Parameter Guide

• Roland, BOSS, COSM, COMBO DRIVE, CRUNCH, FEEDBACKER, HARMONIST, INTELLIGENT, METAL ZONE, OVERDRIVE, ROTARY SOUND, SLICER, TOUCH WAH, Friend Jam, and BOSS Tone Central are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries.

• Company names and product names appearing in this document are the registered trademarks or trademarks of their respective owners. This document uses these names in order to appropriately describe the sounds simulated by COSM technology.

MIXER...... 22 EFFECT...... 3 NS1/NS2...... 22 Editing the Effects...... 3 ACCEL FX...... 22 COMP...... 3 S-BEND...... 22 OD/DS...... 3 LASER BEAM...... 22 PREAMP (PrA/PrB)...... 4 RING MOD...... 23 EQ...... 7 TWIST...... 23 FX1/FX2...... 7 WARP...... 23 T. WAH...... 8 FEEDBACKER...... 23 AUTO WAH...... 8 MASTER SETTING...... 24 SUB WAH...... 9 MASTER SETTING...... 24 ADV. COMP...... 9 MASTER EQ...... 24 LIMITER...... 9 SUB OD/DS...... 10 MENU...... 25 GRAPHIC EQ...... 10 CTL/EXP...... 25 PARAMETRIC EQ ...... 10 Pedal Settings ...... 25 TONE MODIFY ...... 10 Using a Pedal to Control Desired Parameters...... 25 GUITAR SIM...... 11 CTL1, CTL2...... 25 AC. GUITAR SIM...... 11 EXP...... 26 SLOW GEAR...... 11 Specifying the External Pedal Function for Each Patch DEFRETTER...... 11 (Assign)...... 26 WAVE SYNTH...... 11 ASSIGN COMMON...... 26 SITAR SIM...... 12 ASSIGN 1–8...... 26 OCTAVE...... 12 Virtual expression pedal system (Internal Pedal / Wave PITCH SHIFTER...... 12 Pedal) ...... 31 HARMONIST...... 13 Input level...... 31 OVERTONE (FX2 Only)...... 13 SYSTEM...... 33 SOUND HOLD...... 13 OUTPUT SELECT ...... 33 AC. PROCESSOR...... 14 INPUT ...... 33 PHASER...... 14 KNOB SETTING...... 33 FLANGER...... 14 USB...... 34 TREMOLO...... 15 GLOBAL EQ...... 34 ROTARY 1/ROTARY 2 ...... 15 TOTAL...... 35 UNI-V...... 15 PLAY OPTION...... 35 PAN ...... 15 PREFERENCE...... 35 SLICER...... 16 LCD...... 35 VIBRATO...... 16 G.2MIDI (GUITAR TO MIDI)...... 35 RING MOD...... 16 MIDI SETTING...... 36 HUMANIZER...... 16 P.MAP (MIDI-PROGRAM CHG MAP)...... 37 2X2 CHORUS...... 17 MIDI BULK DUMP...... 37 SUB DELAY...... 17 AUTO OFF ...... 37 TERA ECHO (FX2 Only) ...... 17 FACTORY RESET...... 37 DELAY...... 18 DAW CTL (DAW Control)...... 38 CHORUS...... 19 Other Settings...... 39 REVERB...... 20 TUNER/METRONOME...... 39 PEDAL FX...... 20 TUNER...... 39 PEDAL BEND...... 20 METRONOME...... 39 WAH...... 20 FOOT VOLUME...... 21 Troubleshooting...... 40 FOOT VOLUME...... 21 DIVIDER ...... 21 Preset Patch List...... 41 SINGLE ...... 21 DUAL Ch. A, DUAL Ch. B...... 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.

