human vowel-like sounds. 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. This is a delay with the maximum delay time of 1,000 ms. This effect is useful for making the sound fatter.

SLICER VIBRATO RING MOD. HUMANIZER 2X2 CHORUS

Refer to FX1/FX2 TYPE

FX1/FX2 TYPE
This is a list of the effects that can be selected for FX1/FX2.
Effect Name T. WAH (Touch Wah) AUTO WAH (Auto Wah) SUB WAH ADV. COMP (Advanced Compressor) LIMITER SUB OD/DS GRAPHIC EQ (Graphic Equalizer) PARAMETRIC EQ (Parametric Equalizer) Explanation You can produce a wah effect with the filter changing in response to the guitar level. This changes the filtering over a periodic cycle, providing an automatic wah effect. 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. The limiter attenuates loud input levels to prevent distortion. This effect distorts the sound to create long sustain. This adjusts the tone as a equalizer. You can adjust the sound quality in ten bands.

SUB DELAY

Adjusts the tonal quality. You can adjust the sound quality in four bands.

TONE MODIFY This changes the tone of the connected guitar. GUITAR SIM (Guitar Simulator) SLOW GEAR DEFRETTER WAVE SYNTH SITAR SIM. (Sitar Simulator) OCTAVE PITCH SHIFTER HARMONIST This simulates the sound of the sitar. This adds a note one octave lower, creating a richer sound. This effect changes the pitch of the original sound (up or down) within a range of two octaves. 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. 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 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. By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound. The flanging effect gives a twisting, jet-airplane-like character to the sound. Tremolo is an effect that creates a cyclic change in volume. 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 cant get with a regular phaser. 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. This produces a volume-swell effect (violin-like sound). This simulates a fretless guitar. This is a synth sound that processes the guitar input signal.

SOUND HOLD AC. PROCESSOR (Acoustic Processor) PHASER FLANGER TREMOLO ROTARY

EFFECT

T. WAH
You can produce a wah effect with the filter changing in response to the guitar level.
Parameter Value Explanation

SUB 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 Explanation This models the sound of the CRY BABY wah pedal popular in the 70s. This models the sound of the VOX V846. This is a wah sound featuring a bold tone. This wah has a refined sound with no unusual characteristics. This expanded wah features a variable range compatible with seven-string and baritone guitars. This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters. Adjusts the position of the wah pedal. PEDAL POS 0100 * This parameter is used after its been assigned to an EXP Pedal or similar controller. Selects the tone produced when the heel of the EXP Pedal is depressed. Selects the tone produced when the toe of the EXP Pedal is depressed. Adjusts the volume of the effect sound. Adjusts the volume of the direct sound.

Selects the wah mode. MODE LPF BPF This creates a wah effect over a wide frequency range. This creates a wah effect in a narrow frequency range. TYPE

Selects the type of wah. CRY WAH VO WAH FAT WAH LIGHT WAH 7STRING WAH

Selects the direction in which the filter will change in response to the input. POLAR DOWN UP The frequency of the filter will fall. The frequency of the filter will rise. 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. Adjusts the center frequency of the Wah effect. Adjusts the way in which the wah effect applies to the area around the center frequency. PEAK 0100 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. Adjusts the volume of the effect sound. Adjusts the volume of the direct sound.

SENS

0100

RESO WAH

FREQ

0100

PEDAL MIN PEDAL MAX

0100 0100

EFFECT LEVEL 0100 DIRECT MIX 0100

EFFECT LEVEL 0100 DIRECT MIX 0100

ADV. COMP AUTO WAH

This changes the filtering over a periodic cycle, providing an automatic wah effect.
Parameter Value Explanation This creates a wah effect over a wide frequency range. This creates a wah effect in a narrow frequency range. Adjusts the frequency (speed) of the change. * 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 FREQ 0100 0100 Adjusts the depth of the effect. Adjusts the center frequency of the Wah effect. 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. Adjusts the volume of the effect sound. Adjusts the volume of the direct sound. TYPE

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 Value BOSS COMP HI-BAND LIGHT D-COMP ORANGE FAT MILD STEREO COMP SUSTAIN ATTACK LEVEL TONE 0100 0100 0100 -50+50 Explanation This models a BOSS CS-3. This is a compressor that adds an even stronger effect in the high end. This is a compressor with a light effect. This models a MXR DynaComp. This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER. When applied heavily, this compressor effect provides a fat tone with a boosted midrange. When applied heavily, this compressor effect produces a sweet tone with the high end cut. This selects a stereo compressor. Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain. Adjusts the attack time. Adjusts the volume. Adjusts the tone.

Selects the compressor type.

Selects the wah mode. MODE LPF BPF

RATE

0100, BPM

PEAK

0100

EFFECT LEVEL 0100 DIRECT MIX 0100

10

EFFECT

LIMITER
The limiter attenuates loud input levels to prevent distortion.
Parameter Value BOSS LIMITER RACK 160D VTG RACK U THRESH 0100 Explanation This selects a stereo limiter. This models a dbx 160X. This models a UREI 1178. Adjust this as appropriate for the input signal from your guitar. When the input signal level exceeds this threshold level, limiting will be applied. This selects the compression ratio used with signals in excess of the threshold level. Adjusts the volume. 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. Adjusts the release time. Selects the limiter type. TYPE

PARAMETRIC EQ
Adjusts the tonal quality. You can adjust the sound quality in four bands.
Parameter LOW GAIN HIGH GAIN LEVEL LOW-MID FREQ LOW-MID Q LOW-MID GAIN HIGH-MID FREQ HIGH-MID Q HIGH-MID GAIN LOW CUT Value -20+20 dB -20+20 dB -20+20 dB 20 Hz10.0 kHz 0.516 -20+20 dB 20 Hz10.0 kHz 0.516 -20+20 dB Explanation Adjusts the low frequency range tone. Adjusts the high frequency range tone. Adjusts the overall volume level of the equalizer. Specifies the center of the frequency range that will be adjusted by the LOW-MID GAIN. Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area. Adjusts the low-middle frequency range tone. Specifies the center of the frequency range that will be adjusted by the HIGH-MID GAIN. Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area. Adjusts the low-middle frequency range tone.

RATIO LEVEL ATTACK RELEASE

1:1INF:1 0100 0100 0100

SUB OD/DS
This effect distorts the sound to create long sustain. Parameter TYPE DRIVE TONE Value Explanation Refer to OD/DS TYPE (p. 5) * CUSTOM is not available. 0120 -50+50 Adjusts the depth of distortion. Adjusts the tone. Adjusts the volume of the OD/DS sound. 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. Adjusts the volume of the direct sound. The tone to one suitable for solos. Adjusts the volume level when the Solo Sw is ON.

This sets the frequency at which the low FLAT, 20 Hz800 Hz cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect. 630 Hz12.5 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.

HIGH CUT

TONE MODIFY
This changes the tone of the connected guitar.
Parameter Value FAT PRES (PRESENCE) TYPE MILD TIGHT Explanation Fat tone with boosted mid range. Bright tone with boosted high-mid range. Mild tone with the high end cut back. Tone with the low frequencies cut. This produces a tone with greater power and punch by adding resonance in the low-frequency range and midrange. Adjusts the tone for the low frequency range. Adjusts the tone for the High frequency range. Adjusts the volume of the effect sound. This adjusts the strength of the low-end and midrange resonance when TYPE is set to RESO 1, 2, or 3. Selects the type of tone modification.

EFFECT LEVEL 0100

BOTTOM

-50+50

DIRECT MIX SOLO SW SOLO LEVEL

0100 OFF, ON 0100

ENHANC (ENHANCE) Tone with the high frequencies boosted. RESO 13 (RESONATOR 13) LOW HIGH -50+50 -50+50 0100 0100

GRAPHIC EQ
This adjusts the tone as a equalizer. You can adjust the sound quality in ten bands. Parameter 31 Hz 62 Hz 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz LEVEL -20+20 dB -20+20 dB Value

LEVEL RESO

11

EFFECT

GUITAR SIM
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 Changes from a single-coil pickup tone to a humbucking pickup tone. Changes from a humbucking pickup tone to a single-coil pickup tone. Changes from a humbucking pickup tone to a single-coil pickup half tone.

