Parameter Guide Contents

DIVIDER...... 22 Basic Operation...... 3 SINGLE...... 22 EZ TONE...... 4 DUAL Ch . A, DUAL Ch . B ...... 22 PATCH CREATE ...... 4 MIXER ...... 22 AMP CUSTOMIZE...... 4 SEND/RETURN ...... 23 OD/DS CUSTOMIZE...... 4 NS1/NS2...... 23 ACCEL FX...... 24 EFFECT...... 5 S-BEND...... 24 COMP...... 5 LASER BEAM...... 24 OD/DS...... 5 RING MOD ...... 24 PREAMP ...... 6 TWIST...... 24 EQ...... 8 WARP...... 24 FX1/FX2 ...... 9 FEEDBACKER...... 24 T . WAH...... 10 MASTER SETTING...... 25 AUTO WAH...... 10 MASTER SETTING...... 25 SUB WAH ...... 10 MASTER EQ...... 25 ADV . COMP ...... 10 AMP CONTROL...... 25 LIMITER...... 11 SUB OD/DS ...... 11 SYSTEM ...... 26 GRAPHIC EQ ...... 11 OUTPUT SELECT...... 26 PARAMETRIC EQ...... 11 INPUT...... 26 TONE MODIFY...... 11 GLOBAL EQ ...... 26 GUITAR SIM...... 12 TOTAL...... 26 SLOW GEAR...... 12 PHRASE LOOP...... 26 DEFRETTER ...... 12 PLAY OPTION ...... 26 WAVE SYNTH...... 12 KNOB SETTING...... 27 SITAR SIM ...... 13 PREFERENCE...... 28 OCTAVE...... 13 LCD...... 28 PITCH SHIFTER...... 13 USB...... 28 HARMONIST ...... 14 MIDI SETTING...... 29 SOUND HOLD...... 14 MIDI PROGRAM MAP BANK 0–3...... 30 AC . PROCESSOR...... 15 MIDI BULK DUMP...... 30 PHASER...... 15 PEDAL CALIBRATION ...... 30 FLANGER ...... 15 AUTO OFF...... 30 TREMOLO...... 16 FACTORY RESET...... 30 ROTARY...... 16 CTL/EXP...... 31 UNI-V...... 16 ACCEL/CTL, EXP SW, SUB CTL 1, SUB CTL 2...... 31 PAN...... 16 EXP, SUB EXP...... 31 SLICER...... 17 ASSIGN COMMON...... 32 VIBRATO...... 17 ASSIGN 1–8...... 32 RING MOD ...... 17 Virtual expression pedal system (Internal Pedal / Wave HUMANIZER ...... 17 Pedal)...... 35 2X2 CHORUS...... 18 Input Level...... 35 SUB DELAY...... 18 DELAY...... 19 Other Settings...... 37 CHORUS...... 20 TUNER METRONOME MODE...... 37 REVERB...... 20 TUNER...... 37 PEDAL FX...... 21 METRONOME...... 37 PEDAL BEND...... 21 MANUAL MODE...... 37 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 . * 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 .

2 Basic Operation

Editing on the GT-100 is extremely simple; the procedure is always the same . . 1 Choose what you’re going to edit Press one of the following buttons .

Effect page 5 Here you can edit the parameters of each effect . System page 26 Here you can make settings that apply to the entire GT-100, such as output settings and phrase loop settings . EZ (Easy) Tone page 4 Here you can create the desired tone simply by Control/Expression page 31 choosing a musical style and the type of song you Here you can assign the desired functions to the have in mind . You can also customize the amp and [ACCEL/CTL] pedal, [EXP] pedal, and external overdrive/distortion settings in an intuitive way . pedals .

2 Select an item Turn knob [4] to select the desired item (the cursor will Use to select an item shown in the left move) . display . The screen shown here is an example of when you’ve pressed the [EFFECT] button . 3 Edit the values

Use to edit the values Turn the knobs to edit the shown in the right display . values .

If page tabs are shown in the screen, you can use the [PAGE] buttons to move between tabs .

4 Exit the settings

Press . You’ll be returned to the Play screen .

NOTE The settings you’ve edited will be lost when you switch patches . If you want to keep the edited settings, you must save them as a user patch (Owner’s Manual: p . 13) . 3 EZ TONE

PATCH CREATE OD/DS CUSTOMIZE Lets you easily create your sound starting from your choice of musical style Lets you intuitively customize the overdrive/distortion . and type of song . Parameter Value Explanation Parameter Value Explanation OD-1 This models the sound of the BOSS OD-1 . BLUES Blues sound OD-2 This is a overdrive sound with high gain . Soul Funk Soul and Funk sound CRUNCH This is a crunch sound . Jazz Jazz sound This gives a basic, traditional distortion DS-1 LIVERPOOL British Rock CUSTOM sound . 70's HARD ROCK The Hard Rock sound popular in the ’70s TYPE DS-2 This creates a heavier distortion sound . This is a metal sound with a characteristic 80s METAL The Metal sound popular in the ’80s METAL1 midrange . MODERN METAL Modern Metal sound METAL2 This gives a heavy metal sound . BASIC TONE West Coast West Coast sound FUZZ This gives a basic, traditional fuzz sound . Fuzz Rock Fuzz +: Sharp distortion STUDIO Recording Studio SOFT –HARD -50–+50 -: Warm distortion PROGRESSIVE Progressive BACKING – +: For soloing SURF ROCK Surf Rock sound -50–+50 SOLO -: For backing COUNTRY Country Acoustic For Acoustic Guitar Punk Pop Punk Pop +: Sharp distortion SOFT –HARD -50–+50 -: Warm distortion

BACKING – +: For soloing -50–+50 SOLO -: For backing AMBIENCE 0–100 Adjusts the length of the resonance

AMP CUSTOMIZE Lets you intuitively customize the amp .

Parameter Value Explanation JC CLEAN This models the sound of the Roland JC-120 . TW CLEAN This models a Fender Twin Reverb . This is a crunch sound that can faithfully CRUNCH reproduce the nuances of picking . This is a combo amp sound that it suited to COMBO DRIVE sixties-style British rock . CUSTOM This is a lead sound of a combo tube amp COMBO LEAD TYPE typical of the late ‘70s to ‘80s . This models the sound input to Input I on a MS HiGAIN Marshall 1959 . This is a trebly sound suited to hard rock . This original high-gain amp delivers thick MODERN STACK lows and intense distortion while still preserving the sound’s clear definition . +: Sharp distortion SOFT –HARD -50–+50 -: Warm distortion

BACKING – +: For soloing -50–+50 SOLO -: For backing

4 EFFECT

OD/DS TYPE COMP This is a list of distortion types that can be selected for OD/DS . This is an effect that produces a long sustain by evening out the volume level of the input signal . Category Type Explanation This is a booster with unique characteristics in the midrange . Parameter Value Explanation MID BOOST Making the connection before the COSM ON/OFF OFF, ON Turns this effect on/off . amp produces sound suitable for solos . BOSS COMP This models a BOSS CS-3 . This not only functions as a booster, but also This is a compressor that adds an even CLEAN BOOST produces a clean tone that has punch even HI-BAND stronger effect in the high end . when used alone . This is a booster that has bright character- LIGHT This is a compressor with a light effect . TREBLE BOOST istics . D-COMP This models a MXR DynaComp . A lustrous crunch sound with an added This is modeled on the sound of the Dan CRUNCH TYPE ORANGE element of amp distortion . Armstrong ORANGE SQUEEZER . ADVANCED This is an overdrive sound that provides When applied heavily, this compressor effect NATURL OD FAT distortion with a natural feeling . provides a fat tone with a boosted midrange . WARM OD This is a warm overdrive . When applied heavily, this compressor effect MILD produces a sweet tone with the high end cut . FAT DS A distortion sound with thick distortion . STEREO COMP This selects a stereo compressor . Produces a distortion sound with both the LEAD DS smoothness of an overdrive along with a Adjusts the range (time) over which low-level deep distortion . SUSTAIN 0–100 signals are boosted . Larger values will result This is distortion sound that is ideal for in longer sustain . METAL DS performances of heavy riffs . ATTACK 0–100 Adjusts the attack time . OCT FUZZ A fuzz sound with rich harmonic content . LEVEL 0–100 Adjusts the tone . This is a crunch sound of the BOSS BD-2 . TONE -50–+50 Adjusts the volume . BLUES OD This produces distortion that faithfully reproduces the nuances of picking . This models the sound of the BOSS OD-1 . OD-1 This produces sweet, mild distortion . OD/DS T-SCREAM This models an Ibanez TS-808 . This is the high-gain overdrive sound of the This effect distorts the sound to create long sustain . TURBO OD BOSS OD-2 . This gives a basic, traditional distortion Parameter Value Explanation DIST sound . ON/OFF OFF, ON Turns this effect on/off . VINTAGE RAT This models a Proco RAT . TYPE Refer to OD/DS TYPE GUV DS This models a Marshall GUV’ NOR . DRIVE 0–120 Adjusts the depth of distortion . DST+ This models a MXR DISTORTION+ . TONE -50–+50 Adjusts the tone . This models the sound of the BOSS MT-2 . EFFECT LEVEL 0–100 Adjusts the volume of the OD/DS sound . METAL ZONE It produces a wide range of metal sounds, Adjusts the tone for the low frequency range . from old style to slash metal . Turning this to the left (counterclockwise) This models a FUZZFACE . BOTTOM -50–+50 produces a sound with the low end cut; ’60S FUZZ turning it to the right boosts the low end in It produces a fat fuzz sound . the sound . MUFF FUZZ This models an Electro-Harmonix Big Muff π . DIRECT MIX 0–100 Adjusts the volume of the direct sound . Custom OD/DS SOLO SW OFF, ON The tone to one suitable for solos . CUSTOM You can customize it however you like to Adjusts the volume level when the Solo Sw match the sound you want . SOLO LEVEL 0–100 is ON .

5 EFFECT

CUSTOM OD/DS SETTING Parameter Value Explanation Select the speaker type . OFF This turns off the speaker simulator . Parameter Value Explanation ORIGIN This is the built-in speaker of the amp you OD-1 This models the sound of the BOSS OD-1 . (ORIGINAL) selected with PREAMP TYPE . OD-2 This is a overdrive sound with high gain . This is a compact open-back speaker cabinet 1x8" CRUNCH This is a crunch sound . with one 8-inch speaker . This is a compact open-back speaker cabinet DS-1 This gives a basic, traditional distortion sound . 1x10" with one 10-inch speaker . CUSTOM TYPE DS-2 This creates a heavier distortion sound . This is a compact open-back speaker cabinet 1x12" This is a metal sound with a characteristic with one 12-inch speaker . METAL1 midrange . SP TYPE *1 This is a general open-back speaker cabinet with 2x12" METAL2 This gives a heavy metal sound . two 12-inch speakers . This is an optimal speaker cabinet for a large FUZZ This gives a basic, traditional fuzz sound . 4x10" enclosed amp with four 10-inch speakers . +: For soloing CUSTOM CHAR -50–+50 This is an optimal speaker cabinet for a large 4x12" -: For backing enclosed amp with four 12-inch speakers . This controls the input sound’s low-frequency CUSTOM This is a double stack of two cabinets, each with -50–+50 range and adjusts the amount of distortion in the 8x12" BOTTOM four 12-inch speakers . low-frequency range Custom speaker This controls the input sound’s high-frequency CUSTOM CUSTOM TOP -50–+50 range and adjusts the amount of distortion in the You can customize it however you like to match high-frequency range . the sound you want . Adjusts the low-range tones after distortion is This setting selects the simulated mic type . CUSTOM LOW -50–+50 applied . This is the sound of the SHURE SM-57 . General Adjusts the high-range tones after distortion is DYN57 dynamic mic used for instruments and vocals . CUSTOM HIGH -50–+50 applied . Optimal for use in miking guitar amps . This is the sound of the SENNHEISER MD-421 . DYN421 Dynamic mic with extended low end . MIC TYPE *1 This is the sound of the AKG C451B . Small CND451 condenser mic for use with instruments . PREAMP This is the sound of the NEUMANN U87 . CND87 Condenser mic with flat response . COSM technology simulates different preamp characteristics, speaker sizes, and cabinet shapes . Simulates a mic with perfectly flat response . FLAT Produces a sonic image close to that of listening to the sound directly from the speakers (on site) . Parameter Value Explanation Simulates the distance between the mic and speaker . ON/OFF OFF, ON Turns the COSM AMP effect on/off . This setting points the mic away from the OFF MIC TYPE Refer to PREAMP TYPE MIC DIS *1 speaker . GAIN 0–120 Adjusts the distortion of the amp . Provides conditions whereby the mic is directed ON MIC T-COMP -10–0–+10 Adjusts the sense of compression of the amp . more towards the speaker . Adjusts the volume of the entire preamp . This simulates the mic position . LEVEL 0–100 Simulates the condition that the mic is set in the * Be careful not to raise the Level setting too CENTER high . MIC POS *1 middle of the speaker cone . Simulates the condition that the mic is moved BASS 0–100 Adjusts the tone for the low frequency range . 1–10 cm away from the center of the speaker cone . MIDDLE 0–100 Adjusts the tone for the middle frequency range . MIC LEVEL *1 0–100 Adjusts the volume of the mic . TREBLE 0–100 Adjusts the tone for the high frequency range . DIRECT MIX 0–100 Adjusts the volume of the direct sound . Adjusts the tone for the ultra high frequency *1 range . PRESENCE 0–100 * The PRESENCE parameter functions as a *1 This is enabled when the OUTPUT SELECT parameter is set to LINE/PHONE . high-cut filter with some PREAMP TYPEs . Turns the bright setting on/off . BRIGHT OFF, ON * 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, LOW, MIDDLE, GAIN SW MIDDLE and HIGH . 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 SOLO SW OFF, ON suitable for solos . Adjusts the volume level when the SOLO SW is SOLO LEVEL 0–100 ON .