2 EFFECT

Editing the Effects OD/DS

To edit the effect settings, use the value knob to select a page in the This effect distorts the sound to create long sustain. display, and use knobs [1]–[4] to select the value of each parameter. Knob Parameter Value Explanation MEMO ON/OFF OFF, ON Turns this effect on/off. • For details on basic operation for effects, refer to “Editing: Page 1 Editing the Effects” (p. 7) in the owner’s manual. [1] TYPE Refer to OD/DS TYPE • In each edit screen, you can press the value knob to turn the [2] DRIVE 0–120 Adjusts the depth of distortion. effect on/off. [3] TONE -50–+50 This adjusts the tone. E .LEVEL Adjusts the volume of the effect [4] 0–100 (EFFECT LEVEL) sound. COMP Page 2 This is an effect that produces a long sustain by evening out the Adjusts the tone for the low volume level of the input signal. frequency range. Turning this to the left (counterclockwise) produces a [1] BOTTOM -50–+50 sound with the low end cut; turning Knob Parameter Value Explanation it to the right boosts the low end in the sound. ON/OFF OFF, ON Turns this effect on/off. DIR .MIX Adjusts the volume of the direct Page 1 [2] 0–100 (DIRECT MIX) sound. BOSS This models a BOSS CS-3. SOL .SW Switches to a tone that is suitable (BOSS COMP) [3] OFF, ON (SOLO SW) for solos. This is a compressor that adds SOL .LV Adjusts the volume level when the HI-BAND an even stronger effect in the [4] 0–100 high end. (SOLO LEVEL) Solo Sw is ON. This is a compressor with a light LIGHT effect. D-COMP This models a MXR DynaComp. OD/DS TYPE This is modeled on the sound This is a list of distortion types that can be selected for OD/DS. [1] TYPE ORANGE of the Dan Armstrong ORANGE SQUEEZER. Category Type Explanation When applied heavily, this FAT compressor effect provides a fat This is a booster with unique characteristics tone with a boosted midrange. MID BST in the midrange. When applied heavily, this (MID BOOST) Making the connection before the COSM compressor effect produces a amp produces sound suitable for solos. MILD sweet tone with the high end CLN BST This not only functions as a booster, but cut. also produces a clean tone that has punch (CLEAN BOOST) STEREO This selects a stereo compres- even when used alone. (STEREO COMP) sor. TRB BST This is a booster that has bright Adjusts the range (time) over (TREBLE BOOST) characteristics. which low-level signals are A lustrous crunch sound with an added [2] SUSTAIN 0–100 CRUNCH boosted. Larger values will element of amp distortion. result in longer sustain. NTRL OD This is an overdrive sound that provides Adjusts the strength of the distortion with a natural feeling. picking attack when the strings (NATURAL OD) [3] ATTACK 0–100 are played. Higher values result WRM OD (WARM ADVANCED This is a warm overdrive. in s sharper attack, creating a OD) more clearly defined sound. FAT DS A distortion sound with thick distortion. [4] LEVEL 0–100 Adjusts the volume. Produces a distortion sound with both the Page 2 LEAD DS smoothness of an overdrive along with a [1] TONE -50–+50 This adjusts the tone. deep distortion. METL DS This is distortion sound that is ideal for (METAL DS) performances of heavy riffs. OCT FUZ A fuzz sound with rich harmonic content. (OCT FUZZ) A-DIST This effect uses MDP (Multi-Dimensional * Only for OD/DS Processing) to provide ideal distortion in all and SUB OD/DS pitch ranges of the guitar, from low to high. in FX2