DEFRETTER
This simulates a fretless guitar.
Parameter SENS DEPTH TONE Value 0100 0100 -50+50 Explanation This controls the input sensitivity of the defretter. This controls the rate of the harmonics. Adjusts the amount of blurring between the notes. Adjusts the volume of the effect sound. Adjusts the attack of the picking sound. Adds a characteristically resonant quality to the sound. Adjusts the volume of the direct sound.

Selects the type of the guitar simulator. SgH HgS H g HF

EFFECT LEVEL 0100 ATTACK RESO DIRECT MIX 0100 0100 0100

TYPE

Changes a single-coil pickup tone to a hollow S g HLW (HOLLOW) body tone with the body resonance added. H g HLW S g AC H g AC P g AC Changes a humbucking pickup tone to a hollow body tone with the body resonance added. Changes a single-coil pickup tone to an acoustic guitar tone. Changes a humbucking pickup tone to an acoustic guitar tone. Changes a piezo pickup tone to an acoustic guitar tone. Adjusts the tone for the low frequency range. Adjusts the tone for the High frequency range Adjusts the volume of the effect sound. 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.

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 guitars TONE knob and pickup type.
Parameter Value Explanation

LOW HIGH LEVEL

-50+50 -50+50 0100

BODY

0100

Selects a wave type which the synth sound is based.

SLOW GEAR
This produces a volume-swell effect (violin-like sound).
Parameter Value Explanation 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. Adjusts the time needed for the volume to reach its maximum from the moment you begin picking. Adjusts the volume of the effect sound.

WAVE

SAW SQUARE

Creates a synth sound with a saw waveform ( ). Creates a synth sound with the square ). waveform ( Adjusts the frequency where the harmonics contents of the sound are cut off. 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. This adjusts the amount of filtering applied in response to the input. This sets the time needed for the filter to finish its sweep. Adjusts the depth of the filter. When the value is higher, the filter will change more drastically. Adjusts the volume of the synth sound. Adjusts the volume of the direct sound.

CUTOFF

0100

RESO

0100

SENS

0100

FILTER SENS

0100

FILTER DECAY 0100 FILTER DEPTH 0100 SYNTH LEVEL 0100 DIRECT MIX 0100

RISE TIME LEVEL

0100 0100

12

EFFECT

SITAR SIM.
This simulates the sound of the sitar.
Parameter Value Explanation 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 adjusts the amount of effect applied. This adjusts the tone. The high end is boosted as the value increases. Adjust the volume of the sitar sound. This adjusts the undulation of the resonance. Adjusts the amount of characteristic buzz produced by the buzz bridge when the strings make contact with it. Adjusts the volume of the direct sound.

PITCH SHIFTER
This effect changes the pitch of the original sound (up or down) within a range of two octaves.
Parameter Value Explanation One-voice pitch-shifted sound output in monaural. Two-voice pitch-shifted sound (PS1, PS2) output in monaural. Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels. Adjusts the amount of pitch shift (the amount of interval) in semitone steps. Adjusts the volume of the direct sound.

Selects the number of voices for the pitch shift sound. 1-VOICE VOICE 2-MONO 2-STEREO PS1:PITCH PS2:PITCH DIRECT MIX -24+24 0100 FAST, MEDIUM, PS1:MODE PS2:MODE SLOW

SENS

0100

DEPTH TONE

0100 -50+50

EFFECT LEVEL 0100 RESO BUZZ DIRECT MIX 0100 0100 0100

Selection for the pitch shifter mode. 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 * 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. * 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 0100 0100 Adjusts the volume of the pitch shifter. Adjusts the feedback amount of the pitch shift sound.

OCTAVE
This adds a note one octave lower, creating a richer sound.
Parameter Value Explanation B1 (corresponds to the sound of an open 7th string) to E6 (corresponds to the 1st string played at the 24th fret) B1 (corresponds to the sound of an open 7th string) to E5 (corresponds to the 1st string played at the 12th fret) B1 (corresponds to the sound of an open 7th string) to E4 (corresponds to the sound of an open 1st string) B1 (corresponds to the sound of an open 7th string) to E3 (corresponds to the 4th string played at the 2nd fret) Adjusts the volume of the sound one octave below. Adjusts the volume of the direct sound. PS1:PRE DLY PS2:PRE DLY PS1:FINE PS2:FINE This selects the register to which the effect is applied. RANGE 1 (B1E6)

-50+50

RANGE

RANGE 2 (B1E5)

0 ms300 ms, BPM

RANGE 3 (B1E4)

RANGE 4 (B1E3) OCTAVE LEVEL DIRECT MIX 0100 0100

13

EFFECT

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. * 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. * The sensitivity may vary according to the guitars TONE knob and pickup type. * You cannot use the Harmonist effect with audio input via USB.
Parameter Value Explanation One-voice pitch-shifted sound output in monaural. Two-voice pitch-shifted sound (HR1, HR2) output in monaural. Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels. 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)

Parameter

Value C Db D Eb E

Explanation C Db D Eb E F F# G Ab A Bb B CC C C Db D Eb E F F# G G Ab A Bb B Bb Ab F# Eb Db

DbDb DD D

EbEb EE FF E F

USER SCALE

F F# G Ab A Bb B

F#F# GG

AbAb AA A

BbBb BB B

Selects the number of voices for the pitch shift sound. 1-VOICE VOICE 2-MONO 2-STEREO

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.

HR1:HARM HR2:HARM

-2 oct+2 oct, USER

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. 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 0100 Adjusts how rapidly the Sound Hold sound is produced. Adjusts the volume of the hold sound.

Minor Major

Minor 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. * 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 0100 0100 0100 Adjusts the feedback amount of the harmonist sound. Adjusts the volume of the harmony sound. Adjusts the volume of the direct sound.

HR1:PRE DLY HR2:PRE DLY

0 ms300 ms, BPM

EFFECT LEVEL 0120

14

EFFECT

AC. 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.
Parameter Value Explanation

Parameter

Value

Explanation 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.

Selects the modeling type. SMALL TYPE MEDIUM BRIGHT POWER BASS MIDDLE -50+50 -50+50 This is the sound of a small-bodied acoustic guitar. This is a standard, unadorned acoustic guitar sound. This is a bright acoustic guitar sound. This is a powerful acoustic guitar sound. Adjusts the low-end balance. Adjusts the midrange balance. Specifies the frequency range to be adjusted with Middle. Adjusts the high-end balance. Adjusts the balance in the extended upper range. Adjusts the volume.

STEP RATE

OFF, 0100, 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.

EFFECT LEVEL 0100 DIRECT MIX 0100

Adjusts the volume of the phaser. Adjusts the volume of the direct sound.

MIDDLE FREQ 20.0 Hz10.0 kHz TREBLE PRES LEVEL -50+50 -50+50 0100

FLANGER
The flanging effect gives a twisting, jet-airplane-like character to the sound.
Parameter Value Explanation This sets the rate of the flanging 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. * 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 RESO MANUAL SEPARATION LOW CUT EFFECT LEVEL DIRECT MIX 0100 0100 0100 0100 FLAT, 55 Hz800 Hz 0100 0100 Determines the depth of the flanging effect. Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound. Adjusts the center frequency at which to apply the effect. Adjusts the diffusion. The diffusion increases as the value increases. 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. Adjusts the volume of the flanger. Adjusts the volume of the direct sound.

PHASER
By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.
Parameter Value Explanation This is a four-phase effect. A light phaser effect is obtained. This is an eight-phase effect. It is a popular phaser effect. This is a twelve-phase effect. A deep phase effect is obtained. This is the phaser with two phase shift circuits connected in series. This sets the rate of the phaser 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. * 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 RESO MANUAL 0100 0100 0100 Determines the depth of the phaser effect. Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound. Adjusts the center frequency of the phaser effect. RATE 0100, BPM

Selects the number of stages that the phaser effect will use. 4 STAGE TYPE 8 STAGE 12 STAGE BiPHASE

RATE

0100, BPM

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EFFECT

TREMOLO
Tremolo is an effect that creates a cyclic change in volume. Parameter WAVE SHAPE Value 0100 Explanation Adjusts changes in volume level. A higher value will steepen waves shape. Adjusts the frequency (speed) of the change. * 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 LEVEL 0100 0100 Adjusts the depth of the effect. Adjusts the volume.