6 EFFECT

PREAMP TYPE Category Type Explanation This is a list of the amp types that can be selected for PREAMP . This is a custom preamp . CUSTOM You can customize it however you like to Category Type Explanation match the sound you want . An unembellished, clean sound that NATURL CLEAN minimizes the amp’s idiosyncrasies, such as its trebly character and boomy low end . An amp with a broad frequency range and an FULL RANGE extremely flat response . Good for acoustic guitar . Crunch sound that allows the nuances of COMBO CRUNCH 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 STACK CRUNCH all the defining characteristics of a 4 x 12” speaker cabinet . ADVANCED High-gain sound of a vintage Marshall HiGAIN STACK 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 POWER DRIVE 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 EXTREM LEAD uneven frequency response that is typical of existing large stack amps . A large stack sound that has been tweaked CORE METAL extensively in the pursuit of the ultimate metal sound . JC-120 This models the sound of the Roland JC-120 . CLEAN TWIN This models a Fender Twin Reverb . PRO CRUNCH This models a Fender Pro Reverb . This models a Fender Bassman 4 x 10” TWEED Combo . DELUXE CRUNCH This models a Fender Deluxe Reverb . This models the drive sound of a VOX AC-30TB . VO DRIVE This is a sound that it suited to sixties-style British rock . This models the lead sound of the VOX VO LEAD AC-30TB . This models the sound input to left input on a Matchless D/C-30 . MATCH DRIVE 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 . BG LEAD VINTAGE The sound of a tube amp typical of the late ‘70s to ‘80s . This models a MESA/Boogie with TREBLE BG DRIVE SHIFT SW on . This models the sound input to Input I on a MS1959 I Marshall 1959 . This is a trebly sound suited to hard rock . The sound of connecting inputs I and II of the MS1959 I+II guitar amp in parallel, creating a sound with a stronger low end than I . Models the sound of the Channel 2 VINTAGE R-FIER VINTAGE Mode on the MESA/Boogie DUAL Rectifier . Models the sound of the Channel 2 MODERN R-FIER MODERN Mode on the MESA/Boogie DUAL Rectifier . This models a Hughes & Kettner Triamp T-AMP LEAD AMP3 . This models a Soldano SLO-100 . This is the SLDN typical sound of the eighties . This models the lead channel of a Peavey 5150 DRIVE EVH 5150 .

7 EFFECT

CUSTOM AMP SETTING EQ

Parameter Value Explanation This adjusts the tone as a equalizer . A parametric type is adopted for the high-middle and low-middle range . JC CLEAN This models the sound of the Roland JC-120 .

TW CLEAN This models a Fender Twin Reverb . Parameter Value Explanation This is a crunch sound that can faithfully CRUNCH ON/OFF OFF, ON Turns this effect on/off . reproduce the nuances of picking . LOW GAIN -20–+20 dB Adjusts the low frequency range tone . This is a combo amp sound that it suited to COMBO DRIVE sixties-style British rock . HIGH GAIN -20–+20 dB Adjusts the high frequency range tone . CUSTOM TYPE This is a lead sound of a combo tube amp typical COMBO LEAD of the late ‘70s to ‘80s . LEVEL -20–+20 dB Adjusts the overall volume level of the equalizer .

This models the sound input to Input I on a LOW-MID Specifies the center of the frequency range that 20 Hz–10 .0 kHz MS HiGAIN Marshall 1959 . FREQ will be adjusted by the LOW-MID GAIN . This is a trebly sound suited to hard rock . Adjusts the width of the area affected by the EQ This original high-gain amp delivers thick lows LOW-MID Q 0 .5–16 centered at the LOW-MID FREQ . Higher values MODERN and intense distortion while still preserving the will narrow the area . STACK sound’s clear definition . LOW-MID -20–+20 dB Adjusts the low-middle frequency range tone . +: For soloing GAIN CUSTOM CHAR -50–+50 -: For backing HIGH-MID Specifies the center of the frequency range that 20 Hz–10 .0 kHz This controls the input sound’s low-frequency FREQ will be adjusted by the HIGH-MID GAIN . CUSTOM -50–+50 range and adjusts the amount of distortion in the BOTTOM Adjusts the width of the area affected by the EQ low-frequency range . HIGH-MID Q 0 .5–16 centered at the HIGH-MID FREQ . Higher values This controls the input sound’s high-frequency will narrow the area . CUSTOM EDGE -50–+50 range and adjusts the amount of distortion in the HIGH-MID high-frequency range . -20–+20 dB Adjusts the low-middle frequency range tone . GAIN CUSTOM -50–+50 Adjusts the preamp section’s low-frequency tone . This sets the frequency at which the low cut filter PREAMP LOW FLAT, LOW CUT begins to take effect . When FLAT is selected, the 20 Hz–800 Hz CUSTOM Adjusts the preamp section’s high-frequency low cut filter will have no effect . -50–+50 PREAMP HIGH tone . This sets the frequency at which the high cut 630 Hz– HIGH CUT filter begins to take effect . When FLAT is selected, 12 5. kHz, FLAT the high cut filter will have no effect . CUSTOM SPEAKER SETTING

Parameter Value Explanation CUSTOM 5–15" Selects the size of speaker . SP SIZE CUSTOM x1, x2, x4, x8 Sets the number of speakers . SP NUMBER Selects the speaker cabinet type . CUSTOM OPEN This is an open-backed cabinet CABINET This type of cabinet features an enclosed rear CLOSE panel .

CUSTOM -10–+10 Adjusts the speaker section’s low-frequency tone . COLOR LOW

CUSTOM Adjusts the speaker section’s high-frequency -10–+10 COLOR HIGH tone .

8 EFFECT

Effect Name Explanation FX1/FX2 With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an effect that PAN With FX1 and FX2, you can select the effect to be used from the following . makes the guitar sound appear to fly back and forth between the You can select the same effect for FX1 and FX2 . speakers . This consecutively interrupts the sound to create the impression SLICER Parameter Value Explanation that a rhythm backing phrase is being played . ON/OFF OFF, ON Turns this effect on/off . VIBRATO This effect creates vibrato by slightly modulating the pitch . TYPE Refer to FX1/FX2 TYPE This creates a bell-like sound by ring-modulating the guitar sound RING MOD . with the signal from the internal oscillator . The sound can be unmusical and lack distinctive pitches . HUMANIZER This can create human vowel-like sounds . FX1/FX2 TYPE Frequency band division is employed to produce two different choruses, one for low frequencies and one for higher frequencies, This is a list of the effects that can be selected for FX1/FX2 . 2X2 CHORUS for both the left and right channels (for a total of four) . This allows you to achieve a more natural chorus sound . Effect Name Explanation This is a delay with the maximum delay time of 1,000 ms . This SUB DELAY T . WAH You can produce a wah effect with the filter changing in response effect is useful for making the sound fatter . (Touch Wah) to the guitar level .

AUTO WAH This changes the filtering over a periodic cycle, providing an (Auto Wah) automatic wah effect . You can control the wah effect in real time by adjusting the [EXP] SUB WAH pedal or the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack .

ADV . COMP This is an effect that produces a long sustain by evening out the (Advanced volume level of the input signal . You can also use it as a limiter to Compressor) suppress only the sound peaks and prevent distortion . LIMITER The limiter attenuates loud input levels to prevent distortion . SUB OD/DS This effect distorts the sound to create long sustain . GRAPHIC EQ This adjusts the tone as a equalizer . You can adjust the sound (Graphic quality in ten bands . Equalizer) PARAMETRIC EQ Adjusts the tonal quality . You can adjust the sound quality in four (Parametric bands . Equalizer) TONE MODIFY This changes the tone of the connected guitar .

GUITAR SIM Simulation of the characteristics of particular guitar components such as pickups and different guitar bodies allows you to switch (Guitar among a number of different guitar types all while using a single Simulator) guitar . SLOW GEAR This produces a volume-swell effect (“violin-like” sound) . DEFRETTER This simulates a fretless guitar . WAVE SYNTH This is a synth sound that processes the guitar input signal . SITAR SIM . (Sitar This simulates the sound of the sitar . Simulator) OCTAVE This adds a note one octave lower, creating a richer sound . This effect changes the pitch of the original sound (up or down) PITCH SHIFTER within a range of two octaves . Harmonist is an effect where the amount of shifting is adjusted HARMONIST 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 . SOUND HOLD This effect allows you to perform the melody in the upper registers while holding a note in the lower registers .

AC . PROCES- This processor allows you to change the sound produced by the SOR pickup on an acoustic electric guitar, creating a richer sound (Acoustic similar to that obtained with a microphone placed close to the Processor) guitar . By adding varied-phase portions to the direct sound, the phaser PHASER effect gives a whooshing, swirling character to the sound . The flanging effect gives a twisting, jet-airplane-like character to FLANGER the sound . TREMOLO Tremolo is an effect that creates a cyclic change in volume . ROTARY This produces an effect like the sound of a rotary speaker . This models a Uni-Vibe . UNI-V Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser . 9 EFFECT

T. WAH SUB WAH You can produce a wah effect with the filter changing in response to the You can control the wah effect in real time by adjusting the [EXP] pedal or guitar level . the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack .

Parameter Value Explanation Parameter Value Explanation Selects the wah mode . Selects the type of wah . This creates a wah effect over a wide This models the sound of the CRY BABY wah LPF CRY WAH MODE frequency range . pedal popular in the ‘70s . This creates a wah effect in a narrow VO WAH This models the sound of the VOX V846 . BPF frequency range . FAT WAH This is a wah sound featuring a bold tone . Selects the direction in which the filter will change in response to This wah has a refined sound with no unusual the input . TYPE LIGHT WAH characteristics . POLAR DOWN The frequency of the filter will fall . This expanded wah features a variable range 7STRING WAH compatible with seven-string and baritone UP The frequency of the filter will rise . guitars . Adjusts the sensitivity at which the filter will This completely original effect offers en- change in the direction determined by the RESO WAH hancements on the characteristic resonances SENS 0–100 polarity setting . Higher values will result in produced by analog synth filters . a stronger response . With a setting of 0, the strength of picking will have no effect . Adjusts the position of the wah pedal . Adjusts the center frequency of the Wah PEDAL POS 0–100 * This parameter is used after it’s been as- FREQ 0–100 effect . signed to an EXP Pedal or similar controller . Adjusts the way in which the wah effect Selects the tone produced when the heel of PEDAL MIN 0–100 applies to the area around the center the EXP Pedal is depressed . frequency . Selects the tone produced when the toe of PEDAL MAX 0–100 PEAK 0–100 Higher values will produce a stronger tone the EXP Pedal is depressed . which emphasizes the wah effect more . With a value of 50 a standard wah sound will be EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . produced . DIRECT MIX 0–100 Adjusts the volume of the direct sound . EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . DIRECT MIX 0–100 Adjusts the volume of the direct sound . ADV. COMP This is an effect that produces a long sustain by evening out the volume AUTO WAH level of the input signal . You can also use it as a limiter to suppress only the sound peaks and prevent distortion . This changes the filtering over a periodic cycle, providing an automatic wah effect . Parameter Value Explanation

Parameter Value Explanation Selects the compressor type . Selects the wah mode . BOSS COMP This models a BOSS CS-3 . This creates a wah effect over a wide This is a compressor that adds an even LPF HI-BAND MODE frequency range . stronger effect in the high end . This creates a wah effect in a narrow LIGHT This is a compressor with a light effect . BPF frequency range . D-COMP This models a MXR DynaComp . TYPE Adjusts the frequency (speed) of the change . This is modeled on the sound of the Dan ORANGE * When set to BPM, the value of each Armstrong ORANGE SQUEEZER . parameter will be set according to the When applied heavily, this compressor effect FAT value of the “MASTER BPM” specified for provides a fat tone with a boosted midrange . 0–100, each patch . This makes it easier to achieve RATE effect sound settings that match the tempo When applied heavily, this compressor effect BPM – MILD of the song . produces a sweet tone with the high end cut . * If, due to the tempo, the time is longer than STEREO COMP This selects a stereo compressor . the range of allowable settings, it is then Adjusts the range (time) over which low-level synchronized to a period either 1/2 or 1/4 SUSTAIN 0–100 signals are boosted . Larger values will result of that time . in longer sustain . DEPTH 0–100 Adjusts the depth of the effect . ATTACK 0–100 Adjusts the attack time . Adjusts the center frequency of the Wah FREQ 0–100 LEVEL 0–100 Adjusts the volume . effect . TONE -50–+50 Adjusts the tone . Adjusts the amount of wah effect applied in the range near the center frequency . Higher PEAK 0–100 values will produce a stronger tone which emphasizes the wah effect more . With a value of 50 a standard wah sound will be produced . EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . DIRECT MIX 0–100 Adjusts the volume of the direct sound .

10 EFFECT

LIMITER PARAMETRIC EQ The limiter attenuates loud input levels to prevent distortion . Adjusts the tonal quality . You can adjust the sound quality in four bands .

Parameter Value Explanation Parameter Value Explanation Selects the limiter type . LOW GAIN -20–+20 dB Adjusts the low frequency range tone . BOSS LIMITER This selects a stereo limiter . HIGH GAIN -20–+20 dB Adjusts the high frequency range tone . TYPE RACK 160D This models a dbx 160X . Adjusts the overall volume level of the LEVEL -20–+20 dB equalizer . VTG RACK U This models a UREI 1178 . LOW-MID Specifies the center of the frequency range 20 Hz–10 .0 kHz Adjust this as appropriate for the input FREQ that will be adjusted by the LOW-MID GAIN . signal from your guitar . When the input THRESH 0–100 signal level exceeds this threshold level, Adjusts the width of the area affected by the limiting will be applied . LOW-MID Q 0 .5–16 EQ centered at the LOW-MID FREQ . Higher values will narrow the area . This selects the compression ratio used with RATIO 1:1–INF:1 LOW-MID Adjusts the low-middle frequency range signals in excess of the threshold level . -20–+20 dB GAIN tone . LEVEL 0–100 Adjusts the volume . HIGH-MID Specifies the center of the frequency range 20 Hz–10 .0 kHz Adjusts the strength of the picking attack FREQ that will be adjusted by the HIGH-MID GAIN . when the strings are played . Higher values ATTACK 0–100 result in s sharper attack, creating a more Adjusts the width of the area affected by the clearly defined sound . HIGH-MID Q 0 .5–16 EQ centered at the HIGH-MID FREQ . Higher values will narrow the area . RELEASE 0–100 Adjusts the release time . HIGH-MID Adjusts the low-middle frequency range -20–+20 dB GAIN tone . This sets the frequency at which the low LOW CUT FLAT, 20 Hz–800 Hz cut filter begins to take effect . When FLAT is SUB OD/DS selected, the low cut filter will have no effect .