3 EFFECT

Category Type Explanation This is a crunch sound of the BOSS BD-2. BLUS OD PREAMP (PrA/PrB) This produces distortion that faithfully (BLUES OD) reproduces the nuances of picking. COSM technology simulates different preamp characteristics, speaker sizes, and cabinet shapes. This models the sound of the BOSS OD-1. OD-1 This produces sweet, mild distortion. Knob Parameter Value Explanation T-SCRM This models an Ibanez TS-808. ON/OFF OFF, ON Turns this effect on/off. (T-SCREAM) Page 1 TURB OD This is the high-gain overdrive sound of the [1] TYPE Refer to PREAMP TYPE (TURBO OD) BOSS OD-2. [2] GAIN 0–120 Adjusts the distortion of the amp. DIST This gives a basic, traditional distortion Adjusts the sense of compression sound. [3] T-COMP -10–0–+10 VINTAGE (DISTORTION) of the amp. RAT This models a Proco RAT. Adjusts the volume of the entire GUV DS This models a Marshall GUV’NOR. preamp. [4] LEVEL 0–100 DST+ This models a MXR DISTORTION+. * Be careful not to raise the Level This models the sound of the BOSS MT-2. setting too high. MTL ZON It produces a wide range of metal sounds, Page 2 (METAL ZONE) from old style to slash metal. Adjusts the tone for the low [1] BASS 0–100 60S FUZ This models a FUZZFACE. frequency range. Adjusts the tone for the middle ('60S FUZZ) It produces a fat fuzz sound. [2] MIDDLE 0–100 frequency range. MUF FUZ This models an Electro-Harmonix Big Adjusts the tone for the high (MUFF FUZZ) Muff π. [3] TREBLE 0–100 frequency range. Custom OD/DS Adjusts the tone for the ultra high CUSTOM You can customize it however you like to frequency range. match the sound you want. [4] PRES (PRESENCE) 0–100 * The PRESENCE parameter functions as a high-cut filter with some PREAMP TYPEs. CUSTOM OD/DS SETTING Page 3 Turns the bright setting on/off.

[1] BRIGHT OFF, ON * The BRIGHT parameter setting Knob Parameter Value Explanation is available only with certain Page 3 (shown only if OD/DS TYPE is set to “CUSTOM”) PREAMP TYPEs. Switches the amp’s amount of This models the sound of OD-1 distortion in three steps: LOW, the BOSS OD-1. MIDDLE, and HIGH. The steps This is a overdrive sound LOW, MIDDLE, and HIGH provide OD-2 LOW, MIDDLE, with high gain. [2] GAIN .SW correspondingly increasing HIGH CRUNCH This is a crunch sound. amounts of distortion. This gives a basic, * The sound of each Type is DS-1 traditional distortion created on the basis that the TYPE sound. Gain is set to MIDDLE. [1] (CUSTOM TYPE) This creates a heavier SOL .SW DS-2 [3] OFF, ON The tone to one suitable for solos. distortion sound. (SOLO SW) This is a metal sound with a SOL .LV Adjusts the volume level when the METAL1 [4] 0–100 characteristic midrange. (SOLO LEVEL) Solo Sw is ON. This gives a heavy metal METAL2 sound. This gives a basic, FUZZ traditional fuzz sound. CHAR +: For soloing [2] -50–+50 (CUSTOM CHARACTER) -: For backing This controls the input BOTTOM sound’s low-frequency [3] -50–+50 range and adjusts the (CUSTOM BOTTOM) amount of distortion in the low-frequency range This controls the input TOP sound’s high-frequency [4] -50–+50 range and adjusts the (CUSTOM TOP) amount of distortion in the high-frequency range. Page 4 (shown only if OD/DS TYPE is set to “CUSTOM”) Adjusts the low-range [1] LOW (CUSTOM LOW) -50–+50 tones after distortion is applied. Adjusts the high-range [2] HIGH (CUSTOM HIGH) -50–+50 tones after distortion is applied.