UNI-V
This models a Uni-Vibe. Although this resembles a phaser effect, it also provides a unique undulation that you cant get with a regular phaser.
Parameter Value Explanation 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. * 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 LEVEL 0100 0100 Adjusts the depth of the UNI-V effect. Adjusts the volume.

RATE

0100, BPM

RATE

0100, BPM

ROTARY
This produces an effect like the sound of a rotary speaker.
Parameter SPEED SELECT RATE-SLOW Value SLOW, FAST 0100, BPM Explanation This parameter changes the simulated speakers rotating speed (SLOW or FAST). This parameter adjusts the SPEED SELECT of rotation when set to SLOW. This parameter adjusts the SPEED SELECT of rotation when set to FAST. * 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 RISE TIME 0100 0100 This parameter adjusts the amount of depth in the rotary effect. This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from SLOW to FAST. This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from FAST to SLOW. Adjusts the volume.

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.
Parameter Value AUTO TYPE MANUAL WAVE SHAPE *1 0100 Explanation This varies the volume level on the left and right according to the settings for WAVE SHAPE, RATE, and DEPTH. Output uses the volume balance set with POS. Adjusts changes in volume level. A higher value will steepen waves shape. Adjusts the frequency (speed) of the change. * 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 *1 POS *2 LEVEL 0100 L 100CENTER R 100 0100 Adjusts the depth of the effect. This adjusts the volume balance between the left and right channels. Adjusts the volume.

RATE-FAST

0100, BPM

RATE *1

0100, BPM

FALL TIME LEVEL

0100 0100

*1 Setting available when TYPE is set to AUTO. *2 Setting available when TYPE is set to MANUAL.

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EFFECT

SLICER
This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.
Parameter PATTERN Value P1P20 Explanation Select the slice pattern that will be used to cut the sound. 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. * 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. 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. Adjusts the volume of the effect sound. Adjusts the volume of the direct sound.

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.
Parameter Value NORMAL Explanation This is a normal ring modulator. 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. Adjusts the frequency of the internal oscillator. Adjusts the volume of the effect sound. Adjusts the volume of the direct sound.

This selects the mode for the ring modulator.

RATE

0100, BPM

MODE INTELLIGENT

FREQUENCY EFFECT LEVEL DIRECT MIX

0100 0100 0100

TRIGGER SENS

0100

HUMANIZER
This can create human vowel-like sounds.
Parameter Value Explanation It changes from VOWEL 1 to VOWEL 2 along with the picking. The time spent for the change is adjusted with the rate. By adjusting the rate and depth, two vowels (VOWEL 1 and VOWEL 2) can be switched automatically. Selects the first vowel. Selects the second vowel. 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. Adjusts the cycle for changing the two vowels. * 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 0100 Adjusts the depth of the effect. 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. Adjusts the volume. This sets the mode that switches the vowels.

EFFECT LEVEL 0100 DIRECT MIX 0100

VIBRATO
This effect creates vibrato by slightly modulating the pitch.
Parameter Value Explanation Adjusts the rate of the vibrato. * 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 TRIGGER 0100 OFF, ON Adjusts the depth of the vibrato. This selects on/off of the vibrato. * It is assumed that this parameter will be assigned to the footswitch. This sets the time passing from the moment the Trigger is turned on until the set vibrato is obtained. RISE TIME 0100 * 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.

MODE

PICKING

AUTO VOWEL 1 VOWEL 2 a, e, i, o, u a, e, i, o, u

RATE

0100, BPM

SENS *1

0100

RATE

0100, BPM

LEVEL

0100

MANUAL *2

0100

LEVEL

0100

*1 Setting available when MODE is set to PICKING. *2 Setting available when MODE is set to AUTO.

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EFFECT

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.
Parameter Value Explanation Adjust the speed of the chorus effect for the low frequency range. * 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 0100 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. * 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. HIGH DEPTH 0100 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. 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). Adjusts the volume of the effect sound in the low-frequency range. 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). Adjusts the volume of the effect sound in the high-frequency range. This sets the frequency dividing the low- and high-frequency ranges.

SUB DELAY
This is a delay with the maximum delay time of 1,000 ms. This effect is useful for making the sound fatter.
Parameter Value MONO PAN Explanation A simple monaural delay. Provides a tap delay effect that divides the delay time between the left and right channels. Adjusts the delay time. * 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. F.BACK 0100 Adjusts the volume that is returned to the input. Higher settings will result in more delay repeats. Adjusts the volume of the delay sound. 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. 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%). Adjusts the volume of the direct sound.

Use this to choose the type of delay. TYPE

LOW RATE

0100, BPM

DELAY TIME

1 ms1000 ms, BPM

EFFECT LEVEL 0120 HIGH CUT 630 Hz12.5 kHz, FLAT

HIGH RATE

0100, BPM

TAP TIME *1 DIRECT MIX

0100% 0100

*1 Setting available when TYPE is set to PAN.

LOW PRE DELAY LOW LEVEL HIGH PRE DELAY HIGH LEVEL XOVER FREQ

0.0 ms40.0 ms

0100

0.0 ms40.0 ms

0100 100 Hz4.00 kHz

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EFFECT

DELAY
This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects.
Parameter DELAY ON/OFF Value OFF, ON Explanation Turns this effect on/off.

COMMON
Parameter Value Explanation This determines the delay time. * 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. F.BACK 0100 This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats. 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. Adjusts the volume of the delay sound. Adjusts the volume of the direct sound.

This selects which type of delay. * 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 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. PAN INPUT Tap Time OUTPUT L

DELAY TIME

1 ms2000 ms, BPM

HIGH CUT

630 Hz12.5 kHz, FLAT

EFFECT LEVEL 0120 DIRECT MIX 0100

EffectLev

DELAY
Feedback

Dly Time OUTPUT R

PAN
Parameter TAP TIME Value 0100% Explanation 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%).

STEREO

The direct sound is output from the left channel, and the effect sound is output from the right channel. 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.

TYPE

DUAL-S

D1

D2

D1: DELAY 1 D2: DELAY 2

DUAL-S, DUAL-P, DUAL-L/R

Parameter Value Explanation This determines the delay time. * 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. D1:F.BACK D2:F.BACK D1:HI CUT D2:HI CUT D1:LEVEL D2:LEVEL 0100 Adjusts the amount of feedback of the DELAY 1 (or DELAY 2). A higher value will increase the number of the delay repeats. 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. Adjusts the volume of the DELAY 1 (or DELAY 2).

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

D1 D2
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:TIME D2:TIME 1 ms1000 ms, BPM

DUAL-L/R

D1 D2

L R

REVERSE ANALOG TAPE MOD

(MODULATE)

This produces an effect where the sound is played back in reverse. This gives a mild analog delay sound. The delay time can be set within the range of 1 to 2000 ms. 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. This delay adds a pleasant wavering effect to the sound.

630 Hz12.5 kHz, FLAT

0120

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EFFECT

MODULATE
Parameter MOD RATE MOD DEPTH Value 0100 0100 Explanation Adjusts the modulation rate of the delay sound. Adjusts the modulation depth of the delay sound.

REVERB
This effect adds reverberation to the sound.
Parameter REVERB ON/ OFF Value OFF, ON Explanation Turns this effect on/off.

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 CHORUS ON/ OFF Value OFF, ON Explanation Turns this effect on/off. TYPE

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. Simulates the reverberation in a small room. Provides warm reverberations. Simulates the reverberation in a concert hall. Provides clear and spacious reverberations. Simulates the reverberation in a concert hall. Provides mild reverberations. Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range. This simulates the sound of a guitar amps built-in spring reverb. This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound. Adjusts the length (time) of reverberation. Adjusts the time until the reverb sound appears. Adjusts the volume of the reverb sound.

ROOM HALL 1 HALL 2

Selection for the chorus mode. MONO MODE STEREO 1 This chorus effect outputs the same sound from both L channel and R channel. This is a stereo chorus effect that adds different chorus sounds to L channel and R channel. This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the R channel. Adjusts the rate of the chorus 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. * 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. Adjusts the depth of the chorus effect. DEPTH 0100 * To use it for doubling effect, set the value to 0. Adjusts the volume of the effect sound. 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). REV TIME PRE DELAY

PLATE

SPRING MOD (MODULATE) 0.1 s10.0 s 0 ms500 ms

STEREO 2

RATE

0100, BPM

EFFECT LEVEL 0100 LOW CUT

This sets the frequency at which the low FLAT, 20 Hz800 Hz cut filter begins to take effect. When Flat is selected, the low cut filter will have no effect. 630 Hz12.5 kHz, FLAT 010 0100 0100 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. Adjusts the density of the reverb sound. Adjusts the volume of the direct sound. Adjusts the sensitivity of the spring effect. When the value is set higher, the effect is obtained even with a weak picking.