This effect distorts the sound to create long sustain . This sets the frequency at which the high 630 Hz–12 5. kHz, cut filter begins to take effect . When FLAT HIGH CUT FLAT is selected, the high cut filter will have no Parameter Value Explanation effect . Refer to “OD/DS TYPE” (p . 5) TYPE * “CUSTOM” is not available . DRIVE 0–120 Adjusts the depth of distortion . TONE -50–+50 Adjusts the tone . TONE MODIFY EFFECT LEVEL 0–100 Adjusts the volume of the OD/DS sound . This changes the tone of the connected guitar . Adjusts the tone for the low frequency range . Turning this to the left (counterclockwise) Parameter Value Explanation BOTTOM -50–+50 produces a sound with the low end cut; Selects the type of tone modification . turning it to the right boosts the low end in the sound . FAT Fat tone with boosted mid range . DIRECT MIX 0–100 Adjusts the volume of the direct sound . PRES (PRESENCE) Bright tone with boosted high-mid range . SOLO SW OFF, ON The tone to one suitable for solos . MILD Mild tone with the high end cut back . TYPE Adjusts the volume level when the Solo Sw TIGHT Tone with the low frequencies cut . SOLO LEVEL 0–100 is ON . ENHANC (ENHANCE) Tone with the high frequencies boosted . This produces a tone with greater power RESO 1–3 and punch by adding resonance in the (RESONATOR 1–3) low-frequency range and midrange . GRAPHIC EQ Adjusts the tone for the low frequency LOW -50–+50 range . This adjusts the tone as a equalizer . You can adjust the sound quality in ten bands . Adjusts the tone for the High frequency HIGH -50–+50 range . Parameter Value LEVEL 0–100 Adjusts the volume of the effect sound . 31 Hz This adjusts the strength of the low-end and 62 Hz RESO 0–100 midrange resonance when TYPE is set to 125 Hz RESO 1, 2, or 3 . 250 Hz 500 Hz -20–+20 dB 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz LEVEL -20–+20 dB

11 EFFECT

GUITAR SIM DEFRETTER Simulation of the characteristics of particular guitar components such as This simulates a fretless guitar . 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

This controls the input sensitivity of the SENS 0–100 Parameter Value Explanation defretter . Selects the type of the guitar simulator . DEPTH 0–100 This controls the rate of the harmonics . Changes from a single-coil pickup tone to a S g H Adjusts the amount of blurring between the humbucking pickup tone . TONE -50–+50 notes . Changes from a humbucking pickup tone to H g S EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . a single-coil pickup tone . ATTACK 0–100 Adjusts the attack of the picking sound . Changes from a humbucking pickup tone to H g HF a single-coil pickup half tone . Adds a characteristically resonant quality to RESO 0–100 the sound . Changes a single-coil pickup tone to a hollow S g HLW (HOLLOW) body tone with the body resonance added . DIRECT MIX 0–100 Adjusts the volume of the direct sound . TYPE Changes a humbucking pickup tone to a H g HLW hollow body tone with the body resonance added . Changes a single-coil pickup tone to an S g AC WAVE SYNTH acoustic guitar tone . Changes a humbucking pickup tone to an This is a synth sound that processes the guitar input signal . H g AC acoustic guitar tone . * When you use a wave synthesizer, observe the following points . Changes a piezo pickup tone to an acoustic P g AC • Because of the need to analyze the pitch, chords (two or more sounds guitar tone . played simultaneously) cannot be played . Be sure to mute all the LOW -50–+50 Adjusts the tone for the low frequency range . other strings and play only one note at a time . Adjusts the tone for the High frequency HIGH -50–+50 • When you are to play the next string while a certain sound is still range playing, mute the previous sound and then play the next one with LEVEL 0–100 Adjusts the volume of the effect sound . a clear attack . If the unit cannot detect the attack, it may not sound correctly . Adjusts the way the body sounds when TYPE is set to S g HLW, H g HLW, S g AC, H g AC • The sensitivity may vary according to the guitar’s TONE knob and or P g AC . pickup type . BODY 0–100 The body sound increases as the value is raised; reducing the value produces a tone similar to that from a piezo pickup . Parameter Value Explanation Selects a wave type which the synth sound is based . Creates a synth sound with a saw waveform SAW WAVE ( ) . SLOW GEAR Creates a synth sound with the square SQUARE waveform ( ) . This produces a volume-swell effect (“violin-like” sound) . Adjusts the frequency where the harmonics CUTOFF 0–100 contents of the sound are cut off . Parameter Value Explanation This adjusts the amount of resonance (and Adjusts the sensitivity of the slow gear . When the tone coloration) in the synth sound . The RESO 0–100 it is set to a lower value, the effect of the slow higher the value, the more the synth tone gear can be obtained only with a stronger coloration is emphasized . SENS 0–100 picking, while no effect is obtained with a This adjusts the amount of filtering applied in weaker picking . When the value is set higher, FILTER SENS 0–100 the effect is obtained even with a weak response to the input . picking . This sets the time needed for the filter to FILTER DECAY 0–100 Adjusts the time needed for the volume to finish its sweep . RISE TIME 0–100 reach its maximum from the moment you Adjusts the depth of the filter . When the begin picking . FILTER DEPTH 0–100 value is higher, the filter will change more LEVEL 0–100 Adjusts the volume of the effect sound . drastically . SYNTH LEVEL 0–100 Adjusts the volume of the synth sound . DIRECT MIX 0–100 Adjusts the volume of the direct sound .

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SITAR SIM. PITCH SHIFTER This simulates the sound of the sitar . This effect changes the pitch of the original sound (up or down) within a range of two octaves . Parameter Value Explanation Adjusts the sensitivity of the sitar . When it is Parameter Value Explanation set to a lower value, no effect of the sitar is Selects the number of voices for the pitch shift sound . obtained with weaker picking, while stronger One-voice pitch-shifted sound output in SENS 0–100 picking produces the effect . When it is set 1-VOICE to a higher value, the effect of the sitar can monaural . be obtained whether the picking is weak or VOICE Two-voice pitch-shifted sound (PS1, PS2) 2-MONO strong . output in monaural . DEPTH 0–100 This adjusts the amount of effect applied . Two-voice pitch-shifted sound (PS1, PS2) 2-STEREO This adjusts the tone . The high end is boosted output through left and right channels . TONE -50–+50 as the value increases . PS1:PITCH Adjusts the amount of pitch shift (the -24–+24 EFFECT LEVEL 0–100 Adjust the volume of the sitar sound . PS2:PITCH amount of interval) in semitone steps . RESO 0–100 This adjusts the undulation of the resonance . DIRECT MIX 0–100 Adjusts the volume of the direct sound . Adjusts the amount of characteristic buzz Selection for the pitch shifter mode . BUZZ 0–100 produced by the “buzz bridge” when the FAST, strings make contact with it . The response is slower in the order of FAST, MEDIUM, MEDIUM and SLOW, but the modulation is DIRECT MIX 0–100 Adjusts the volume of the direct sound . PS1:MODE SLOW lessened in the same order . PS2:MODE MONO is used for inputting single notes .

MONO * You may be unable to produce the intended effect when playing chords (two OCTAVE or more notes played simultaneously) .

This adds a note one octave lower, creating a richer sound . PS1:FINE Make fine adjustments to the interval . The -50–+50 amount of the change in the Fine 100 is PS2:FINE equivalent to that of the Pitch 1 . Parameter Value Explanation Adjusts the time from when the direct sound This selects the register to which the effect is applied . is heard until the pitch shifted sounds are B1 (corresponds to the sound of an open 7th heard . Normally you can leave this set at 0 RANGE 1 (B1–E6) string) to E6 (corresponds to the 1st string ms . played at the 24th fret) * When set to BPM, the value of each B1 (corresponds to the sound of an open 7th parameter will be set according to the PS1:PRE DLY RANGE 2 (B1–E5) string) to E5 (corresponds to the 1st string 0 ms–300 ms, value of the “MASTER BPM” specified for RANGE played at the 12th fret) PS2:PRE DLY BPM – each patch . This makes it easier to achieve effect sound settings that match the tempo B1 (corresponds to the sound of an open 7th of the song . RANGE 3 (B1–E4) string) to E4 (corresponds to the sound of an open 1st string) * If, due to the tempo, the time is longer than the range of allowable settings, it is then B1 (corresponds to the sound of an open 7th synchronized to a period either 1/2 or 1/4 RANGE 4 (B1–E3) string) to E3 (corresponds to the 4th string of that time . played at the 2nd fret) PS1:LEVEL OCTAVE Adjusts the volume of the sound one octave 0–100 Adjusts the volume of the pitch shifter . 0–100 PS2:LEVEL LEVEL below . Adjusts the feedback amount of the pitch DIRECT MIX 0–100 Adjusts the volume of the direct sound . PS1:F .BACK 0–100 shift sound .

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HARMONIST Parameter Value Explanation C C– C–C– C– C Harmonist is an effect where the amount of shifting is adjusted according Db Db– Db–Db– Db– Db to an analysis of the guitar input, allowing you to create harmony based on diatonic scales . D D– D–D– D– D * Because of the need to analyze the pitch, chords (two or more sounds Eb Eb– Eb–Eb– Eb– Eb played simultaneously) cannot be played . E E– E–E– E– E * When you are to play the next string while a certain sound is still playing, F F– F–F– F– F mute the previous sound and then play the next one with a clear attack . USER SCALE If the unit cannot detect the attack, it may not sound correctly . F# F#– F#–F#– F#– F# * The sensitivity may vary according to the guitar’s TONE knob and pickup G G– G–G– G– G type . Ab Ab– Ab–Ab– Ab– Ab * You cannot use the Harmonist effect with audio input via USB . A A– A–A– A– A

Parameter Value Explanation Bb Bb– Bb–Bb– Bb– Bb Selects the number of voices for the pitch shift sound . B B– B–B– B– B One-voice pitch-shifted sound output in 1-VOICE monaural . 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 VOICE Two-voice pitch-shifted sound (HR1, HR2) output 2-MONO indicate octaves . One downward-pointing triangle indicates a note one octave below in monaural . the note displayed; two triangles indicates a two-octave drop . One upward-pointing Two-voice pitch-shifted sound (HR1, HR2) output triangle indicates a note one octave above the note displayed; two triangles indicates 2-STEREO through left and right channels . a two-octave rise . This determines the pitch of the sound added * Effective with USER selected for HARM parameter . to the input sound, when you are making a harmony . HR1:HARM -2 oct–+2 oct, It allows you to set it by up to 2 octaves higher HR2:HARM USER or lower than the input sound . When the scale SOUND HOLD is set to USER, this parameter sets the user scale number to be used . 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 The key setting corresponds to the key of the note in the lower registers . song (#, b) as follows . * This function will not work properly when two or more notes are played Major simultaneously .

Parameter Value Explanation MASTER KEY C(Am)–B(G#m) Minor Switches the hold sound on and off . Major Normally, this is controlled with the CTL pedals . HOLD OFF, ON • It is assumed that this parameter will be Minor assigned to the footswitch . Adjusts the time from when the direct sound • Patches are written with the HOLD is heard until the harmonist sounds are heard . parameter set to Off . Normally you can leave this set at 0 ms . Adjusts how rapidly the Sound Hold sound RISE TIME 0–100 * When set to BPM, the value of each parameter is produced . will be set according to the value of the EFFECT LEVEL 0–120 Adjusts the volume of the hold sound . HR1:PRE DLY 0 ms–300 ms, “MASTER BPM” specified for each patch . This HR2:PRE DLY BPM – 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 feedback amount of the harmonist HR1:F .BACK 0–100 sound . HR1:LEVEL 0–100 Adjusts the volume of the harmony sound . HR2:LEVEL DIRECT MIX 0–100 Adjusts the volume of the direct sound .

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Parameter Value Explanation AC. PROCESSOR This sets the cycle of the step function that This processor allows you to change the sound produced by the pickup on changes the rate and depth . When it is set to a higher value, the change will be finer . an acoustic electric guitar, creating a richer sound similar to that obtained Set this to “Off” when not using the Step with a microphone placed close to the guitar . function . * When set to BPM, the value of each Parameter Value Explanation OFF, 0–100, parameter will be set according to the STEP RATE value of the “MASTER BPM” specified for Selects the modeling type . BPM – each patch . This makes it easier to achieve This is the sound of a small-bodied acoustic SMALL effect sound settings that match the tempo guitar . of the song . TYPE This is a standard, unadorned acoustic guitar * If, due to the tempo, the time is longer than MEDIUM sound . the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 BRIGHT This is a bright acoustic guitar sound . of that time . POWER This is a powerful acoustic guitar sound . EFFECT LEVEL 0–100 Adjusts the volume of the phaser . BASS -50–+50 Adjusts the low-end balance . DIRECT MIX 0–100 Adjusts the volume of the direct sound . MIDDLE -50–+50 Adjusts the midrange balance . Specifies the frequency range to be adjusted MIDDLE FREQ 20 .0 Hz–10 .0 kHz with Middle . TREBLE -50–+50 Adjusts the high-end balance . FLANGER Adjusts the balance in the extended upper PRES -50–+50 range . The flanging effect gives a twisting, jet-airplane-like character to the sound . LEVEL 0–100 Adjusts the volume .

Parameter Value Explanation This sets the rate of the flanging effect . PHASER * When set to BPM, the value of each parameter will be set according to the By adding varied-phase portions to the direct sound, the phaser effect value of the “MASTER BPM” specified for gives a whooshing, swirling character to the sound . 0–100, each patch . This makes it easier to achieve RATE effect sound settings that match the tempo BPM – of the song . Parameter Value Explanation * If, due to the tempo, the time is longer than Selects the number of stages that the phaser effect will use . the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 This is a four-phase effect . A light phaser 4 STAGE of that time . effect is obtained . DEPTH 0–100 Determines the depth of the flanging effect . This is an eight-phase effect . It is a popular 8 STAGE TYPE phaser effect . Determines the amount of resonance (feed- RESO 0–100 back) . Increasing the value will emphasize This is a twelve-phase effect . A deep phase 12 STAGE the effect, creating a more unusual sound . effect is obtained . Adjusts the center frequency at which to This is the phaser with two phase shift circuits MANUAL 0–100 BiPHASE apply the effect . connected in series . Adjusts the diffusion . The diffusion increases SEPARATION 0–100 This sets the rate of the phaser effect . as the value increases . * When set to BPM, the value of each This sets the frequency at which the low FLAT, parameter will be set according to the LOW CUT cut filter begins to take effect . When “Flat” is 55 Hz–800 Hz value of the “MASTER BPM” specified for selected, the low cut filter will have no effect . 0–100, each patch . This makes it easier to achieve RATE effect sound settings that match the tempo EFFECT LEVEL 0–100 Adjusts the volume of the flanger . BPM – of the song . DIRECT MIX 0–100 Adjusts the volume of the direct sound . * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time . DEPTH 0–100 Determines the depth of the phaser effect . Determines the amount of resonance (feed- RESO 0–100 back) . Increasing the value will emphasize the effect, creating a more unusual sound . Adjusts the center frequency of the phaser MANUAL 0–100 effect .