4 EFFECT

Knob Parameter Value Explanation PREAMP TYPE Page 4 This is a list of the amp types that can be selected for PREAMP. Select the speaker type. This turns off the speaker Category Type Explanation OFF simulator. An unembellished, clean sound that This is the built-in speaker of the NtrlCLN ORIGIN minimizes the amp’s idiosyncrasies, amp you selected with PREAMP (ORIGINAL) (NATURAL CLEAN) such as its trebly character and TYPE. boomy low end. This is a compact open-back FUL RNG An amp with a broad frequency 1x8" speaker cabinet with one 8-inch range and an extremely flat re- speaker. (FULL RANGE) sponse. Good for acoustic guitar. This is a compact open-back Crunch sound that allows the 1x10" speaker cabinet with one 10-inch CB CRNC nuances of your picking to be speaker. (COMBO CRUNCH) expressed even more faithfully than This is a compact open-back on conventional combo amps. SP .TYP 1x12" speaker cabinet with one 12-inch Great-feeling crunch sound that [1] (SPEAKER TYPE) speaker. ST CRNC responds well to picking dynamics *1 This is a general open-back speaker 2x12" while retaining all the defining cabinet with two 12-inch speakers. (STACK CRUNCH) characteristics of a 4 x 12” speaker This is an optimal speaker cabinet cabinet. ADVANCED 4x10" for a large enclosed amp with four High-gain sound of a vintage 10-inch speakers. HiG STK Marshall specially revamped in a This is an optimal speaker cabinet (HiGAIN STACK) way that is possible only with COSM 4x12" for a large enclosed amp with four modeling technology. 12-inch speakers. A straightforward drive sound This is a double stack of two PwrDRV that is suitable for a wide range of 8x12" cabinets, each with four 12-inch situations from backing to lead, and speakers. (POWER DRIVE) which could not be obtained from Custom speaker You can customize previous combo amps or stack amps. CUSTOM it however you like to match the A new type of sound that smoothes sound you want. XTRM LD out the uneven frequency response This setting selects the simulated mic type. (EXTREME LEAD) that is typical of existing large stack amps. This is the sound of the SHURE SM- 57. General dynamic mic used for A large stack sound that has been DYN57 COR MTL instruments and vocals. Optimal tweaked extensively in the pursuit of for use in miking guitar amps. (CORE METAL) the ultimate metal sound. Simulates the sound of the MD- DYN421 421. Dynamic mic with extended low end. MIC .TYP Simulates the sound of the AKG [2] (MIC TYPE) CND451 C451B. Small condenser mic for use *1 with instruments. Simulates the sound of the CND87 NEUMANN U87. Condenser mic with flat response. Simulates a mic with perfectly flat response. Produces a sonic image FLAT close to that of listening to the sound directly from the speakers (on site). Simulates the distance between the mic and speaker. MIC .DIS This setting points the mic away OFF MIC [3] (MIC DISTANCE) from the speaker. *1 Provides conditions whereby the ON MIC mic is directed more towards the speaker. This simulates the mic position. Simulates the condition that the MIC .POS CENTER mic is set in the middle of the [4] (MIC POSITION) speaker cone. *1 Simulates the condition that the 1–10 cm mic is moved away from the center of the speaker cone. Page 5 MIC .LVL [1] 0–100 Adjusts the volume of the mic. (MIC LEVEL) *1 DIR .MIX Adjusts the volume of the direct [2] 0–100 (DIRECT MIX) *1 sound.