HIGH CUT DENSITY DIRECT MIX SPRING SENS (TYPE = SPRING only)

EFFECT LEVEL 0100

PRE DELAY

0.0 ms40.0 ms

LOW CUT

This sets the frequency at which the low FLAT, 20 Hz800 Hz cut filter begins to take effect. When Flat is selected, the low cut filter will have no effect. 630 Hz12.5 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.

HIGH CUT

20

EFFECT

PEDAL FX
PEDAL BEND
This lets you use the pedal to get a pitch bend effect.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Parameter PITCH PEDAL POS Value -24+24 0100 Explanation This sets the pitch at the point where the EXP Pedal is all the way down. Adjusts the pedal position for pedal bend. This parameter is used after its been assigned to an EXP Pedal or similar controller. Adjusts the volume of the pitch bend sound. Adjusts the volume of the direct sound.

FOOT VOLUME
FOOT VOLUME
This is a volume control effect. Normally, this is controlled with the EXP Pedal or the [EXP] pedal connected to the SUB CTL 1, 2/SUB EXP jack.
Parameter VOLUME MIN Value 0100 Explanation Sets the volume when the heel of the EXP Pedal is depressed. 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

VOLUME MAX 0100

EFFECT LEVEL 0100 DIRECT MIX 0100

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 Explanation VOLUME CURVE SLOW 1, SLOW 2, NORMAL, FAST

ST FA

AL RM O N 2 OW L S

Selects the type of wah. CRY WAH VO WAH FAT WAH TYPE LIGHT WAH 7STRING WAH This models the sound of the CRY BABY wah pedal popular in the 70s. This models the sound of the VOX V846. This is a wah sound featuring a bold tone. This wah has a refined sound with no unusual characteristics. This expanded wah features a variable range compatible with seven-string and baritone guitars. This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters. Adjusts the position of the wah pedal. PEDAL POS 0100 * This parameter is used after its been assigned to an EXP Pedal or similar controller. Selects the tone produced when the heel of the EXP Pedal is depressed. Selects the tone produced when the toe of the EXP Pedal is depressed. Adjusts the volume of the effect sound. Adjusts the volume of the direct sound. LEVEL 0100

OW SL
When the pedal is fully raised Adjusts the volume.

When the pedal is fully advanced

RESO WAH

PEDAL MIN PEDAL MAX

0100 0100

EFFECT LEVEL 0100 DIRECT MIX 0100

21

EFFECT

DIVIDER
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 MIXER

MIXER
Parameter Value STEREO MODE PAN L/R Explanation Channels A and B will be mixed and output in stereo. Channels A and B will be assigned respectively to the L and R OUTPUT jacks. 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.

CH A/B BALANC

100:00:100

SPREAD

0100

Parameter MODE

Value SINGLE DUAL

Explanation Use only one channel, either A or B. Use the two channels A and B.

SINGLE
Parameter CH SELECT Value Ch. A, Ch. B Explanation Selects the channel to use.

DUAL Ch. A, DUAL Ch. B

Parameter Value OFF Ch. A/Ch. B DYNAMIC POLAR+ POLARCh. A/Ch. B DYNAMIC SENS 0100 OFF Ch. A/Ch. B FILTER LPF HPF Ch. A/Ch. B 100 Hz2 kHz CUTOFF FREQ Explanation DYNAMIC will not be used. Only notes picked more strongly than the DYNAMIC SENS setting will be output. Only notes picked more softly than the DYNAMIC SENS setting will be output. Specifies the picking sensitivity. The filter will not be used. Only the region below the cutoff frequency will be output. Only the region above the cutoff frequency will be output. Cutoff frequency

22

EFFECT

SEND/RETURN
You can connect an external effects processor between the SEND jack and RETURN jack, and use it as one of the GT-100s effects processors.

NS1/NS2
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 NS ON/OFF Value OFF, ON Explanation Switches the noise suppressor effect on/off. 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. * High settings for the threshold parameter may result in there being no sound when you play with your guitar volume turned down. RELEASE 0100 Adjusts the time from when the noise suppressor begins to function until the noise level reaches 0.

THRESH

0100

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.

This controls the noise suppressor based on the volume level for the point specified in Detect. INPUT Input volume from input jack. * Ordinarily, DETECT should be set to INPUT. Noise suppressor input volume. * 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 NS1

Parameter SEND/ RETURN ON/OFF

Value OFF, ON

Explanation

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. DETECT

NS INPUT

(Spatial-type effect) Volume after passing through Foot Volume. * If you want to use FV (Foot Volume) in place of the guitars volume control, you need to set DETECT to FV OUT. FV OUT

NORMAL

Use this setting if you want to connect an external effects processor in series within the GT-100s effect chain.

SEND

RETURN

INPUT

FV Foot Volume

NS1

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-100s 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. For example, by placing SEND/RETURN in the GT-100s effect chain in front of reverb or delay, this allows you to use the SEND jack as a dry out.

BRANCH OUT

SEND SEND LEVEL RETURN LEVEL 0200 0200 Adjusts the volume of the output to the external effects device. Adjusts the volume of the input from the external effects device.

23

EFFECT

ACCEL FX
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 S-BEND LASER BEAM RING MOD. TYPE TWIST WARP FEEDBACKER Explanation Applies intense bending. Produces a laser beam-like sound. Produces a metallic sound, creating the impression that the sound is being focused. Produces an aggressive sense of rotation. Using this in conjunction with distortion will produce an even wilder sense of rotation. Produces a dream-like sound. Generates feedback performance.

TWIST
Produces an aggressive sense of rotation. Using this in conjunction with distortion will produce an even wilder sense of rotation.
Parameter RISE TIME Value 0100 Explanation This parameter adjusts the amount of time it is to take for the effect to transition to the maximum. This parameter adjusts the amount of time it is to take for the effect to transition to the original. Adjusts the volume of the effect sound.

FALL TIME LEVEL

0100 0100

WARP
Produces a dream-like sound.
Parameter Value 0100 Explanation This parameter adjusts the amount of time it is to take for the effect to transition to the maximum. This parameter adjusts the amount of time it is to take for the effect to transition to the original. Adjusts the volume of the effect sound.

S-BEND
Applies intense bending.
Parameter PITCH Value -3 oct, -2 oct, -1 oct, +1 oct, +2 oct, +3 oct, +4 oct 0100 Explanation Adjusts the amount of pitch shift in octave steps. This parameter adjusts the amount of time it is to take for the effect to transition to the maximum. This parameter adjusts the amount of time it is to take for the effect to transition to the original.

RISE TIME

FALL TIME LEVEL

0100 0100

RISE TIME

FALL TIME

0100

FEEDBACKER
Generates feedback performance.

LASER BEAM
Produces a laser beam-like sound.
Parameter RATE DEPTH RISE TIME Value 0100 0100 0100 Explanation Adjusts the modulation rate of the sound. Adjusts the modulation depth of the sound. This parameter adjusts the amount of time it is to take for the effect to transition to the maximum. This parameter adjusts the amount of time it is to take for the effect to transition to the original.

* Note that the notes you want to apply feedback to must be played singly and cleanly.
Parameter Value NORMAL Explanation Analyzes the pitch of the guitar sound being input, and then creates a feedback sound. 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. Adjusts the ease with which feedback will occur when the FEEDBACKER is on. This determines the time needed for the volume of the feedback sound to reach its maximum from the moment the effect is turned on. 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. Adjusts the volume of the feedback sound. Adjusts the volume of the one octave higher feedback sound. Adjusts the rate of the vibrato when the FEEDBACKER is on. Adjusts the depth of the vibrato when the FEEDBACKER is on.