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TREMOLO UNI-V Tremolo is an effect that creates a cyclic change in volume . This models a Uni-Vibe . Although this resembles a phaser effect, it also provides a unique Parameter Value Explanation undulation that you can’t get with a regular phaser . Adjusts changes in volume level . A higher WAVE SHAPE 0–100 value will steepen wave’s shape . Parameter Value Explanation Adjusts the frequency (speed) of the change . Adjusts the rate of the UNI-V effect . * When set to BPM, the value of each * When set to BPM, the value of each parameter will be set according to the parameter will be set according to the value of the “MASTER BPM” specified for value of the “MASTER BPM” specified for each patch . This makes it easier to achieve 0–100, 0–100, each patch . This makes it easier to achieve RATE effect sound settings that match the tempo RATE effect sound settings that match the tempo BPM – BPM – of the song . of the song . * If, due to the tempo, the time is longer than * If, due to the tempo, the time is longer than the range of allowable settings, it is then the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 synchronized to a period either 1/2 or 1/4 of that time . of that time . DEPTH 0–100 Adjusts the depth of the effect . DEPTH 0–100 Adjusts the depth of the UNI-V effect . LEVEL 0–100 Adjusts the volume . LEVEL 0–100 Adjusts the volume .

ROTARY PAN This produces an effect like the sound of a rotary speaker . 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 Parameter Value Explanation sound appear to fly back and forth between the speakers . SPEED This parameter changes the simulated SLOW, FAST SELECT speaker’s rotating speed (SLOW or FAST) . Parameter Value Explanation 0–100, This parameter adjusts the SPEED SELECT of This varies the volume level on the left and RATE-SLOW BPM – rotation when set to “SLOW ”. AUTO right according to the settings for WAVE SHAPE, RATE, and DEPTH . This parameter adjusts the SPEED SELECT of TYPE Output uses the volume balance set with rotation when set to “FAST ”. MANUAL POS . * When set to BPM, the value of each parameter will be set according to the WAVE SHAPE Adjusts changes in volume level . 0–100 value of the “MASTER BPM” specified for *1 A higher value will steepen wave’s shape . 0–100, RATE-FAST each patch . This makes it easier to achieve BPM – effect sound settings that match the tempo Adjusts the frequency (speed) of the change . of the song . * When set to BPM, the value of each * If, due to the tempo, the time is longer than parameter will be set according to the the range of allowable settings, it is then value of the “MASTER BPM” specified for synchronized to a period either 1/2 or 1/4 0–100, each patch . This makes it easier to achieve RATE *1 effect sound settings that match the tempo of that time . BPM – of the song . This parameter adjusts the amount of depth DEPTH 0–100 in the rotary effect . * If, due to the tempo, the time is longer than the range of allowable settings, it is then This parameter adjusts the time it takes for synchronized to a period either 1/2 or 1/4 RISE TIME 0–100 the rotation SPEED SELECT to change when of that time . switched from “SLOW” to “FAST ”. DEPTH *1 0–100 Adjusts the depth of the effect . This parameter adjusts the time it takes for L 100–CENTER– This adjusts the volume balance between the FALL TIME 0–100 the rotation SPEED SELECT to change when POS *2 switched from “FAST” to “SLOW ”. R 100 left and right channels . LEVEL 0–100 Adjusts the volume . LEVEL 0–100 Adjusts the volume .

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

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SLICER RING MOD. This consecutively interrupts the sound to create the impression that a This creates a bell-like sound by ring-modulating the guitar sound with the rhythm backing phrase is being played . signal from the internal oscillator . The sound can be unmusical and lack distinctive pitches . Parameter Value Explanation Select the slice pattern that will be used to Parameter Value Explanation PATTERN P1–P20 cut the sound . This selects the mode for the ring modulator . Adjust the rate at which the sound will be NORMAL This is a normal ring modulator . cut . By ring-modulating the input signal, a bell * When set to BPM, the value of each like sound is created . The intelligent ring parameter will be set according to the modulator changes the oscillation frequency value of the “MASTER BPM” specified for MODE according to the pitch of the input sound and 0–100, each patch . This makes it easier to achieve therefore produces a sound with the sense of RATE INTELLIGENT BPM – effect sound settings that match the tempo pitch, which is quite different from NORMAL . of the song . This effect does not give a satisfactory * If, due to the tempo, the time is longer than result if the pitch of the guitar sound is not the range of allowable settings, it is then correctly detected . So, you must use single synchronized to a period either 1/2 or 1/4 notes, not chords . of that time . Adjusts the frequency of the internal FREQUENCY 0–100 Adjust the sensitivity of triggering . oscillator . With low settings of this parameter, softly EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . picked notes will not retrigger the phrase DIRECT MIX 0–100 Adjusts the volume of the direct sound . TRIGGER (i e. ., the phrase will continue playing), but 0–100 SENS strongly picked notes will retrigger the phrase so that it will playback from the begin- ning . With high settings of this parameter, the phrase will be retriggered even by softly picked notes . HUMANIZER EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . This can create human vowel-like sounds . DIRECT MIX 0–100 Adjusts the volume of the direct sound . Parameter Value Explanation This sets the mode that switches the vowels . It changes from VOWEL 1 to VOWEL 2 along VIBRATO PICKING with the picking . The time spent for the MODE change is adjusted with the rate . This effect creates vibrato by slightly modulating the pitch . By adjusting the rate and depth, two vowels AUTO (VOWEL 1 and VOWEL 2) can be switched Parameter Value Explanation automatically . Adjusts the rate of the vibrato . VOWEL 1 a, e, i, o, u Selects the first vowel . * When set to BPM, the value of each VOWEL 2 a, e, i, o, u Selects the second vowel . parameter will be set according to the Adjusts the sensitivity of the humanizer . value of the “MASTER BPM” specified for When it is set to a lower value, no effect each patch . This makes it easier to achieve 0–100, of the humanizer is obtained with weaker RATE effect sound settings that match the tempo BPM – SENS *1 0–100 picking, while stronger picking produces of the song . the effect . When it is set to a higher value, * If, due to the tempo, the time is longer than the effect of the humanizer can be obtained the range of allowable settings, it is then whether the picking is weak or strong . synchronized to a period either 1/2 or 1/4 of that time . Adjusts the cycle for changing the two vowels . DEPTH 0–100 Adjusts the depth of the vibrato . * When set to BPM, the value of each This selects on/off of the vibrato . parameter will be set according to the TRIGGER OFF, ON * It is assumed that this parameter will be value of the “MASTER BPM” specified for 0–100, assigned to the footswitch . RATE each patch . This makes it easier to achieve BPM – effect sound settings that match the tempo This sets the time passing from the moment of the song . the Trigger is turned on until the set vibrato * If, due to the tempo, the time is longer than is obtained . the range of allowable settings, it is then * When a patch with TRIGGER set to ON is synchronized to a period either 1/2 or 1/4 RISE TIME 0–100 called up, the effect obtained is identical to of that time . what happens when TRIGGER is switched DEPTH 0–100 Adjusts the depth of the effect . from Off to On . If you want the vibrato effect to be produced immediately after the This determines the point where the two patches are switched, set RISE TIME to 0 . vowels are switched . When it is set to 50, VOWEL 1 and VOWEL 2 are switched in the LEVEL 0–100 Adjusts the volume . MANUAL *2 0–100 same length of time . When it is set to lower than 50, the time for VOWEL 1 is shorter . When it is set to higher than 50, the time for VOWEL 1 is longer . LEVEL 0–100 Adjusts the volume .

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

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2X2 CHORUS SUB DELAY Frequency band division is employed to produce two different choruses, This is a delay with the maximum delay time of 1,000 ms . This effect is one for low frequencies and one for higher frequencies, for both the left useful for making the sound fatter . and right channels (for a total of four) . This allows you to achieve a more natural chorus sound . Parameter Value Explanation Use this to choose the type of delay . Parameter Value Explanation MONO A simple monaural delay . Adjust the speed of the chorus effect for the TYPE low frequency range . Provides a tap delay effect that divides PAN the delay time between the left and right * When set to BPM, the value of each channels . parameter will be set according to the value of the “MASTER BPM” specified for Adjusts the delay time . 0–100, LOW RATE each patch . This makes it easier to achieve * When set to BPM, the value of each BPM – effect sound settings that match the tempo parameter will be set according to the of the song . value of the “MASTER BPM” specified for * If, due to the tempo, the time is longer than 1 ms–1000 ms, each patch . This makes it easier to achieve DELAY TIME effect sound settings that match the tempo the range of allowable settings, it is then BPM – synchronized to a period either 1/2 or 1/4 of the song . of that time . * If, due to the tempo, the time is longer than Adjust the depth of the chorus effect for the the range of allowable settings, it is then LOW DEPTH 0–100 low frequency range . If you wish to use this synchronized to a period either 1/2 or 1/4 as a doubling effect, use a setting of 0 . of that time . Adjust the speed of the chorus effect for the Adjusts the volume that is returned to the high frequency range . F .BACK 0–100 input . Higher settings will result in more delay repeats . * When set to BPM, the value of each parameter will be set according to the EFFECT LEVEL 0–120 Adjusts the volume of the delay sound . value of the “MASTER BPM” specified for This sets the frequency at which the high 0–100, each patch . This makes it easier to achieve 630 Hz–12 5. kHz, cut filter begins to take effect . When “FLAT” HIGH RATE HIGH CUT BPM – effect sound settings that match the tempo FLAT is selected, the high cut filter will have no of the song . effect . * If, due to the tempo, the time is longer than Adjusts the delay time of the left channel the range of allowable settings, it is then delay . This setting adjusts the L channel delay TAP TIME *1 0–100% synchronized to a period either 1/2 or 1/4 time relative to the R channel delay time of that time . (considered as 100%) . Adjust the depth of the chorus effect for the DIRECT MIX 0–100 Adjusts the volume of the direct sound . HIGH DEPTH 0–100 high frequency range . If you wish to use this as a doubling effect, use a setting of 0 . *1 Setting available when TYPE is set to PAN . Adjusts the delay of the effect sound in LOW PRE the low-frequency range . Extending the 0 .0 ms–40 0. ms DELAY pre-delay will produce the sensation of multiple sounds (doubling effect) . Adjusts the volume of the effect sound in the LOW LEVEL 0–100 low-frequency range . Adjusts the delay of the effect sound in HIGH PRE the high-frequency range . Extending the 0 .0 ms–40 0. ms DELAY pre-delay will produce the sensation of multiple sounds (doubling effect) . Adjusts the volume of the effect sound in the HIGH LEVEL 0–100 high-frequency range . This sets the frequency dividing the low- and XOVER FREQ 100 Hz–4 .00 kHz high-frequency ranges .

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DELAY COMMON

This effect adds delayed sound to the direct sound, giving more body to Parameter Value Explanation the sound or creating special effects . This determines the delay time . * When set to BPM, the value of each Parameter Value Explanation parameter will be set according to the DELAY value of the “MASTER BPM” specified for OFF, ON Turns this effect on/off . ON/OFF 1 ms–2000 ms, each patch . This makes it easier to achieve DELAY TIME effect sound settings that match the tempo This selects which type of delay . BPM – of the song . * If you switch patches with the Type set to either DUAL-S, DUAL-P, * If, due to the tempo, the time is longer than or DUAL- L/R and then begin to play immediately after the the range of allowable settings, it is then patches change, you may be unable to attain the intended effect synchronized to a period either 1/2 or 1/4 in the first portion of what you perform . of that time . * The stereo effect is cancelled if a monaural effect or COSM amp is This sets the amount of delay sound returned connected after a stereo delay effect .* F .BACK 0–100 to the input . A higher value will increase the SINGLE This is a simple monaural delay . number of the delay repeats . This delay is specifically for stereo output . This This sets the frequency at which the high allows you to obtain the tap delay effect that 630 Hz–12 5. kHz, cut filter begins to take effect . When “Flat” HIGH CUT divides the delay time, then deliver them to L and FLAT is selected, the high cut filter will have no R channels . effect . EFFECT LEVEL 0–120 Adjusts the volume of the delay sound . Tap Time PAN OUTPUT L DIRECT MIX 0–100 Adjusts the volume of the direct sound . E ectLev Dly Time INPUT DELAY OUTPUT R PAN Feedback

The direct sound is output from the left channel, Parameter Value Explanation STEREO and the effect sound is output from the right channel . Adjusts the delay time of the left channel delay . This setting adjusts the L channel delay TAP TIME 0–100% This is a delay comprising two different delays time relative to the R channel delay time connected in series . Each delay time can be set in (considered as 100%) . a range from 1 ms to 1000 ms . DUAL-S TYPE D1: DELAY 1 D1 D2 D2: DELAY 2 DUAL-S, DUAL-P, DUAL-L/R 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 . Parameter Value Explanation DUAL-P This determines the delay time . D1 * When set to BPM, the value of each parameter will be set according to the D2 value of the “MASTER BPM” specified for D1:TIME 1 ms–1000 ms, each patch . This makes it easier to achieve This is a delay with individual settings available for effect sound settings that match the tempo BPM – the left and right channels . Delay 1 goes to the left D2:TIME of the song . channel, Delay 2 to the right . * If, due to the tempo, the time is longer than DUAL-L/R the range of allowable settings, it is then D1 L synchronized to a period either 1/2 or 1/4 of that time . D2 R D1:F .BACK Adjusts the amount of feedback of the DELAY 0–100 1 (or DELAY 2) . A higher value will increase This produces an effect where the sound is played D2:F .BACK REVERSE the number of the delay repeats . back in reverse . This sets the frequency at which the high This gives a mild analog delay sound . The delay ANALOG D1:HI CUT 630 Hz–12 5. kHz, cut filter begins to take effect . When “FLAT” time can be set within the range of 1 to 2000 ms . D2:HI CUT FLAT is selected, the high cut filter will have no This setting provides the characteristic wavering effect . TAPE sound of the tape echo . The delay time can be set D1:LEVEL Adjusts the volume of the DELAY 1 (or DELAY within the range of 1 to 3400 ms . 0–120 D2:LEVEL 2) . MOD This delay adds a pleasant wavering effect to the (MODULATE) sound .