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

5 EFFECT

Category Type Explanation CUSTOM AMP SETTING This models the sound of the Roland JC-120 JC-120. Knob Parameter Value Explanation CLN TWN This models a Fender Twin Reverb. (CLEAN TWIN) Page 6 (shown only if PREAMP TYPE is set to “CUSTOM”) PR CRNC JC CLEN This models the sound of the This models a Fender Pro Reverb. Roland JC-120. (PRO CRUNCH) (JC CLEAN) This models a Fender Bassman 4 x TW CLEN TWEED This models a Fender Twin Reverb. 10” Combo. (TW CLEAN) DxCRNC This is a crunch sound that can This models a Fender Deluxe Reverb. (DELUXE CRUNCH) CRUNCH faithfully reproduce the nuances of picking. This models the drive sound of a VOX VO DRIV AC-30TB. CMB DRV This is a combo amp sound that it (COMBO DRIVE) suited to sixties-style British rock. (VO DRIVE) This is a sound that it suited to TYPE sixties-style British rock. [1] (CUSTOM TYPE) CMB LD This is a lead sound of a combo This models the lead sound of the tube amp typical of the late ’70s VO LEAD (COMBO LEAD) VOX AC-30TB. to ’80s. This models the sound input to left This models the sound input to input on a Matchless D/C-30. MS HiG Input I on a Marshall 1959. MATCH A simulation of the latest tube amp (MS HiGAIN) This is a trebly sound suited to (MATCH DRIVE) widely used in styles from blues and hard rock. rock. MDN STK This original high-gain amp delivers thick lows and intense This models the lead sound of the (MODERN MESA/ Boogie combo amp. distortion while still preserving BG LEAD STACK) the sound’s clear definition. The sound of a tube amp typical of CHAR the late ’70s to ’80s. +: For soloing [2] (CUSTOM -50–+50 BG DRIV This models a MESA/Boogie with -: For backing VINTAGE CHARACTER) (BG DRIVE) TREBLE SHIFT SW on. This controls the input sound’s This models the sound input to Input BOTTOM low-frequency range and adjusts 1959 I I on a Marshall 1959. [3] -50–+50 (CUSTOM BOTTOM) the amount of distortion in the (MS1959 I) This is a trebly sound suited to hard low-frequency range rock. This controls the input sound’s This models the sound of a Marshal EDGE (CUSTOM high-frequency range and adjusts [4] -50–+50 1959 I+II 1959’s inputs I and II connected in EDGE) the amount of distortion in the (MS1959 I+II) parallel. The sound emphasizes the high-frequency range. low end more than I. Page 7 (shown only if PREAMP TYPE is set to “CUSTOM”) Models the sound of the Channel 2 RFR VIN LOW VINTAGE Mode on the MESA/Boogie Adjusts the preamp section’s (R-FIER VINTAGE) [1] -50–+50 DUAL Rectifier. (CUSTOM PREAMP low-frequency tone. LOW) RFR MDN Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie HIGH (R-FIER MODERN) Adjusts the preamp section’s DUAL Rectifier. [2] -50–+50 (CUSTOM PREAMP high-frequency tone. T-AMP This models a Hughes & Kettner HIGH) (T-AMP LEAD) Triamp AMP3. This models a Soldano SLO-100. This SLDN is the typical sound of the eighties. CUSTOM SPEAKER SETTING 5150 This models the lead channel of a (5150 DRIVE) Peavey EVH 5150. Knob Parameter Value Explanation BGNR UB This is a heavily distorted sound that models the high gain channel of a Page 8 (shown only if SPEAKER TYPE is set to “CUSTOM”) (BGNR UB METAL) Bogner Uberschall. SP .SIZE ORNG RV This models the dirty channel of an [1] 5–15" Selects the size of speaker. (CUSTOM SPEAKER SIZE) (ORNG ROCK REVERB) ORANGE ROCKERVERB. SP .NUM Sets the number of This is a custom preamp. [2] x1, x2, x4, x8 (CUSTOM SPEAKER NUMBER) speakers. CUSTOM You can customize it however you like to match the sound you want. Selects the speaker cabinet type. This is an open-backed OPEN CABINET cabinet [3] (CUSTOM CABINET) This type of cabinet CLOSE features an enclosed rear panel. Page 9 (shown only if SPEAKER TYPE is set to “CUSTOM”)

COLOR .L Adjusts the speaker [1] -10–+10 section’s low-frequency (CUSTOM COLOR LOW) tone.

COLOR .H Adjusts the speaker [2] -10–+10 section’s high-frequency (CUSTOM COLOR HIGH) tone.

6 EFFECT EQ FX1/FX2

This adjusts the tone. A parametric type is adopted for the high- With FX1 and FX2, you can select the effect to be used from the middle and low-middle range. following. You can select the same effect for FX1 and FX2. * Some effects can be selected only for FX2. Knob Parameter Value Explanation ON/OFF OFF, ON Turns this effect on/off. Parameter Value Explanation Page 1 ON/OFF OFF, ON Turns this effect on/off.

LO .GAIN Adjusts the low frequency range TYPE Refer to FX1/FX2 TYPE [1] -20–+20 dB (LOW GAIN) tone.