MODE OSC

DEPTH *1

0100

FALL TIME

0100

RISE TIME *2

0100

RING MOD.
Produces a metallic sound, creating the impression that the sound is being focused.
Parameter FREQ RISE TIME Value 0100 0100 Explanation Adjusts the frequency of the internal oscillator. This parameter adjusts the amount of time it is to take for the effect to transition to the maximum. This parameter adjusts the amount of time it is to take for the effect to transition to the original. Adjusts the volume of the effect sound. Adjusts the volume of the one octave low sound. Adjusts the volume of the direct sound.

OCTAVE RISE TIME *2

0100

F.BACK LEVEL 0100 *2 OCTAVE F.BACK LEVEL 0100 *2 VIB RATE *2 VIB DEPTH *2 0100 0100

FALL TIME RING LEVEL OCTAVE LEVEL DIRECT MIX

0100 0100 0100 0100

*1 MODE=NORMAL only *2 MODE=OSC only

24

EFFECT

MASTER SETTING
These settings are applied to the overall patch.

AMP CONTROL
By connecting your guitar amps channel switching jack to the GT-100s AMP CONTROL jack, you can then use Amp Control to switch the amp channel.

MASTER SETTING
Parameter PATCH LEVEL Value 0200 Explanation Adjusts the volume of the patch. Adjusts the BPM value for each patch. * BPM (beats per minute) indicates the number of quarter note beats that occur each minute. MASTER BPM 40250 * When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, setSYNC CLOCK (p. 29) to INTERNAL. This sets the key for the FX HARMONIST. Major

MASTER KEY

C (Am)B (G#m)

Minor Major

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.
Parameter Value Explanation GT-100 (AMP CONTROL jack)

Minor

MASTER EQ
OFF Parameter Value Explanation Adjusts the low frequency range tone. Adjusts the high frequency range tone. Specify the center of the frequency range that will be adjusted by the MASTER MID GAIN. Adjusts the width of the area affected by the EQ centered at the MASTER MID FREQ. Higher values will narrow the area. Adjusts the middle frequency range tone. ON AMP CONTROL Guitar Amp (Channel switching jack) GT-100 (AMP CONTROL jack) MASTER LOW -20+20 dB GAIN MASTER HIGH -20+20 dB GAIN MASTER MID FREQ MASTER MID Q MASTER MID GAIN 20.0 Hz10.0 kHz

0.516 -20+20 dB

Guitar Amp (Channel switching jack)

* To determine how the amp channels are switched when the circuit is open and shorted, refer to the amp owners 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 cant switch a three-channel amp. MEMO With Amp Control, not only can you switch amp channels, you can also use it to switch the amps effects on and off, like a footswitch controller.

25

SYSTEM
OUTPUT SELECT
Specify the device (amp) thats connected to the OUTPUT jacks.
Parameter Value JC-120 SMALL AMP Explanation Choose this setting if the GT-100 is connected to the guitar input of a Roland JC-120 guitar amp. Choose this setting if the GT-100 is connected to a small guitar amp. 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. For some types of guitar amps, the JC-120 setting might produce better results. STACK AMP SELECT JC-120 RETURN COMBO RETURN 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). Choose this setting if the GT-100 is connected to the RETURN jack of the JC-120. Choose this setting if the GT-100 is connected to the RETURN jack of a combo-type guitar amp. 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 youre using a guitar power amp together with a speaker cabinet. Choose this setting if youre using headphones, or if the GT-100 is connected to a keyboard amp, mixer, or digital recorder.

TOTAL
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.
Parameter Value Explanation 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. Adjusts the reverb level specified for each patch. REVERB 0200% It is useful to adjust the reverb level appropriately for the space in which youre performing. This does not affect the settings of each patch. * If you want to use the settings specified for each patch, set this to 100 %. MAIN OUTPUT LEVEL -10 dB, +4 dB Specifies the output reference level as appropriate for the input level of the device connected to the OUTPUT jacks.

NS THRESH

-20+20 dB

COMBO AMP

STACK RETURN

PHRASE LOOP
Here are various settings for the Phrase Loop function.
Parameter Value Explanation 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. This is a convenient way to adjust the effects, or to compare the sound of different patches. MONO REC MODE STEREO The phrase will be recorded in monaural (maximum 38 seconds). The phrase will be recorded in stereo (maximum 19 seconds). Specifies the phrase playback volume. Phrase Loop will not operate even if you press the [PHRASE LOOP] pedal. You can use the [PHRASE LOOP] pedal to switch Phrase Loop on/off or to record.

LINE/PHONES

PERFORM

INPUT
Adjust the input level according to the output level of the guitar that youve connected.
Parameter INPUT LEVEL Value -20+20 dB Explanation Adjusts the guitar input level.

MODE PATCH EDIT

GLOBAL EQ
This adjusts the tone of the OUTPUT regardless of the equalizer on/off settings of individual patches.
Parameter LOW GAIN MID GAIN MID FREQ MID Q HIGH GAIN Value -20+20 dB -20+20 dB 20.0 Hz10.0 kHz 0.516 -20+20 dB Explanation Adjusts the low frequency range tone. Adjusts the middle frequency range tone. Specifies the center of the frequency range that will be adjusted by the MID GAIN. Adjusts the width of the area affected by the EQ centered at the MID FREQ. Higher values will narrow the area. Adjusts the high frequency range tone.

PLAY LEVEL

0120 OFF

PEDAL FUNC PHRASE LOOP

PLAY OPTION
Here you can specify how the pedals will work during performance.
Parameter Value Explanation 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. The patch switches instantly when a BANK pedal or any of the number pedals is pressed.

BANK CHANGE MODE

WAIT

IMMED

26

SYSTEM
Parameter Value OFF Explanation The operational status of the EXP PEDALs FUNC (p. 31) is not carried over when patches are switched. If the EXP PEDALs FUNC (p. 31) are the same between 2 patches, the operational status is carried over when patches are switched. 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 youll obtain a wah effect that is in accordance with a value that reflects the current position (angle) of the pedal. Specifies whether knob operations will be disabled. If this is ON, knob operations will be disabled. Selects the function that will be recalled when you press the pedal of the same number as the currently selected patch. Sets the lower limit for the banks. Sets the upper limit for the banks. If this is ON, all currently unlit pedal indicators will blink dimly.

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 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 Display OFF PATCH CmpSUS CmpATK CmpLEV OD DRV OD TNE OD ELV OD SLV A:TYPE A:GAIN A:LEV A:BASS A:MID A:TRB A:PRES A:SLV A:MLV B:TYPE B:GAIN B:LEV B:BASS B:MID B:TRB B:PRES B:SLV B:MLV EQ LC EQ LOW EQ LMD EQ HMD EQ HI EQ HC DlyTIM Value 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 Display DlyFBK DlyHC DlyELV D1 TIM D1 FBK D1 HC D1 LEV D2 TIM D2 FBK D2 HC D2 LEV ChoRAT ChoDPT ChoDLY ChoLEV RevTIM RevHC RevELV MT LOW MT MID MT HI PAT LV WahLEV PB LEV CH A/B SR SND SR RTN NS1THR NS1REL NS2THR NS2REL GB LOW GB MID GB HI

KNOB LOCK

OFF, ON OFF, TUNER, Ch. A/B, OD SOLO, A/B SOLO, A&B SOLO

NUM PEDAL SW

BANK EXTENT P01P50, MIN U01U50 BANK EXTENT P01P50, MAX U01U50 PEDAL INDICAT OFF, ON

KNOB SETTING
Here you can assign the desired parameters to knobs [1][8] in the Play Screen. * The settings you make here are only for the knobs in the Play Screen.
Parameter KNOB 1 KNOB 2 KNOB 3 KNOB 4 KNOB 5 KNOB 6 KNOB 7 KNOB 8 Value 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

27

SYSTEM

PREFERENCE
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 OUTPUT SELECT PREAMP ACCEL/CTL EXP EXP SW SUB CTL 1 SUB CTL 2 SUB EXP Value PATCH, SYSTEM Explanation

USB
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

If this is set to PATCH, different settings can be made independently for each patch. If this PATCH, SYSTEM 13 is set to SYSTEM, the same settings will be shared by all patches. PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM * 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.

GT-100

USB OUT

OUTPUT

USB IN
OUTPUT Level Effect Chain

MIX Level

INPUT

LCD
Here you can adjust the brightness of the characters in the display.
Parameter CONTRST LEFT CONTRST RIGHT Value Explanation

USB IN-OUT MODE: DRY OUT

GT-100

USB OUT

OUTPUT

116

Higher values increase the brightness.