19 EFFECT

MODULATE REVERB

Parameter Value Explanation This effect adds reverberation to the sound . Adjusts the modulation rate of the delay MOD RATE 0–100 sound . Parameter Value Explanation Adjusts the modulation depth of the delay REVERB ON/ MOD DEPTH 0–100 OFF, ON Turns this effect on/off . sound . OFF This selects the reverb type . Various different simulations of space are offered . Simulates an ambience mic (off-mic, placed at a distance from the sound source) used in CHORUS AMBIENC recording and other applications . Rather than (AMBIENCE) emphasizing the reverberation, this reverb In this effect, a slightly detuned sound is added to the original sound to is used to produce a sense of openness and add depth and breadth . depth . Simulates the reverberation in a small room . ROOM Parameter Value Explanation Provides warm reverberations . CHORUS ON/ Simulates the reverberation in a concert hall . OFF, ON Turns this effect on/off . HALL 1 OFF TYPE Provides clear and spacious reverberations . Selection for the chorus mode . Simulates the reverberation in a concert hall . HALL 2 Provides mild reverberations . This chorus effect outputs the same sound MONO from both L channel and R channel . Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate) . This is a stereo chorus effect that adds PLATE MODE Provides a metallic sound with a distinct STEREO 1 different chorus sounds to L channel and R upper range . channel . This simulates the sound of a guitar amp’s SPRING This stereo chorus uses spatial synthesis, with built-in spring reverb . STEREO 2 the direct sound output in the L channel and the effect sound output in the R channel . This reverb adds the wavering sound found MOD (MODULATE) in hall reverb to provide an extremely Adjusts the rate of the chorus effect . pleasant reverb sound . * When set to BPM, the value of each REV TIME 0 .1 s–10 .0 s Adjusts the length (time) of reverberation . parameter will be set according to the Adjusts the time until the reverb sound value of the “MASTER BPM” specified for PRE DELAY 0 ms–500 ms appears . 0–100, each patch . This makes it easier to achieve RATE effect sound settings that match the tempo BPM – EFFECT LEVEL 0–100 Adjusts the volume of the reverb sound . of the song . This sets the frequency at which the low * If, due to the tempo, the time is longer than LOW CUT FLAT, 20 Hz–800 Hz cut filter begins to take effect . When “Flat” is the range of allowable settings, it is then selected, the low cut filter will have no effect . synchronized to a period either 1/2 or 1/4 of that time . This sets the frequency at which the high 630 Hz–12 5. kHz, cut filter begins to take effect . When “Flat” Adjusts the depth of the chorus effect . HIGH CUT FLAT is selected, the high cut filter will have no DEPTH 0–100 * To use it for doubling effect, set the value effect . to 0 . DENSITY 0–10 Adjusts the density of the reverb sound . EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . DIRECT MIX 0–100 Adjusts the volume of the direct sound . Adjusts the time needed for the effect sound SPRING SENS to be output after the direct sound has been Adjusts the sensitivity of the spring effect . output . By setting a longer pre delay time, (TYPE = 0–100 When the value is set higher, the effect is PRE DELAY 0 .0 ms–40 0. ms you can obtain an effect that sounds like SPRING only) obtained even with a weak picking . more than one sound is being played at the same time (doubling effect) . This sets the frequency at which the low LOW CUT FLAT, 20 Hz–800 Hz 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 630 Hz–12 .5 kHz, cut filter begins to take effect . When “Flat” HIGH CUT FLAT is selected, the high cut filter will have no effect .

20 EFFECT

PEDAL FX FOOT VOLUME

PEDAL BEND FOOT VOLUME This lets you use the pedal to get a pitch bend effect . This is a volume control effect . * Because of the need to analyze the pitch, chords (two or more sounds played Normally, this is controlled with the EXP Pedal or the [EXP] pedal simultaneously) cannot be played . connected to the SUB CTL 1, 2/SUB EXP jack .

Parameter Value Explanation Parameter Value Explanation This sets the pitch at the point where the EXP Sets the volume when the heel of the EXP PITCH -24–+24 VOLUME MIN 0–100 Pedal is all the way down . Pedal is depressed . Adjusts the pedal position for pedal bend . Selects the volume when the toe of the EXP VOLUME MAX 0–100 PEDAL POS 0–100 This parameter is used after it’s been Pedal is depressed . assigned to an EXP Pedal or similar controller . You can select how the actual volume EFFECT LEVEL 0–100 Adjusts the volume of the pitch bend sound . changes relative to the amount the pedal is DIRECT MIX 0–100 Adjusts the volume of the direct sound . pressed . Volume WAH FAST You can control the wah effect in real time by adjusting the [EXP] pedal or VOLUME SLOW 1, SLOW 2, CURVE NORMAL, FAST the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack . NORMAL

Parameter Value Explanation SLOW 2 Selects the type of wah . SLOW 1 This models the sound of the CRY BABY wah CRY WAH pedal popular in the ‘70s . When the pedal is When the pedal is VO WAH This models the sound of the VOX V846 . fully raised fully advanced FAT WAH This is a wah sound featuring a bold tone . LEVEL 0–100 Adjusts the volume . This wah has a refined sound with no unusual TYPE LIGHT WAH characteristics . This expanded wah features a variable range 7STRING WAH compatible with seven-string and baritone guitars . This completely original effect offers en- RESO WAH hancements on the characteristic resonances produced by analog synth filters . Adjusts the position of the wah pedal . PEDAL POS 0–100 * This parameter is used after it’s been assigned to an EXP Pedal or similar controller . Selects the tone produced when the heel of PEDAL MIN 0–100 the EXP Pedal is depressed . Selects the tone produced when the toe of PEDAL MAX 0–100 the EXP Pedal is depressed . EFFECT LEVEL 0–100 Adjusts the volume of the effect sound . DIRECT MIX 0–100 Adjusts the volume of the direct sound .

21 EFFECT

DIVIDER MIXER

Within the effect chain, the point where the signal is split into channels “A” and “B” is called the “divider,” and the point where the two signals are Parameter Value Explanation recombined is called the “mixer ”. Channels “A” and “B” will be mixed and output STEREO You can use the divider to switch between channels “A” and “B,” to assign in stereo . MODE strongly picked notes and softly picked notes to different channels, or Channels “A” and “B” will be assigned PAN L/R to assign different frequency bands of your guitar sound to different respectively to the L and R OUTPUT jacks . channels . Adjusts the volume balance of channels “A” The mixer lets you adjust the volume balance of channels “A” and “B,” CH A/B and “B ”. 100:0–0:100 place them in the stereo field, or slightly delay the sound of channel “B” to BALANC * This is shown only if DIVIDER MODE is set produce a spacious sound . to “DUAL ”. Slightly delays the sound of channel “B” to DIVIDER MIXER make the sound more spacious . SPREAD 0–100 * This is shown only if DIVIDER MODE is set to “DUAL ”.

Parameter Value Explanation SINGLE Use only one channel, either “A” or “B ”. MODE DUAL Use the two channels “A” and “B ”.

SINGLE

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

DUAL Ch. A, DUAL Ch. B

Parameter Value Explanation OFF DYNAMIC will not be used . Only notes picked more strongly than the Ch . A/Ch . B POLAR+ DYNAMIC SENS setting will be output . DYNAMIC Only notes picked more softly than the POLAR- DYNAMIC SENS setting will be output . Ch . A/Ch . B DYNAMIC 0–100 Specifies the picking sensitivity . SENS OFF The filter will not be used . Only the region below the cutoff frequency Ch . A/Ch . B LPF will be output . FILTER Only the region above the cutoff frequency HPF will be output . Ch . A/Ch . B 100 Hz–2 kHz Cutoff frequency CUTOFF FREQ

22 EFFECT

SEND/RETURN NS1/NS2

You can connect an external effects processor between the SEND jack and This effect reduces the noise and hum picked up by guitar pickups . Since RETURN jack, and use it as one of the GT-100’s effects processors . it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound .

Parameter Value Explanation NS ON/OFF OFF, ON Switches the noise suppressor effect on/off . 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 THRESH 0–100 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 . Adjusts the time from when the noise suppressor RELEASE 0–100 begins to function until the noise level reaches “0 ”. This controls the noise suppressor based on the volume level for the point specified in Detect . The sound that is input to SEND/RETURN within the effect chain will be output to the SEND jack . The sound that is input via the RETURN jack will Input volume from input jack . INPUT be input to SEND/RETURN within the effect chain . * Ordinarily, DETECT should be set to “INPUT ”. Noise suppressor input volume . * When connected as illustrated below, and you want Parameter Value Explanation to prevent a spatial-type effects sound (such as a SEND/ delay sound) from being eradicated by the NS, you NS INPUT RETURN OFF, ON Turns the SEND/RETURN on/off . should set DETECT to “NS INPUT ”. ON/OFF DLY NS1 The input to SEND/RETURN within the effect DETECT chain will be output to the SEND jack, and (Spatial-type effect) the input from the RETURN jack will be output following SEND/RETURN . Volume after passing through Foot Volume . Use this setting if you want to connect an * If you want to use FV (Foot Volume) in place of the external effects processor in series within the guitar’s volume control, you need to set DETECT to NORMAL GT-100’s effect chain . “FV OUT ”. FV OUT

INPUT SEND RETURN FV NS1

Foot Volume The input to SEND/RETURN within the effect chain will be output to the SEND jack, and the input from the RETURN jack and the input to SEND/RETURN (the direct sound) will be mixed and output following SEND/RETURN . Use this when you want to mix the GT-100’s MODE DIRECT MIX 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-100’s effect chain in front of reverb or BRANCH OUT delay, this allows you to use the SEND jack as a dry out .

SEND

Adjusts the volume of the output to the SEND LEVEL 0–200 external effects device . RETURN Adjusts the volume of the input from the 0–200 LEVEL external effects device .

23 EFFECT

ACCEL FX TWIST

This allows for the use of six different types of Accel effects, which modify Produces an aggressive sense of rotation . Using this in conjunction with the sound over time when you depress the [ACCEL/CTL] pedal . distortion will produce an even wilder sense of rotation .

Parameter Value Explanation Parameter Value Explanation S-BEND Applies intense bending . This parameter adjusts the amount of time RISE TIME 0–100 it is to take for the effect to transition to the LASER BEAM Produces a laser beam-like sound . maximum . Produces a metallic sound, creating the RING MOD . This parameter adjusts the amount of time impression that the sound is being focused . FALL TIME 0–100 it is to take for the effect to transition to the TYPE Produces an aggressive sense of rotation . original . TWIST Using this in conjunction with distortion will LEVEL 0–100 Adjusts the volume of the effect sound . produce an even wilder sense of rotation . WARP Produces a dream-like sound . FEEDBACKER Generates feedback performance . WARP S-BEND Produces a dream-like sound . Parameter Value Explanation Applies intense bending . This parameter adjusts the amount of time RISE TIME 0–100 it is to take for the effect to transition to the Parameter Value Explanation maximum . -3 oct, -2 oct, This parameter adjusts the amount of time -1 oct, +1 oct, Adjusts the amount of pitch shift in octave PITCH FALL TIME 0–100 it is to take for the effect to transition to the +2 oct, +3 oct, steps . original . +4 oct LEVEL 0–100 Adjusts the volume of the effect sound . This parameter adjusts the amount of time RISE TIME 0–100 it is to take for the effect to transition to the maximum . This parameter adjusts the amount of time FALL TIME 0–100 it is to take for the effect to transition to the FEEDBACKER original . Generates feedback performance . * Note that the notes you want to apply feedback to must be played LASER BEAM singly and cleanly . Parameter Value Explanation Produces a laser beam-like sound . Analyzes the pitch of the guitar sound being NORMAL input, and then creates a feedback sound . Parameter Value Explanation An artificial feedback sound will be created RATE 0–100 Adjusts the modulation rate of the sound . MODE internally . When OSC is selected, the effect is activated after a single note is played and the DEPTH 0–100 Adjusts the modulation depth of the sound . OSC note stabilizes . A feedback effect is created This parameter adjusts the amount of time when the effect switches on; the feedback RISE TIME 0–100 it is to take for the effect to transition to the disappears when the OSC effect switches off . maximum . Adjusts the ease with which feedback will DEPTH *1 0–100 This parameter adjusts the amount of time occur when the FEEDBACKER is on . FALL TIME 0–100 it is to take for the effect to transition to the original . This determines the time needed for the volume of the feedback sound to reach its RISE TIME *2 0–100 maximum from the moment the effect is turned on . This determines the time needed for the RING MOD. OCTAVE RISE volume of the one octave higher feedback 0–100 TIME *2 sound to reach its maximum from the Produces a metallic sound, creating the impression that the sound is being moment the effect is turned on . focused . F .BACK LEVEL 0–100 Adjusts the volume of the feedback sound . *2 Parameter Value Explanation OCTAVE Adjusts the volume of the one octave higher Adjusts the frequency of the internal F .BACK LEVEL 0–100 FREQ 0–100 feedback sound . oscillator . *2 This parameter adjusts the amount of time Adjusts the rate of the vibrato when the VIB RATE *2 0–100 RISE TIME 0–100 it is to take for the effect to transition to the FEEDBACKER is on . maximum . Adjusts the depth of the vibrato when the VIB DEPTH *2 0–100 This parameter adjusts the amount of time FEEDBACKER is on . FALL TIME 0–100 it is to take for the effect to transition to the original . *1 MODE=NORMAL only RING LEVEL 0–100 Adjusts the volume of the effect sound . *2 MODE=OSC only OCTAVE Adjusts the volume of the one octave low 0–100 LEVEL sound . DIRECT MIX 0–100 Adjusts the volume of the direct sound .