HI .GAIN Adjusts the high frequency range [2] -20–+20 dB (HIGH GAIN) tone. Selecting the TYPE Adjusts the overall volume level [4] LEVEL -20–+20 dB of the equalizer. Choose [EFFECT] ”FX1” or “FX2 ”. Page 2 1. " LM .FREQ Specifies the center of the 2. Select the type using the knob [4] . [1] (LOW-MID 20 Hz–10.0 kHz frequency range that will be FREQUENCY) adjusted by the LOW-MID GAIN. Adjusts the width of the area FX1/FX2 TYPE LM .Q affected by the EQ centered This is a list of the effects that can be selected for FX1/FX2. [2] 0.5–16 (LOW-MID Q) at the LOW-MID FREQ. Higher values will narrow the area. Effect Name TYPE Explanation LM .GAIN Adjusts the middle frequency [3] -20–+20 dB You can produce a wah effect with the (LOW-MID GAIN) range tone. T . WAH (Touch Wah) filter changing in response to the guitar Page 3 level. This changes the filtering over a periodic HM .FREQ AUTO WAH (Auto Wah) Specifies the center of the cycle, providing an automatic wah effect. [1] (HIGH-MID 20 Hz–10.0 kHz frequency range that will be FREQUENCY) adjusted by the HIGH-MID GAIN. You can use an expression pedal SUB WAH — connected to the CTL/EXP jack to control Adjusts the width of the area the wah effect in real time. HM .Q affected by the EQ centered [2] 0.5–16 This is an effect that produces a long (HIGH-MID Q) at the HIGH-MID FREQ. Higher sustain by evening out the volume level values will narrow the area. (Advanced ADV . COMP of the input signal. You can also use it as a Compressor) HM .GAIN Adjusts the low-middle limiter to suppress only the sound peaks [3] -20–+20 dB (HIGH-MID GAIN) frequency range tone. and prevent distortion. The limiter attenuates loud input levels to Page 4 LIMITER — prevent distortion. This sets the frequency at which This effect distorts the sound to create LO .CUT FLAT, 20 the low cut filter begins to take SUB OD/DS — [1] long sustain. (LOW CUT) Hz–800 Hz effect. When “Flat” is selected, the low cut filter will have no effect. (Graphic This adjusts the tone. You can adjust the GRAPHIC EQ This sets the frequency at which Equalizer) sound quality in ten bands. the high cut filter begins to take This adjusts the tone. You can adjust the HI .CUT 630 Hz– (Parametric [4] effect. When “FLAT” is selected, PARAMETRIC EQ sound quality in four bands. You can (HIGH CUT) 12.5 kHz, FLAT Equalizer) the high cut filter will have no adjust the sound quality in four bands. effect. This changes the tone of the connected TONE MODIFY — guitar. Simulation of the characteristics of particular guitar components such as (Guitar pickups and different guitar bodies GUITAR SIM Simulator) allows you to switch among a number of different guitar types all while using a single guitar. This transforms the sound of an electric AC .GUITAR SIM — guitar into the sound of an acoustic guitar. This produces a volume-swell effect SLOW GEAR — (“violin-like” sound). DEFRETTER — This simulates a fretless guitar. This is a synth sound that processes the WAVE SYNTH — guitar input signal. SITAR SIM (Sitar Simulator) This simulates the sound of the sitar. This adds a note one octave lower, OCTAVE — creating a richer sound. This effect changes the pitch of the PITCH SHIFTER — original sound (up or down) within a range of two octaves.