USB IN
OUTPUT Level Effect Chain

MIX Level

INPUT

USB IN-OUT MODE: REAMP

GT-100

USB OUT

OUTPUT

USB IN
INPUT Level

OUTPUT Level

INPUT

Effect Chain

Parameter

Value

Explanation The guitar input will be sent through the GT-100s effects and output to the computer. The input from the computer will be mixed with the GT-100s output, and then output. 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-100s effects. The input from the computer will be mixed with the GT-100s output (effect-processed guitar sound) and then output. The sound being input from the computer will pass through the GT-100s effects, and then be output from the GT-100s OUTPUT and USB OUT. With this setting, the guitar sound recorded on the computer can be played back through the GT-100s effects and output from the GT-100s guitar OUTPUT and USB OUT. * If REAMP is selected, the GT-100s INPUT cannot be used.

Here you can specify the audio flow for USB input/output. NORMAL

DRY OUT USB IN-OUT MODE

REAMP

28

SYSTEM
Parameter Value Explanation Parameter Value Explanation Adjusts the level of the audio input from the computer that will be mixed with the sound processed by the GT-100s effects when USB IN-OUT MODE is not set to REAMP. 0200 % Adjusts the level of the audio input from the computer that will be mixed with the sound processed by the GT-100s effects. SYNC CLOCK This setting determines the basis used for synchronizing the timing for effect modulation rates and other time-based parameters. * When you have an external MIDI device connected, the MASTER BPM is then synchronized to the external MIDI devices tempo, thus disabling the MASTER BPM setting. To enable setting of the MASTER BPM, set to INTERNAL. * 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. Operations are synchronized to the MIDI Clock received via MIDI. However, operations are automatically synchronized to the GT-100s internal Clock if the GT-100 is unable to receive the external Clock. Operations are synchronized to the GT-100s internal Clock.

MIX LEVEL

INPUT LEVEL

Adjusts the input level from the computer to the GT-100s effects when USB IN-OUT MODE is set to REAMP. -20+20 dB Adjusts the input level from the computer to the GT-100s effects . Adjusts the level of the output to the computer.

OUTPUT LEVEL

Adjusts the level of the output from the GT-100 to the computer. 0200% AUTO 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. * If you are using the special driver, you can control DIR. MONITOR On/Off from ASIO 2.0 - compatible application. INTERNAL

This selects whether MIDI messages will be received from the MIDI IN connector or from the USB port. MIDI messages will be received via the USB port. MIDI IN SELECT USB (AUTO) * 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.

DIR. MONITOR OFF

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. 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 ).

MIDI

ON

This setting determines whether or not Program Change messages are output when patches are switched on the GT-100. * On the GT-100, Bank Select messages are output simultaneously with Program Change messages. OFF ON Program Change messages are not output, even when patches are switched. Program Change messages are simultaneously output when patches are switched.

This setting determines whether or not the command (the Direct Monitor command) controlling the Direct Monitor setting is enabled. DIR. MONITOR CMD DISABLE 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.

PC OUT

ENABLE

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 FIX Switches to the patches according to the default settings. This activates the Program Change Map. PROG Switches to the patches according to the Program Change Map.

MIDI SETTING
Here you can make settings for using the GT-100 connected with an external MIDI device or with a second GT-100 unit.
Parameter RX CHANNEL Value Ch. 1 Ch. 16 Explanation Specifies the receive channel.

This sets the controller number when [PHRASE LOOP] pedal switch operation data is output as Control Change messages. PH.LOOP OUT OFF Control Change messages are not output. This sets the controller number when [PHRASE CC#1CC#31, LOOP] pedal operation data is output as Control CC#64CC#95 Change messages. This sets the controller number when [ACCEL/CTL] pedal switch operation data is output as Control Change messages. ACC/CTL OUT OFF Control Change messages are not output. This sets the controller number when [ACCEL/ CC#1CC#31, CTL] pedal operation data is output as Control CC#64CC#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#1CC#31, pedal operation data is output as Control CC#64CC#95 Change messages. 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#1CC#31, PEDAL SW operation data is output as Control CC#64CC#95 Change messages.

This sets the MIDI channel used for receiving MIDI messages. This makes the settings for the channels used for MIDI information.

OMNI MODE

OFF ON

Information is received on the channel specified by the RX CHANNEL setting. Messages are received on all channels, regardless of the MIDI channel settings. Specifies the transmit channel. Transmits on the same channel as the RX CHANNEL.

This sets the MIDI channel used for transmitting MIDI messages. TX CHANNEL Ch. 1 Ch. 16. RX

DEVICE ID

This sets the MIDI Device ID used for transmitting and receiving Exclusive messages. 132 Sets the MIDI Device ID.

29

SYSTEM
Parameter 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#1CC#31, 1 pedal operation data is output as Control CC#64CC#95 Change messages. OFF Control Change messages are not output. This sets the controller number when SUB CTL CC#1CC#31, 2 pedal operation data is output as Control CC#64CC#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 Control Change messages are not output. This sets the controller number when external CC#1CC#31, SUB EXP Pedal operation data is output as CC#64CC#95 Control Change messages.

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 Value OFF AUTO OFF ON Explanation The power will not turn off automatically. The power will automatically turn off when 10 hours have passed since you last played or operated the GT-100.

SUB CTL 1 OUT

SUB CTL 2 OUT

SUB EXP OUT

FACTORY RESET MIDI PROGRAM MAP BANK 03

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 PC#1PC#128 Value Explanation TO

Initializes the GT-100 to its factory-set condition. Refer to Restoring the Factory Settings.
Parameter FROM Value SYSTEM QUICK U01-1U50-4 SYSTEM QUICK U01-1U50-4 Explanation System parameter settings Settings for User Quick Setting Settings for Patch Number U01-1 through U50-4 System parameter settings Settings for User Quick Setting Settings for Patch Number U01-1 through U50-4

This sets the patch number (P01-1 through U01-1U50-4, U50-4) for the corresponding Program Change P01-1P50-4 number.

MIDI BULK DUMP

You can use Exclusive messages to provide another GT-100 with identical settings, and save effect settings on a MIDI sequencer or other device.
Parameter Value SYSTEM FROM QUICK TEMP SYSTEM TO QUICK TEMP Explanation System parameter settings Settings for User Quick Setting Settings for the patch that is currently selected System parameter settings Settings for User Quick Setting Settings for the patch that is currently selected

U01-1U50-4 Settings for Patch Number U01-1 through U50-4

U01-1U50-4 Settings for Patch Number U01-1 through U50-4

PEDAL CALIBRATION
You can readjust the [EXP] pedal so that it will operate optimally.
Parameter THRESHOLD Value 116 Explanation Adjusts the sensitivity at which the EXP PEDAL SW will respond.

30

CTL/EXP
ACCEL/CTL, EXP SW, SUB CTL 1, SUB CTL 2
Heres 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 OFF ACCEL P.LOOP ON/OFF P.LOOP REC/PLY P.LOOP STP/PLY P.LOOP CLEAR DIV CH SELECT OD/DS SOLO A/B SOLO Explanation No assignment. Switches the ACCEL effect on and off. Switches the PHRASE LOOP on and off. Records/plays back the phrase. Stops/plays back the phrase. Clears the phrase Switches between Preamp channel A and B. Switches the OD/DS SOLO on and off. Switches the Preamp SOLO on and off. 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. Switches the COMP on and off. Switches the OD/DS on and off. Switches the PREAMP/SPEAKER on and off. Switches the EQ on and off. Switches the FX1 on and off. Switches the FX2 on and off. Switches the DELAY on and off. Switches the CHORUS on and off. Switches the REVERB on and off. Switches the Pedal FX on and off. Switches the SEND/RETURN on and off. Switches the Amp Control on and off. Switches the TUNER/BYPASS on and off. Switches the MANUAL MODE on and off. Used for tap input of the MASTER BPM. Used for tap input of the delay time. Controls the Start/Stop of external MIDI devices (such as sequencers). Controls the Play/Stop of external MIDI devices (such as hard disk recorders). Increases the patch volume level by 10 units. Increases the patch volume level by 20 units. Decreases the patch volume level by 10 units. Decreases the patch volume level by 20 units. Switches to the next higher patch number in the same bank as the currently selected patch. Switches to the next lower patch number in the same bank as the currently selected patch. Switches to the next higher bank number. Switches to the next lower bank number. Lights/extinguishes the pedals 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. PATCH LEVEL MIN PATCH LEVEL MAX 0200 FUNC SOURCE MODE MOMENT Parameter MIN MAX Value OFF, ON (or STOP, START) OFF, ON (or STOP, START) Explanation This sets the value for times when the switch is Off. This sets the value for times when the switch is On.