24 EFFECT

MASTER SETTING AMP CONTROL

These settings are applied to the overall patch . By connecting your guitar amp’s channel switching jack to the GT-100’s AMP CONTROL jack, you can then use Amp Control to switch the amp channel . MASTER SETTING

Parameter Value Explanation PATCH LEVEL 0–200 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 . * When you have an external MIDI device MASTER BPM 40–250 connected, the MASTER BPM synchronizes to the external MIDI device’s tempo, making it impossible to set the MASTER BPM . To enable setting of the MASTER BPM, set”SYNC CLOCK” (p . 29) to INTERNAL . This sets the key for the FX HARMONIST .

Major 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 MASTER KEY C (Am)–B (G#m) Minor allows you to switch guitar amp channels with each patch . Major Parameter Value Explanation

Minor GT-100 (AMP CONTROL jack)

MASTER EQ OFF Parameter Value Explanation MASTER LOW -20–+20 dB Adjusts the low frequency range tone . GAIN MASTER HIGH -20–+20 dB Adjusts the high frequency range tone . Guitar Amp GAIN AMP (Channel switching jack) Specify the center of the frequency range MASTER MID CONTROL 20 .0 Hz–10 .0 kHz that will be adjusted by the MASTER MID FREQ GAIN . GT-100 Adjusts the width of the area affected by the (AMP CONTROL jack) MASTER 0 .5–16 EQ centered at the MASTER MID FREQ . Higher MID Q values will narrow the area . MASTER MID -20–+20 dB Adjusts the middle frequency range tone . GAIN ON

Guitar Amp (Channel switching jack)

* To determine how the amp channels are switched when the circuit is open and shorted, refer to the amp owner’s manual, or actually confirm the sounds by operating the amp . * Note that, depending on the circuitry of the channel switching jack in the guitar amp used, the Amp Control function may not operate . * Since this is a single mono plug, it can’t switch a three-channel amp .

MEMO With Amp Control, not only can you switch amp channels, you can also use it to switch the amp’s effects on and off, like a footswitch controller .

25 SYSTEM

OUTPUT SELECT TOTAL Specify the device (amp) that’s connected to the OUTPUT jacks . 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 Parameter Value Explanation affect the settings of each patch . Choose this setting if the GT-100 is connected JC-120 to the guitar input of a Roland JC-120 guitar Parameter Value Explanation amp . Control the threshold level of the noise Choose this setting if the GT-100 is connected suppressor used by each patch . This does not SMALL AMP to a small guitar amp . NS THRESH -20–+20 dB affect the settings of each patch . Choose this setting if the GT-100 is connected * If you want to use the settings specified for to the guitar input of a combo-type guitar each patch, set this to 0 dB . amp (i e. ., a single unit that contains the amp COMBO AMP Adjusts the reverb level specified for each and speaker) other than the JC-120 . patch . For some types of guitar amps, the “JC-120” It is useful to adjust the reverb level setting might produce better results . appropriately for the space in which you’re REVERB 0–200% Choose this setting if the GT-100 is connected performing . This does not affect the settings to the guitar input of a stack-type guitar amp of each patch . STACK AMP (i e. ., one in which the amp and speaker are SELECT * If you want to use the settings specified for separate units) . each patch, set this to 100 % . Choose this setting if the GT-100 is connected JC-120 RETURN MAIN Specifies the output reference level as to the RETURN jack of the JC-120 . OUTPUT -10 dB, +4 dB appropriate for the input level of the device Choose this setting if the GT-100 is connected LEVEL connected to the OUTPUT jacks . COMBO RETURN 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 STACK RETURN amp . You should also choose the “STACK PHRASE LOOP RETURN” setting if you’re using a guitar power amp together with a speaker cabinet . Here are various settings for the Phrase Loop function . Choose this setting if you’re using LINE/PHONES headphones, or if the GT-100 is connected to Parameter Value Explanation a keyboard amp, mixer, or digital recorder . The sound processed by the effects will be recorded . PERFORM This lets you create a variety of performances by layering different sounds . INPUT MODE The sound before being processed by the effects will be recorded, and the effects will Adjust the input level according to the output level of the guitar that PATCH EDIT be applied when the loop is played back . you’ve connected . This is a convenient way to adjust the effects, or to compare the sound of different patches . The phrase will be recorded in monaural Parameter Value Explanation MONO (maximum 38 seconds) . INPUT LEVEL -20–+20 dB Adjusts the guitar input level . REC MODE The phrase will be recorded in stereo STEREO (maximum 19 seconds) . PLAY LEVEL 0–120 Specifies the phrase playback volume . Phrase Loop will not operate even if you OFF GLOBAL EQ press the [PHRASE LOOP] pedal . PEDAL FUNC This adjusts the tone of the OUTPUT regardless of the equalizer on/off You can use the [PHRASE LOOP] pedal to PHRASE LOOP settings of individual patches . switch Phrase Loop on/off or to record .

Parameter Value Explanation LOW GAIN -20–+20 dB Adjusts the low frequency range tone . MID GAIN -20–+20 dB Adjusts the middle frequency range tone . PLAY OPTION Specifies the center of the frequency range MID FREQ 20 .0 Hz–10 .0 kHz Here you can specify how the pedals will work during performance . that will be adjusted by the MID GAIN . Adjusts the width of the area affected by the Parameter Value Explanation MID Q 0 .5–16 EQ centered at the MID FREQ . Higher values will narrow the area . Although the indication in the display is updated to reflect the change in the bank HIGH GAIN -20–+20 dB Adjusts the high frequency range tone . BANK WAIT when a BANK pedal is pressed, the patch will CHANGE not change until a number pedal has been MODE pressed . The patch switches instantly when a BANK IMMED pedal or any of the number pedals is pressed .

26 SYSTEM

Parameter Value Explanation Display of parameters you can set with KNOB The operational status of the EXP PEDAL’s OFF FUNC (p . 31) is not carried over when patches SETTING are switched . The parameter names displayed in the Play screen are abbreviated . If the EXP PEDAL’s FUNC (p . 31) are the same between 2 patches, the operational status is For details about the parameter names, refer to the chart shown below . carried over when patches are switched . For example, if EXP PEDAL FUNC is set to Value Display Value Display FOOT VOLUME in both patches, the one EXP PEDAL OFF OFF DELAY F .BACK DlyFBK before and the one after the change, the HOLD volume corresponding to the position the PATCH PATCH DELAY HI CUT DlyHC ON pedal is in (angle) at the time of the patch COMP SUSTAIN CmpSUS DELAY E .LEV DlyELV change will be maintained after the patch change . On the other hand, if the patch being COMP ATTACK CmpATK DELAY D1TIME D1 TIM changed to is set to WAH, the volume will be COMP LEVEL CmpLEV DELAY D1F .BK D1 FBK in accordance with the value set within the patch, and you’ll obtain a wah effect that is OD/DS DRIVE OD DRV DELAY D1HICUT D1 HC in accordance with a value that reflects the OD/DS TONE OD TNE DELAY D1LEV D1 LEV current position (angle) of the pedal . OD/DS E .LEV OD ELV DELAY D2TIME D2 TIM Specifies whether knob operations will be KNOB LOCK OFF, ON disabled . If this is ON, knob operations will OD/DS SOLO LV OD SLV DELAY D2F .BK D2 FBK be disabled . PRE A TYPE A:TYPE DELAY D2HICUT D2 HC OFF, TUNER, Selects the function that will be recalled PRE A GAIN A:GAIN DELAY D2LEV D2 LEV NUM PEDAL Ch . A/B, OD SOLO, when you press the pedal of the same SW A/B SOLO, number as the currently selected patch . PRE A LEVEL A:LEV CHORUS RATE ChoRAT A&B SOLO PRE A BASS A:BASS CHORUS DEPTH ChoDPT BANK EXTENT P01–P50, Sets the lower limit for the banks . MIN U01–U50 PRE A MID A:MID CHORUS PREDLY ChoDLY BANK EXTENT P01–P50, PRE A TREBLE A:TRB CHORUS E .LEV ChoLEV Sets the upper limit for the banks . MAX U01–U50 PRE A PRES A:PRES REVERB TIME RevTIM PEDAL If this is ON, all currently unlit pedal OFF, ON PRE A SOLO LV A:SLV REVERB HI CUT RevHC INDICAT indicators will blink dimly . PRE A MIC LEV A:MLV REVERB E .LEV RevELV PRE B TYPE B:TYPE MASTER LOW MT LOW PRE B GAIN B:GAIN MASTER MID MT MID KNOB SETTING PRE B LEVEL B:LEV MASTER HIGH MT HI Here you can assign the desired parameters to knobs [1]–[8] in the Play PRE B BASS B:BASS PATCH LEVEL PAT LV Screen . PRE B MID B:MID PEDAL WAH LEV WahLEV * The settings you make here are only for the knobs in the Play Screen . PRE B TREBLE B:TRB PEDAL PB LEV PB LEV PRE B PRES B:PRES DIV CH SELECT CH A/B Parameter Value PRE B SOLO LV B:SLV SR SEND LEVEL SR SND KNOB 1 OFF, PATCH, COMP SUSTAIN, COMP ATTACK, COMP LEVEL, PRE B MIC LEV B:MLV SR RTN LEVEL SR RTN OD/DS DRIVE, OD/DS TONE, OD/DS E .LEV, OD/DS SOLO LV, EQ LO CUT EQ LC NS1 THRESH NS1THR KNOB 2 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, EQ LOW EQ LOW NS1 RELEASE NS1REL KNOB 3 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-MID EQ LMD NS2 THRESH NS2THR EQ LO CUT, EQ LOW, EQ LO-MID, EQ HI-MID, EQ HIGH, EQ HI CUT, KNOB 4 EQ HI-MID EQ HMD NS2 RELEASE NS2REL DELAY TIME, DELAY F .BACK,DELAY HI CUT, DELAY E .LEV, DELAY D1TIME, DELAY D1F .BK, DELAY D1HICUT, DELAY D1LEV, EQ HIGH EQ HI GLOBAL EQ LOW GB LOW KNOB 5 DELAY D2TIME, DELAY D2F .BK, DELAY D2HICUT, DELAY D2LEV, EQ HI CUT EQ HC GLOBAL EQ MID GB MID CHORUS RATE , CHORUS DEPTH, CHORUS PREDLY, CHORUS E .LEV, KNOB 6 REVERB TIME, REVERB HI CUT, REVERB E .LEV, MASTER LOW, DELAY TIME DlyTIM GLOBAL EQ HIGH GB HI MASTER MID, MASTER HIGH, PATCH LEVEL, PEDAL WAH LEV, KNOB 7 PEDAL PB LEV, DIV CH SELECT, SR SEND LEVEL, SR RTN LEVEL, NS1 THRESH, NS1 RELEASE, NS2 THRESH, NS2 RELEASE, KNOB 8 GLOBAL EQ LOW, GLOBAL EQ MID, GLOBAL EQ HIGH

27 SYSTEM

PREFERENCE USB Here you can specify whether settings for the type of connected amp and Here you can make USB-related settings for when the GT-100 is connected preamp, control pedal, expression pedal, etc . will be independent for each to a computer via USB . patch, or whether the same settings will be shared by all patches .

Parameter Value Explanation USB audio flow OUTPUT USB IN-OUT MODE: NORMAL PATCH, SYSTEM If this is set to PATCH, different settings can SELECT be made independently for each patch . If this PREAMP PATCH, SYSTEM 1–3 is set to SYSTEM, the same settings will be GT-100 USB OUT OUTPUT shared by all patches . ACCEL/CTL PATCH, SYSTEM EXP PATCH, SYSTEM * Here, even if a CTL/EXP pedal that has been EXP SW PATCH, SYSTEM set to SYSTEM is set to ASSIGN SOURCE (p . USB IN MIX SUB CTL 1 PATCH, SYSTEM 32), that setting will be ignored . In the case of the ACCEL/CTL pedal, in addition to the Level OUTPUT SUB CTL 2 PATCH, SYSTEM above, settings for Manual mode (p . 37) will INPUT Level SUB EXP PATCH, SYSTEM also be ignored . Effect Chain

LCD USB IN-OUT MODE: DRY OUT

Here you can adjust the brightness of the characters in the display . GT-100 USB OUT OUTPUT

Parameter Value Explanation CONTRST LEFT 1–16 Higher values increase the brightness . USB IN CONTRST MIX Level RIGHT OUTPUT INPUT Level

Effect Chain

USB IN-OUT MODE: REAMP

GT-100 USB OUT OUTPUT

USB IN OUTPUT Level

INPUT INPUT Level

Effect Chain

Parameter Value Explanation Here you can specify the audio flow for USB input/output . The guitar input will be sent through the GT-100’s effects and output to the computer . The NORMAL input from the computer will be mixed with the GT-100’s 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 DRY OUT through the GT-100’s effects . The input from the USB IN-OUT computer will be mixed with the GT-100’s output MODE (effect-processed guitar sound) and then output . The sound being input from the computer will pass through the GT-100’s effects, and then be output from the GT-100’s OUTPUT and USB OUT . With this setting, the guitar sound recorded on REAMP the computer can be played back through the GT-100’s effects and output from the GT-100’s guitar OUTPUT and USB OUT . * If REAMP is selected, the GT-100’s INPUT cannot be used . 28 SYSTEM

Parameter Value Explanation Parameter Value Explanation Adjusts the level of the audio input from the computer that This setting determines the basis used for synchronizing will be mixed with the sound processed by the GT-100’s effects the timing for effect modulation rates and other time-based when “USB IN-OUT MODE” is not set to “REAMP” . parameters . MIX LEVEL Adjusts the level of the audio input from the * When you have an external MIDI device connected, the 0–200 % computer that will be mixed with the sound MASTER BPM is then synchronized to the external MIDI processed by the GT-100’s effects . device’s tempo, thus disabling the MASTER BPM setting . To enable setting of the MASTER BPM, set to “INTERNAL ”. Adjusts the input level from the computer to the GT-100’s effects when “USB IN-OUT MODE” is set to “REAMP” . * When synchronizing performances to the MIDI Clock INPUT LEVEL SYNC signal from an external MIDI device, timing problems in the Adjusts the input level from the computer to the CLOCK -20–+20 dB performance may occur due to errors in the MIDI Clock . GT-100’s effects . Operations are synchronized to the MIDI Clock Adjusts the level of the output from the GT-100 to the computer . received via MIDI . However, operations are OUTPUT LEVEL 0–200% Adjusts the level of the output to the computer . AUTO automatically synchronized to the GT-100’s internal Clock if the GT-100 is unable to receive Switches the output of the GT-100 sound to the OUTPUT and the external Clock . PHONES jacks . Operations are synchronized to the GT-100’s INTERNAL * This setting cannot be saved . It is set to ON when the power internal Clock . is turned on . This selects whether MIDI messages will be received from the * If you are using the special driver, you can control DIR . MIDI IN connector or from the USB port . MONITOR On/Off from ASIO 2 .0 - compatible application . MIDI messages will be received via the USB port . DIR . MONITOR Set this to Off if transmitting audio data MIDI IN internally through a computer (Thru) . USB (AUTO) * If the USB port is not connected to a OFF SELECT No sound is heard at this time unless the setting computer, MIDI messages will be received for the computer is Thru . from the MIDI IN connector . MIDI messages will be received from the MIDI The GT-100 sound is output . Set this to ON MIDI when using the GT-100 as a standalone device, IN connector . ON without connecting to a computer (only USB This setting determines whether or not Program Change input sound will be output if this is set to Off) . messages are output when patches are switched on the GT-100 . This setting determines whether or not the command (the * On the GT-100, Bank Select messages are output simultane- Direct Monitor command) controlling the Direct Monitor setting ously with Program Change messages . is enabled . PC OUT Program Change messages are not output, even The Direct Monitor command is disabled, OFF DIR . MONITOR when patches are switched . DISABLE maintaining the Direct Monitor mode set by the CMD Program Change messages are simultaneously GT-100 . ON output when patches are switched . The Direct Monitor command is enabled, allow- ENABLE ing the Direct Monitor mode to be switched This setting determines whether patches are switched according from an external device . to the Program Change Map settings, or to the default settings . This deactivates the Program Change Map . MAP FIX Switches to the patches according to the default SELECT settings . MIDI SETTING This activates the Program Change Map . PROG Switches to the patches according to the Here you can make settings for using the GT-100 connected with an Program Change Map . external MIDI device or with a second GT-100 unit . This sets the controller number when [PHRASE LOOP] pedal switch operation data is output as Control Change messages . Parameter Value Explanation PH .LOOP OFF Control Change messages are not output . OUT This sets the MIDI channel used for receiving MIDI messages . This sets the controller number when [PHRASE RX CHANNEL CC#1–CC#31, LOOP] pedal operation data is output as Control Ch . 1– Ch . 16 Specifies the receive channel . CC#64–CC#95 Change messages . This makes the settings for the channels used for MIDI information . This sets the controller number when [ACCEL/CTL] pedal switch operation data is output as Control Change messages . Information is received on the channel specified OMNI MODE OFF by the RX CHANNEL setting . ACC/CTL OFF Control Change messages are not output . OUT This sets the controller number when [ACCEL/ Messages are received on all channels, regard- CC#1–CC#31, ON CTL] pedal operation data is output as Control less of the MIDI channel settings . CC#64–CC#95 Change messages . This sets the MIDI channel used for transmitting MIDI messages . This sets the controller number when [EXP] pedal operation data Ch . 1– Ch . 16 . Specifies the transmit channel . TX CHANNEL is output as Control Change messages . Transmits on the same channel as the RX RX OFF Control Change messages are not output . CHANNEL . EXP OUT This sets the controller number when [EXP] CC#1–CC#31, This sets the MIDI Device ID used for transmitting and receiving pedal operation data is output as Control CC#64–CC#95 DEVICE ID Exclusive messages . Change messages . 1–32 Sets the MIDI Device ID . This sets the controller number when EXP PEDAL SW operation data is output as Control Change messages . EXP SW OFF Control Change messages are not output . OUT This sets the controller number when EXP CC#1–CC#31, PEDAL SW operation data is output as Control CC#64–CC#95 Change messages .

29 SYSTEM

Parameter Value Explanation This sets the controller number when operation data from the AUTO OFF footswitch connected to the SUB CTL 1, 2/SUB EXP jack is output The GT-100 can turn off its power automatically . The power will turn as Control Change messages . SUB off automatically when 10 hours have passed since you last played or CTL 1 OFF Control Change messages are not output . operated the unit . The display will show a message approximately 15 OUT This sets the controller number when SUB CTL minutes before the power turns off . CC#1–CC#31, 1 pedal operation data is output as Control CC#64–CC#95 With the factory settings, this function is turned “ON” (power-off in 10 Change messages . hours) . If you want to have the power remain on all the time, turn it “OFF ”. OFF Control Change messages are not output . SUB * When the power is turned off, any settings you were editing will be lost . This sets the controller number when SUB CTL CTL 2 CC#1–CC#31, You must save settings that you want to keep . 2 pedal operation data is output as Control OUT CC#64–CC#95 Change messages . Parameter Value Explanation This sets the controller number when operation data from the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack is OFF The power will not turn off automatically . output as Control Change messages . SUB AUTO OFF The power will automatically turn off when EXP OFF Control Change messages are not output . ON 10 hours have passed since you last played or OUT operated the GT-100 . This sets the controller number when external CC#1–CC#31, SUB EXP Pedal operation data is output as CC#64–CC#95 Control Change messages . FACTORY RESET Initializes the GT-100 to its factory-set condition . Refer to “Restoring the MIDI PROGRAM MAP BANK 0–3 Factory Settings . When switching patches using Program Change messages transmitted by an external MIDI device, you can freely set the correspondence between Parameter Value Explanation Program Change messages received by the GT-100 and the patches to be SYSTEM System parameter settings switched to in the “Program Change Map ”. FROM QUICK Settings for User Quick Setting U01-1–U50-4 Settings for Patch Number U01-1 through U50-4 Parameter Value Explanation SYSTEM System parameter settings This sets the patch number (P01-1 through U01-1–U50-4, PC#1–PC#128 U50-4) for the corresponding Program Change TO QUICK Settings for User Quick Setting P01-1–P50-4 number . U01-1–U50-4 Settings for Patch Number U01-1 through U50-4

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 Explanation SYSTEM System parameter settings QUICK Settings for User Quick Setting FROM U01-1–U50-4 Settings for Patch Number U01-1 through U50-4 TEMP Settings for the patch that is currently selected SYSTEM System parameter settings QUICK Settings for User Quick Setting TO U01-1–U50-4 Settings for Patch Number U01-1 through U50-4 TEMP Settings for the patch that is currently selected

PEDAL CALIBRATION You can readjust the [EXP] pedal so that it will operate optimally .

Parameter Value Explanation Adjusts the sensitivity at which the EXP PEDAL SW will THRESHOLD 1–16 respond .

30 CTL/EXP

Parameter Value Explanation

ACCEL/CTL, EXP SW, SUB CTL 1, SUB OFF, ON This sets the value for times when the MIN CTL 2 (or STOP, START) switch is Off . OFF, ON This sets the value for times when the MAX Here’s how to assign the parameters that will be controlled by the ACCEL/ (or STOP, START) switch is On . CTL, EXP SW, SUB CTL 1 and SUB CTL 2 pedals . This sets the behavior of the value each time the switch is operation . Parameter Value Explanation The normal state is Off (minimum value), SOURCE MOMENT with the switch On (maximum value) only OFF No assignment . MODE while the footswitch is depressed . ACCEL Switches the ACCEL effect on and off . The setting is toggled On (maximum value) P .LOOP ON/OFF Switches the PHRASE LOOP on and off . TOGGLE or Off (minimum value) with each press of P .LOOP REC/PLY Records/plays back the phrase . the footswitch . P .LOOP STP/PLY Stops/plays back the phrase . P .LOOP CLEAR Clears the phrase DIV CH SELECT Switches between Preamp channel A and B . OD/DS SOLO Switches the OD/DS SOLO on and off . EXP, SUB EXP A/B SOLO Switches the Preamp SOLO on and off . Here’s how to assign the parameters that will be controlled by the GT-100’s Switches the preamp SOLO, for both [EXP] pedal, and by an expression pedal (such as the separately available channel A and B, on and off . EV-5) connected to the SUB CTL 1, 2/SUB EXP jack . A&B SOLO If one of the two channels is off, both will be turned on . Parameter Value Explanation COMP Switches the COMP on and off . OFF No assignment . OD/DS Switches the OD/DS on and off . FOOT VOLUME Foot volume will be assigned . PREAMP Switches the PREAMP/SPEAKER on and off . PEDAL BEND Pedal bend will be assigned . EQ Switches the EQ on and off . WAH Wah will be assigned . FX1 Switches the FX1 on and off . FUNC PB/FV Pedal bend and foot volume will be assigned . FX2 Switches the FX2 on and off . WAH/FV Wah and foot volume will be assigned . DELAY Switches the DELAY on and off . Patch level will be assigned . CHORUS Switches the CHORUS on and off . PATCH LEVEL * This is shown only if PERFORMANCE (p . 28) is set REVERB Switches the REVERB on and off . to SYSTEM . PEDAL FX Switches the Pedal FX on and off . Specifies the minimum value . PATCH LEVEL SEND/RETURN Switches the SEND/RETURN on and off . 0–200 MIN * This is shown only if FUNC is set to PATCH AMP CTL Switches the Amp Control on and off . LEVEL . TUNER Switches the TUNER/BYPASS on and off . PATCH LEVEL Specifies the maximum value . FUNC 0–200 MANUAL MODE Switches the MANUAL MODE on and off . MAX * This is shown only if FUNC is set to Patch Level . BPM TAP *1 Used for tap input of the MASTER BPM . DELAY TAP *1 Used for tap input of the delay time . * Only FOOT VOLUME can be assigned to SUB EXP (external expression Controls the Start/Stop of external MIDI pedal) . If you want to assign a function other than FOOT VOLUME, use MIDI START devices (such as sequencers) . Assign . Controls the Play/Stop of external MIDI MMC PLAY devices (such as hard disk recorders) . Increases the patch volume level by 10 LEVEL +10 *1 units . Increases the patch volume level by 20 LEVEL +20 *1 units . Decreases the patch volume level by 10 LEVEL -10 *1 units . Decreases the patch volume level by 20 LEVEL -20 *1 units . Switches to the next higher patch number NUMBER INC *1 in the same bank as the currently selected patch . Switches to the next lower patch number NUMBER DEC *1 in the same bank as the currently selected patch . BANK INC *1 Switches to the next higher bank number . BANK DEC *1 Switches to the next lower bank number . Lights/extinguishes the pedal’s LED indicator .

LED ON/OFF * This is shown only when ACCEL/CTL pedal is selected . * This is shown only if PERFORMANCE (p . 28) is set to PATCH .

*1 The function will activate as soon as you press the pedal, regardless of whether the SOURCE MODE parameter is MOMENT or TOGGLE . 31 CTL/EXP

ASSIGN COMMON Parameter Value Explanation SAW Parameter Value Explanation This adjusts the input sensitivity when INPUT INPUT SENS 0–100 WAVEFORM *1 TRI LEVEL is selected for SOURCE .

SINE

PATCH CHANGE This is activated when a patch is selected . ASSIGN 1–8 This is activated when the GT-100’s [EXP] pedal is EXP PDL-LO set to the minimum position . * If you want to light the ACCEL/CTL pedal’s LED indicator while the This is activated when the GT-100’s [EXP] pedal is EXP PDL-MID ASSIGN 1–8 function is assigned to the ACCEL/CTL pedal, set the ACCEL/ moved through the middle position . CTL pedal FUNC (p . 31) to “LED ON/OFF ”. This is activated when the GT-100’s [EXP] pedal is EXP PDL-HI Parameter Value Explanation set to the maximum position . This is activated when the EXP pedal switch is OFF/ON OFF, ON Turns the ASSIGN 1–8 on/off . EXP PDL SW operated . EXP PEDAL Assigns the GT-100’s [EXP] pedal . This is activated when the [PHRASE LOOP] pedal P .LOOP PEDAL EXP PDL SW Assigns the EXP pedal switch . is operated . P .LOOP PEDAL Assigns the GT-100’s [PHRASE LOOP] pedal . This is activated when the [ACCEL/CTL] Pedal is INT PDL ACC/CTL PDL operated . ACC/CTL PDL Assigns the [ACCEL/CTL] pedal . TRIGGER *2 This is activated when an external expression Assigns the external expression pedal (such as SUB EXP PDL pedal connected to the SUB CTL 1, 2/SUB EXP SUB EXP PDL the separately available EV-5) connected to the jack is operated . SUB CTL 1, 2/SUB EXP jack . This is activated when an external footswitch Assigns the external footswitch (FS-5U, FS-6; SUB CTL1 PDL connected to the SUB CTL 1, 2/SUB EXP jack is SUB CTL1 PDL available separately) connected to the SUB CTL operated . 1, 2/SUB EXP jack . This is activated when an external footswitch Assigns the external foot switch (FS-5U, FS-6; SUB CTL2 PDL connected to the SUB CTL 1, 2/SUB EXP jack is SOURCE SUB CTL2 PDL available separately) connected to the SUB CTL operated . 1, 2/SUB EXP jack . This is activated when a control change is CC#1–#31 Refer to “Virtual expression pedal system received . INT PEDAL (Internal Pedal / Wave Pedal)” (p . 35) This is activated when a control change is CC#64–#95 Refer to “Virtual expression pedal system received . WAVE PEDAL (Internal Pedal / Wave Pedal)” (p . 35) INT PDL TIME This specifies the time over which the internal The assigned target parameter will change 0–100 pedal will move from the toe-raised position to INPUT LEVEL *2 according to the input level . the toe-down position . Control Change messages from an external MIDI CC#1–#31 device . LINEAR Control Change messages from an external MIDI CC#64–#95 device . INT PDL SLOW RISE The normal state is Off (minimum value), with CURVE *2 MOMENT the switch On (maximum value) only while the footswitch is depressed . SOURCE MODE The setting is toggled On (maximum value) FAST RISE TOGGLE or Off (minimum value) with each press of the footswitch . TARGET This selects the parameter to be changed . *1 The WAVE RATE and WAVEFORM parameters are enabled when the Source parameter is set to WAVE PEDAL . CATEGRY Refer to TARGET list *2 The INT PDL TRIGGER, INT PDL TIME, and INT PDL CURVE parameters are enabled TARGET when the SOURCE parameter is set to INT PEDAL . This sets the minimum value for the range in which the parameter TARGET MIN 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 TARGET MAX can change . The value differs depending on the parameter assigned for TARGET parameter . ACT RANGE LO 0–126 You can set the controllable range for target parameters within the source’s operational range . Target parameters are controlled within ACT RANGE HI 1–127 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 . 0–100, This determines the time spend for one cycle of BPM – the assumed EXP Pedal . When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch . This WAVE RATE *1 makes it easier to achieve effect sound settings that match the tempo of the song . * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time .