This sets the behavior of the value each time the switch is operation. The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed. The setting is toggled On (maximum value) or Off (minimum value) with each press of the footswitch.

TOGGLE

EXP, SUB EXP

Heres how to assign the parameters that will be controlled by the GT-100s [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 Value OFF FOOT VOLUME PEDAL BEND WAH PB/FV WAH/FV PATCH LEVEL Explanation No assignment. Foot volume will be assigned. Pedal bend will be assigned. Wah will be assigned. Pedal bend and foot volume will be assigned. Wah and foot volume will be assigned. Patch level will be assigned. * This is shown only if PERFORMANCE (p. 28) is set to SYSTEM. Specifies the minimum value. * 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.

A&B SOLO

COMP OD/DS PREAMP EQ FX1 FX2 DELAY CHORUS REVERB PEDAL FX SEND/RETURN AMP CTL FUNC TUNER MANUAL MODE BPM TAP *1 DELAY TAP *1 MIDI START MMC PLAY LEVEL +10 *1 LEVEL +20 *1 LEVEL -10 *1 LEVEL -20 *1 NUMBER INC *1

0200

* 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.

NUMBER DEC *1 BANK INC *1 BANK DEC *1

*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 INPUT SENS Value 0100 Explanation This adjusts the input sensitivity when INPUT LEVEL is selected for SOURCE.

Parameter

Value SAW

Explanation

WAVEFORM *1 TRI SINE

ASSIGN 18
* If you want to light the ACCEL/CTL pedals LED indicator while the ASSIGN 18 function is assigned to the ACCEL/CTL pedal, set the ACCEL/ CTL pedal FUNC (p. 31) to LED ON/OFF.
Parameter OFF/ON Value OFF, ON EXP PEDAL EXP PDL SW P.LOOP PEDAL ACC/CTL PDL SUB EXP PDL Explanation Turns the ASSIGN 18 on/off. Assigns the GT-100s [EXP] pedal. Assigns the EXP pedal switch. Assigns the GT-100s [PHRASE LOOP] pedal. Assigns the [ACCEL/CTL] pedal. Assigns the external expression pedal (such as the separately available EV-5) connected to the SUB CTL 1, 2/SUB EXP jack. Assigns the external footswitch (FS-5U, FS-6; available separately) connected to the SUB CTL 1, 2/SUB EXP jack. Assigns the external foot switch (FS-5U, FS-6; available separately) connected to the SUB CTL 1, 2/SUB EXP jack. Refer to Virtual expression pedal system (Internal Pedal / Wave Pedal) (p. 35) Refer to Virtual expression pedal system (Internal Pedal / Wave Pedal) (p. 35) The assigned target parameter will change according to the input level. Control Change messages from an external MIDI device. Control Change messages from an external MIDI device. The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed. The setting is toggled On (maximum value) or Off (minimum value) with each press of the footswitch. INT PDL CURVE *2 INT PDL TRIGGER *2

PATCH CHANGE This is activated when a patch is selected. EXP PDL-LO EXP PDL-MID EXP PDL-HI EXP PDL SW P.LOOP PEDAL ACC/CTL PDL SUB EXP PDL This is activated when the GT-100s [EXP] pedal is set to the minimum position. This is activated when the GT-100s [EXP] pedal is moved through the middle position. This is activated when the GT-100s [EXP] pedal is set to the maximum position. This is activated when the EXP pedal switch is operated. This is activated when the [PHRASE LOOP] pedal is operated. This is activated when the [ACCEL/CTL] Pedal is operated. This is activated when an external expression pedal connected to the SUB CTL 1, 2/SUB EXP jack is operated. This is activated when an external footswitch connected to the SUB CTL 1, 2/SUB EXP jack is operated. This is activated when an external footswitch connected to the SUB CTL 1, 2/SUB EXP jack is operated. This is activated when a control change is received. This is activated when a control change is received. This specifies the time over which the internal pedal will move from the toe-raised position to the toe-down position.

SUB CTL1 PDL

SUB CTL1 PDL

SOURCE

SUB CTL2 PDL INT PEDAL WAVE PEDAL INPUT LEVEL CC#1#31 CC#64#95 MOMENT

SUB CTL2 PDL CC#1#31 CC#64#95 INT PDL TIME *2 0100

LINEAR

SLOW RISE

SOURCE MODE TOGGLE TARGET CATEGRY TARGET TARGET MIN

FAST RISE

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. 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. You can set the controllable range for target parameters within the sources 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.

*1 The WAVE RATE and WAVEFORM parameters are enabled when the Source parameter is set to WAVE PEDAL. *2 The INT PDL TRIGGER, INT PDL TIME, and INT PDL CURVE parameters are enabled when the SOURCE parameter is set to INT PEDAL.

TARGET MAX

ACT RANGE LO 0126

ACT RANGE HI

1127 0100, BPM

WAVE RATE *1

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.

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CTL/EXP

TARGET list
CATEGORY TARGET
ON/OFF TYPE

CATEGORY

TARGET
ON/OFF LOW CUT LOW GAIN LOW-MID FREQ LOW-MID Q

CATEGORY

TARGET
31 Hz 62Hz 125 Hz 250 Hz

CATEGORY FX1/FX2 OCTAVE

TARGET
RANGE OCTAVE LEVEL DIRECT MIX VOICE PS1 MODE PS1 PITCH PS1 FINE PS1 PRE DLY

COMP

SUSTAIN ATTACK TONE LEVEL ON/OFF TYPE DRIVE BOTTOM TONE SOLO SW SOLO LEVEL

EQ

LOW-MID GAIN HI-MID FREQ HI-MID Q HI-MID GAIN HIGH GAIN HIGH CUT LEVEL

FX1/FX2 GEQ

500 Hz 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz LEVEL LOW CUT LOW GAIN LOW-MID FREQ LOW-MID Q

FX1/FX2 P.SHIFT

PS1 LEVEL PS2 MODE PS2 PITCH PS2 FINE PS2 PRE DLY PS2 LEVEL PS1 F.BACK DIRECT MIX VOICE HR1 HARMONY HR1 PRE DLY

OD/DS

EFFECT LEVEL DIRECT MIX CUSTOM TYPE CUSTOM BOTTOM CUSTOM TOP CUSTOM LOW CUSTOM HIGH CUSTOM CHAR

FX1/FX2

ON/OFF TYPE MODE POLARITY

FX1/FX2 T.WAH

SENS FREQ PEAK EFFECT LEVEL DIRECT MIX MODE FREQ

FX1/FX2 PEQ

LOW-MID GAIN HI-MID FREQ HI-MID Q HI-MID GAIN HIGH CUT HIGH GAIN LEVEL TYPE

PREAMP

FX1/FX2 HARM

HR1 LEVEL HR2 HARMONY HR2 PRE DLY HR2 LEVEL HR1 F.BACK DIRECT MIX

ON/OFF TYPE GAIN T-COMP BASS MIDDLE TREBLE PRES LEVEL BRIGHT GAIN SW SOLO SW SOLO LEVEL SP TYPE

FX1/FX2 A.WAH

PEAK RATE DEPTH EFFECT LEVEL DIRECT MIX TYPE PDL POS

FX1/FX2 ToneMOD

RESO LOW HIGH LEVEL TYPE

FX1/FX2 S.HOLD

HOLD RISE TIME EFFECT LEVEL TYPE BASS

FX1/FX2 SUB WAH

PEDAL MIN PEDAL MAX EFFECT LEVEL DIRECT MIX TYPE

FX1/FX2 GTR SIM

LOW HIGH BODY LEVEL

FX1/FX2 SL.GEAR

SENS RISE TIME LEVEL TONE SENS

FX1/FX2 AC.PRO

MIDDLE MIDDLE FREQ TREBLE PRES LEVEL TYPE RATE DEPTH

PREAMP A/B

MIC TYPE MIC DIST MIC POS MIC LEVEL DIRECT MIX CUSTOM TYPE CUSTOM BOTTOM CUSTOM EDGE CUSTOM LOW CUSTOM HIGH CUSTOM CHAR SPCSTM SIZE SPCSTM COLOR L SPCSTM COLOR H SPCSTM SP NUM SPCSTM CABINET