32 CTL/EXP TARGET list

CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET ON/OFF ON/OFF 31 Hz RANGE FX1/FX2 TYPE LOW CUT 62Hz OCTAVE LEVEL OCTAVE SUSTAIN LOW GAIN 125 Hz DIRECT MIX COMP ATTACK LOW-MID FREQ 250 Hz VOICE TONE LOW-MID Q 500 Hz PS1 MODE FX1/FX2 LEVEL LOW-MID GAIN 1 kHz PS1 PITCH EQ GEQ ON/OFF HI-MID FREQ 2 kHz PS1 FINE TYPE HI-MID Q 4 kHz PS1 PRE DLY DRIVE HI-MID GAIN 8 kHz PS1 LEVEL FX1/FX2 BOTTOM HIGH GAIN 16 kHz PS2 MODE P .SHIFT TONE HIGH CUT LEVEL PS2 PITCH SOLO SW LEVEL LOW CUT PS2 FINE SOLO LEVEL ON/OFF LOW GAIN PS2 PRE DLY FX1/FX2 OD/DS EFFECT LEVEL TYPE LOW-MID FREQ PS2 LEVEL DIRECT MIX MODE LOW-MID Q PS1 F .BACK CUSTOM TYPE POLARITY LOW-MID GAIN DIRECT MIX FX1/FX2 CUSTOM BOTTOM SENS HI-MID FREQ VOICE FX1/FX2 PEQ CUSTOM TOP FREQ HI-MID Q HR1 HARMONY T .WAH CUSTOM LOW PEAK HI-MID GAIN HR1 PRE DLY CUSTOM HIGH EFFECT LEVEL HIGH CUT HR1 LEVEL FX1/FX2 CUSTOM CHAR DIRECT MIX HIGH GAIN HR2 HARMONY HARM PREAMP ON/OFF MODE LEVEL HR2 PRE DLY TYPE FREQ TYPE HR2 LEVEL GAIN PEAK RESO HR1 F .BACK FX1/FX2 FX1/FX2 T-COMP RATE LOW DIRECT MIX A .WAH ToneMOD BASS DEPTH HIGH HOLD FX1/FX2 MIDDLE EFFECT LEVEL LEVEL RISE TIME S .HOLD TREBLE DIRECT MIX TYPE EFFECT LEVEL PRES TYPE LOW TYPE FX1/FX2 LEVEL PDL POS HIGH BASS GTR SIM BRIGHT FX1/FX2 PEDAL MIN BODY MIDDLE FX1/FX2 GAIN SW SUB WAH PEDAL MAX LEVEL MIDDLE FREQ AC .PRO SOLO SW EFFECT LEVEL SENS TREBLE FX1/FX2 SOLO LEVEL DIRECT MIX RISE TIME PRES SL .GEAR SP TYPE TYPE LEVEL LEVEL MIC TYPE SUSTAIN TONE TYPE PREAMP FX1/FX2 MIC DIST ATTACK SENS RATE A/B ADV CMP MIC POS TONE ATTACK DEPTH FX1/FX2 MIC LEVEL LEVEL DEPTH MANUAL DEFRET FX1/FX2 DIRECT MIX TYPE RESO PHASER RESO CUSTOM TYPE ATTACK EFFECT LEVEL STEP RATE CUSTOM BOTTOM FX1/FX2 THRESH DIRECT MIX EFFECT LEVEL CUSTOM EDGE LIMITER RATIO WAVE DIRECT MIX CUSTOM LOW RELEASE CUTOFF RATE CUSTOM HIGH LEVEL RESO DEPTH CUSTOM CHAR TYPE FX1/FX2 FILTER SENS MANUAL SPCSTM SIZE DRIVE WAV SYN FILTER DECAY FX1/FX2 RESO SPCSTM COLOR L BOTTOM FILTER DEPTH FLANGER SEPARATION SPCSTM COLOR H FX1/FX2 TONE SYNTH LEVEL LOW CUT SPCSTM SP NUM OD/DS SOLO SW DIRECT MIX EFFECT LEVEL SPCSTM CABINET SOLO LEVEL TONE DIRECT MIX EFFECT LEVEL SENS WAVE SHAPE

DIRECT MIX DEPTH FX1/FX2 RATE FX1/FX2 RESO TREMOLO DEPTH SitarSIM BUZZ LEVEL EFFECT LEVEL DIRECT MIX

33 CTL/EXP

CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET SPEED SELECT ON/OFF MODE PATCH LEVEL RATE SLOW TYPE CHANNEL SELECT MASTER LOW RATE FAST DELAY TIME ChA DYNAMIC MASTER MID F FX1/FX2 MASTER RISE TIME F .BACK ChA DYN SENS MASTER MID Q ROTARY DELAY FALL TIME HIGH CUT ChA FILTER MASTER MID G DIVIDER DEPTH EFFECT LEVEL ChA CUTOFF MASTER HIGH

LEVEL DIRECT MIX ChB DYNAMIC BPM/ MASTER BPM RATE PAN TAP TIME ChB DYN SENS KEY MASTER KEY FX1/FX2 DEPTH TIME ChB FILTER TUNER TUNER SW UNIV LEVEL DELAY F .BACK ChB CUTOFF MANUAL MANUAL MODE SW TYPE D1 HIGH CUT MODE ON/OFF WAVE SHAPE LEVEL ChA/B BALANCE MIXER PHRASE REC/ PLAY FX1/FX2 RATE TIME SPREAD LOOP STOP/ PLAY PAN DEPTH DELAY F .BACK ON/OFF CLEAR D2 POS HIGH CUT SEND/ MODE BPM TAP TAP LEVEL LEVEL RETURN SEND LEVEL DELAY TAP PATTERN DELAY MOD . RATE RETURN LEVEL START/ STOP MIDI RATE MOD MOD . DEPTH AMP MMC PLY /STOP FX1/FX2 AMP CTL SW TRIGGER SENS ON/OFF CTL SLICER LEVEL +10 ON/OFF EFFECT LEVEL MODE LEVEL +20 THRESH DIRECT MIX RATE NS1 LEVEL -10 RELEASE RATE DEPTH LEVEL -20 CHORUS DETECT PATCH DEPTH PRE DELAY NUMBER INC FX1/FX2 TRIGGER LOW CUT ON/OFF VIBRATO NUMBER DEC THRESH RISE TIME HIGH CUT NS2 BANK INC RELEASE LEVEL EFFECT LEVEL BANK DEC MODE ON/OFF DETECT ON/OFF FX1/FX2 FREQ TYPE ACCEL RINGMOD EFFECT LEVEL REVERB TIME TYPE DIRECT MIX PRE DELAY PITCH ACCEL RISE TIME MODE LOW CUT S-BEND REVERB VOWEL 1 HIGH CUT FALL TIME VOWEL 2 DENSITY RATE DEPTH FX1/FX2 SENS EFFECT LEVEL ACCEL LASER HUMAN RATE DIRECT MIX RISE TIME DEPTH SPRING SENS FALL TIME MANUAL PEDAL FREQ ON/OFF LEVEL FX RISE TIME XOVER FREQ PITCH ACCEL FALL TIME RING LOW RATE PEDAL PDL POS RING LEVEL P .B . LOW DEPTH EFFECT LEVEL OCTAVE LEVEL LOW PRE DLY DIRECT MIX DIRECT MIX FX1/FX2 LOW LEVEL TYPE LEVEL 2x2CHO ACCEL PDL POS RISE TIME HIGH RATE TWIST HIGH DEPTH PEDAL PEDAL MIN FALL TIME WAH HIGH PRE DLY PEDAL MAX LEVEL ACCEL EFFECT LEVEL RISE TIME HIGH LEVEL WARP TYPE DIRECT MIX FALL TIME DELAY TIME VOLUME CURVE MODE F .BACK FOOT VOLUME MIN DEPTH FX1/FX2 VOLUME HIGH CUT VOLUME MAX RISE TIME SUB DLY EFFECT LEVEL LEVEL ACCEL OCTAVE R TIME. F .BACK DIRECT MIX FB LEVEL TAP TIME OCTAVE FB LEV VIB RATE VIB DEPTH

34 CTL/EXP

Virtual expression pedal system (Internal About the Range of a Target’s Change Pedal / Wave Pedal) The value of the parameter selected as the target changes within the range defined by “Min” and “Max,” as set on the GT-100 . By assigning a desired parameter to the virtual expression pedal, you can When using an external footswitch, or other controller that acts as produce an effect as though you were operating a physical expression an on/off switch, “Min” is selected with Off (CLOSED), and “Max” is pedal to change the volume or tone quality in real time . selected with On (OPEN) . The virtual expression pedal system provides the following two types of When using an external expression pedal or other controller that functions, and you can use the SOURCE setting for ASSIGN 1–8 to choose generates a consecutive change in the value, the value of the setting changes accordingly, within the range set by the minimum the desired type . and maximum values . Also, when the target is of an on/off type, * If you want to use the internal pedal or wave pedal, set the ASSIGN the median value of the received data is used as the dividing line in parameter SOURCE MODE to “MOMENT ”. 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), MAX modifying the parameter specified by TARGET .

The value changes in a curve

MIN Allowable Allowable Parameter Settings Range

OFF ON

When using the expression pedal: When the trigger occurs

Wave pedal MAX If SOURCE is set to “WAVE PEDAL,” the virtual expression pedal will cyclically modify the parameter specified by TARGET in a fixed wave form . MIN Allowable Allowable Parameter Settings Range

0 127 When the pedal is When the pedal is fully raised fully advanced Always changes in a fixed curve regardless of the actual pedal When controlling the On/Off target with the expression pedal:

Value

Input Level ON

Input level The parameter set as the target changes in response to the input level .

MEMO Degree to If you want to adjust the input sensitivity, set the INPUT SENS . Which Expres- OFF sion Pedal Is Depressed 0 127 When the pedal is When the pedal When the pedal fully raised is advanced is fully advanced halfway

* The range that can be selected changes according to the target setting . * When the “minimum” is set to a higher value than the “maximum,” the change in the parameter is reversed . * “The values of settings can change if the target is changed after the “minimum” and “maximum” settings have been made . If you’ve changed the target, be sure to recheck the “minimum” and “maximum” settings .

35 CTL/EXP

About the Range of a Controller’s Change This sets the operational range within which the value of the setting changes when an expression pedal or other controller that changes the value consecutively is used as the source . If the controller is moved outside the operational range, the value does not change, it stops at “minimum” or “maximum ”. (Example) With ACT RANGE LO: 40, ACT RANGE HI: 80

MAX

Degree to MIN Which Expres- Allowable Allowable Parameter Settings Range sion Pedal Is Depressed 0 40 80 127 When the ACT ACT When the pedal is fully RANGE RANGE pedal is fully raised LO HI advanced

Value

Degree to Which Expres- OFF sion Pedal Is Depressed 0 40 60 80 127 When the ACT Center ACT When the pedal is fully RANGE Value RANGE pedal is fully raised LO HI advanced

* When using a footswitch or other on/off switching controller as the source, leave these at “ACT RANGE LO: 0” and “ACT RANGE HI: 127 ”. With certain settings, the value may not change .

36 Other Settings

TUNER METRONOME MODE MANUAL MODE

Editing procedure Editing procedure

1. Simultaneously press pedals [1] and [2] . 1. Simultaneously press pedals [BANK DOWN] and The tuner function and the metronome function will turn on . [BANK UP] . The MANUAL mode will turn on .

2. Use knobs [1], [4]–[8] to specify the settings . 2. Use knobs [1]–[8] to specify the settings . 3. Simultaneously press pedals [1] and [2] to return to the Play screen . 3. Simultaneously press pedals [BANK DOWN] and You can also return to the Play screen by pressing the [EXIT] [BANK UP] to return to the Play screen . button .

Here you can make settings for the MANUAL mode .

TUNER Parameter Value Explanation BANK DOWN Here you can make settings for the TUNER mode . BANK UP OFF, ACCEL, PL (PHRASE LOOP), PL R/P, PL S/P, PL CLR, CH A/B, Parameter Value Explanation NUMBER PEDAL 1 OD SOLO, A/B SOLO, A&B SOLO, PITCH 435 Hz–445 Hz Specifies the reference pitch . CMP, OD, PREAMP, EQ, FX1, FX2, NUMBER DLY, CHO, REV, PDL FX, S/R, MUTE Sound will not be output while tuning . PEDAL 2 AMP CTL, TUNER, MANUAL, You can assign the desired While tuning, the sound of the guitar being NUMBER BPM TAP, DLY TAP, effects unit to each pedal . BYPASS input to the GT-100 will be output without MIDI (MIDI START), MMC PLAY, OUTPUT PEDAL 3 change . All effects will be off . LEV +10, LEV +20, LEV -10, LEV -20, NUMBER NUM INC, NUM DEC, Allows you to tune while hearing the THRU PEDAL 4 BANK INC, BANK DEC, current effect sound . PHRASE LOOP CTL ASGN (CTL ASSIGN)*1 ACCEL/CTL

METRONOME *1 CTL ASGN (CTL ASSIGN) can be specified only for the [PHRASE LOOP] pedal and the [ACCEL/CTL] pedal . Here you can make settings for the METRONOME mode .

Parameter Value Explanation TEMPO 40–250 Specifies the tempo of the metronome . 1/1–8/1, 1/2–8/2, BEAT Selects the time signature . 1/4–8/4, 1/8–8/8 ON/OFF OFF, ON Turns the metronome on/off . LEVEL 0–100 Adjusts the volume of the metronome .

37 2PS