FX1/FX2 ADV CMP

SUSTAIN ATTACK TONE LEVEL TYPE ATTACK

FX1/FX2 DEFRET

ATTACK DEPTH RESO EFFECT LEVEL DIRECT MIX WAVE CUTOFF RESO

FX1/FX2 PHASER

MANUAL RESO STEP RATE EFFECT LEVEL DIRECT MIX RATE DEPTH MANUAL

FX1/FX2 LIMITER

THRESH RATIO RELEASE LEVEL TYPE DRIVE BOTTOM

FX1/FX2 WAV SYN

FILTER SENS FILTER DECAY FILTER DEPTH SYNTH LEVEL DIRECT MIX TONE SENS

FX1/FX2 FLANGER

RESO SEPARATION LOW CUT EFFECT LEVEL DIRECT MIX WAVE SHAPE

FX1/FX2 OD/DS

TONE SOLO SW SOLO LEVEL EFFECT LEVEL DIRECT MIX

FX1/FX2 SitarSIM

DEPTH RESO BUZZ EFFECT LEVEL DIRECT MIX

FX1/FX2 TREMOLO

RATE DEPTH LEVEL

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CTL/EXP
CATEGORY TARGET
SPEED SELECT RATE SLOW

CATEGORY

TARGET
ON/OFF TYPE DELAY TIME

CATEGORY

TARGET
MODE CHANNEL SELECT ChA DYNAMIC ChA DYN SENS

CATEGORY

TARGET
PATCH LEVEL MASTER LOW

FX1/FX2 ROTARY

RATE FAST RISE TIME FALL TIME DEPTH LEVEL

DELAY

F.BACK HIGH CUT EFFECT LEVEL DIRECT MIX PAN TAP TIME TIME

MASTER

MASTER MID F MASTER MID Q MASTER MID G MASTER HIGH

DIVIDER

ChA FILTER ChA CUTOFF ChB DYNAMIC ChB DYN SENS ChB FILTER ChB CUTOFF MODE

FX1/FX2 UNIV

RATE DEPTH LEVEL TYPE WAVE SHAPE

BPM/ KEY TUNER MANUAL PHRASE LOOP

MASTER BPM MASTER KEY TUNER SW MANUAL MODE SW ON/OFF REC/ PLAY STOP/ PLAY CLEAR

DELAY D1

F.BACK HIGH CUT LEVEL TIME

MIXER

ChA/B BALANCE SPREAD ON/OFF

FX1/FX2 PAN

RATE DEPTH POS LEVEL PATTERN

DELAY D2

F.BACK HIGH CUT LEVEL

SEND/ RETURN AMP CTL

MODE SEND LEVEL RETURN LEVEL AMP CTL SW ON/OFF

TAP MIDI

BPM TAP DELAY TAP START/ STOP MMC PLY /STOP LEVEL +10 LEVEL +20 LEVEL -10

FX1/FX2 SLICER

RATE TRIGGER SENS EFFECT LEVEL DIRECT MIX RATE

DELAY MOD

MOD. RATE MOD. DEPTH ON/OFF MODE RATE

NS1

THRESH RELEASE DETECT ON/OFF

FX1/FX2 VIBRATO

DEPTH TRIGGER RISE TIME LEVEL MODE

CHORUS

DEPTH PRE DELAY LOW CUT HIGH CUT EFFECT LEVEL ON/OFF TYPE REVERB TIME PRE DELAY

PATCH

LEVEL -20 NUMBER INC NUMBER DEC BANK INC BANK DEC

NS2

THRESH RELEASE DETECT

FX1/FX2 RINGMOD

FREQ EFFECT LEVEL DIRECT MIX MODE VOWEL 1 VOWEL 2

ACCEL ACCEL S-BEND

ON/OFF TYPE PITCH RISE TIME FALL TIME RATE

REVERB

LOW CUT HIGH CUT DENSITY EFFECT LEVEL DIRECT MIX SPRING SENS

FX1/FX2 HUMAN

SENS RATE DEPTH MANUAL LEVEL XOVER FREQ LOW RATE LOW DEPTH

ACCEL LASER

DEPTH RISE TIME FALL TIME FREQ RISE TIME

PEDAL FX PEDAL P.B.

ON/OFF PITCH PDL POS EFFECT LEVEL DIRECT MIX TYPE PDL POS

ACCEL RING

FALL TIME RING LEVEL OCTAVE LEVEL DIRECT MIX

FX1/FX2 2x2CHO

LOW PRE DLY LOW LEVEL HIGH RATE HIGH DEPTH HIGH PRE DLY HIGH LEVEL TYPE DELAY TIME

PEDAL WAH

PEDAL MIN PEDAL MAX EFFECT LEVEL DIRECT MIX VOLUME CURVE

ACCEL TWIST

LEVEL RISE TIME FALL TIME LEVEL RISE TIME FALL TIME MODE DEPTH RISE TIME

ACCEL WARP

FX1/FX2 SUB DLY

F.BACK HIGH CUT EFFECT LEVEL DIRECT MIX TAP TIME

FOOT VOLUME

VOLUME MIN VOLUME MAX LEVEL

ACCEL F.BACK

OCTAVE R.TIME FB LEVEL OCTAVE FB LEV VIB RATE VIB DEPTH

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CTL/EXP

Virtual expression pedal system (Internal Pedal / Wave Pedal)

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 18 to choose the desired type. * If you want to use the internal pedal or wave pedal, set the ASSIGN parameter SOURCE MODE to MOMENT.

About the Range of a Targets 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:

Internal pedal
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.
The value changes in a curve

MAX Settings Range Allowable Parameter

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

Wave pedal

MAX

MIN 127 When the pedal is fully advanced

Always changes in a fixed curve regardless of the actual pedal

0 When the pedal is fully raised

When controlling the On/Off target with the expression pedal: Value

Input Level
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.

ON

OFF 0 When the pedal is fully raised

When the pedal is advanced halfway

127 When the pedal is fully advanced

Degree to Which Expression Pedal Is Depressed

* 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 youve changed the target, be sure to recheck the minimum and maximum settings.

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CTL/EXP About the Range of a Controllers 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

MAX Allowable Parameter Settings Range

MIN 0 40 ACT RANGE LO 80 ACT RANGE HI 127

Degree to Which Expression Pedal Is Depressed

When the pedal is fully raised Value ON

When the pedal is fully advanced

OFF 40 0 When the ACT pedal is fully RANGE raised LO 60 80 Center ACT Value RANGE HI

127 When the pedal is fully advanced

Degree to Which Expression Pedal Is Depressed

* 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.

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Other Settings
TUNER METRONOME MODE
Editing procedure
1. Simultaneously press pedals [1] and [2].
The tuner function and the metronome function will turn on.

MANUAL MODE
Editing procedure
1. Simultaneously press pedals [BANK DOWN] and
[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
Here you can make settings for the TUNER mode.
Parameter PITCH Value 435 Hz445 Hz MUTE OUTPUT BYPASS THRU Explanation Specifies the reference pitch. Sound will not be output while tuning. While tuning, the sound of the guitar being input to the GT-100 will be output without change. All effects will be off. Allows you to tune while hearing the current effect sound.

Parameter BANK DOWN BANK UP NUMBER PEDAL 1 NUMBER PEDAL 2 NUMBER PEDAL 3 NUMBER PEDAL 4 PHRASE LOOP ACCEL/CTL

Value

Explanation

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

METRONOME
Here you can make settings for the METRONOME mode.
Parameter TEMPO BEAT ON/OFF LEVEL Value 40250 1/18/1, 1/28/2, 1/48/4, 1/88/8 OFF, ON 0100 Explanation Specifies the tempo of the metronome. Selects the time signature. Turns the metronome on/off. Adjusts the volume of the metronome.

37

1PS