7 EFFECT

Effect Name TYPE Explanation Harmonist is an effect where the amount T. WAH of shifting is adjusted according to an You can produce a wah effect with the filter changing in response HARMONIST — analysis of the guitar input, allowing you to create harmony based on diatonic to the guitar level. scales. This effect uses MDP technology to add Knob Parameter Value Explanation OVERTONE new harmonics to the sound, producing — Page 1 * FX2 only resonance and richness that was not present in the original sound. Selects the wah mode. Low pass filter. This provides a wah effect You can have sound played on the guitar LPF be held continuously. This effect allows [1] MODE over a wide frequency range. SOUND HOLD — you to perform the melody in the upper Band pass filter. This provides a wah effect in registers while holding a note in the lower BPF a narrow frequency range. registers. Selects the direction in which the filter will change in This processor allows you to change the response to the input. sound produced by the pickup on an (Acoustic AC . PROCESSOR acoustic electric guitar, creating a richer [2] POLAR Processor) DOWN The frequency of the filter will fall. sound similar to that obtained with a microphone placed close to the guitar. UP The frequency of the filter will rise. By adding varied-phase portions to the Specifies the sensitivity with which the filter direct sound, the phaser effect gives a changes in the direction specified by the PHASER — whooshing, swirling character to the POLAR setting. sound. [3] SENS 0–100 Higher values will produce a stronger tone The flanging effect gives a twisting, which emphasizes the wah effect more. With FLANGER — jet-airplane-like character to the sound. a setting of 0, the strength of picking will have no effect. Tremolo is an effect that creates a cyclic TREMOLO — Adjusts the center frequency of the Wah change in volume. [4] FREQ 0–100 effect. This produces an effect like the sound of a ROTARY 1 — rotary speaker. Page 2 This provides rotation that has a different Adjusts the way in which the wah effect ROTARY 2 — feel than Rotary 1. applies to the area around the center frequency. This models a Uni-Vibe. [1] PEAK 0–100 Higher values will produce a stronger tone UNI-V — Although this resembles a phaser effect, which emphasizes the wah effect more. With it also provides a unique undulation that a value of 50 a standard wah sound will be you can’t get with a regular phaser. produced. With the volume level of the left and right E .LEVEL sides alternately changing, when playing [3] 0–100 Adjusts the volume of the effect sound. PAN — sound in stereo, you can get an effect that (EFFECT makes the guitar sound appear to fly back LEVEL) and forth between the speakers. DIR .MIX [4] 0–100 Adjusts the volume of the direct sound. This consecutively interrupts the sound (DIRECT MIX) SLICER — to create the impression that a rhythm backing phrase is being played. This effect creates vibrato by slightly VIBRATO — modulating the pitch. AUTO WAH This creates a bell-like sound by ring-modulating the guitar sound with This changes the filtering over a periodic cycle, providing an RING MOD — the signal from the internal oscillator. automatic wah effect. The sound can be unmusical and lack distinctive pitches. Knob Parameter Value Explanation HUMANIZER — This can create human vowel-like sounds. Page 1 This allows you to achieve a more natural 2X2 CHORUS — chorus sound. Selects the wah mode. Low pass filter. This provides a wah effect This is a delay with the maximum delay LPF SUB DELAY — time of 1,000 ms. This effect is useful for [1] MODE over a wide frequency range. making the sound fatter. Band pass filter. This provides a wah effect in BPF This effect uses MDP technology to create a narrow frequency range. TERA ECHO a unique ambience and a spaciousness — Adjusts the frequency (speed) of the change. * FX2 only that changes according to your picking dynamics. * When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for 0–100, each patch. This makes it easier to achieve [2] RATE BPM 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. [3] DEPTH 0–100 Adjusts the depth of the effect. Adjusts the center frequency of the Wah [4] FREQ 0–100 effect. Page 2

8 EFFECT

Knob Parameter Value Explanation Adjusts the way in which the wah effect ADV. COMP applies to the area around the center frequency. This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to [1] PEAK 0–100 Higher values will produce a stronger tone which emphasizes the wah effect more. With suppress only the sound peaks and prevent distortion. a value of 50 a standard wah sound will be produced. Knob Parameter Value Explanation E .LEVEL Page 1 [3] (EFFECT 0–100 Adjusts the volume of the effect sound. Selects the compressor type. LEVEL) BOSS DIR .MIX This models a BOSS CS-3. [4] 0–100 Adjusts the volume of the direct sound. (BOSS COMP) (DIRECT MIX) This is a compressor that adds an HI-BAND even stronger effect in the high end. This is a compressor with a light LIGHT SUB WAH effect. D-COMP This models a MXR DynaComp. You can control the wah effect in real time by adjusting the [1] TYPE This is modeled on the sound expression pedal connected to the CTL/EXP jack. ORANGE of the Dan Armstrong ORANGE SQUEEZER. Knob Parameter Value Explanation When applied heavily, this compres- FAT sor effect provides a fat tone with a Page 1 boosted midrange. Selects the wah mode. When applied heavily, this CRY This models the sound of the MILD compressor effect produces a sweet CRY BABY wah pedal popular tone with the high end cut. (CRY WAH) in the ’70s. STEREO This selects a stereo compressor. VO This models the sound of the (STEREO COMP) (VO WAH) VOX V846. Adjusts the range (time) over which This is a wah sound featuring [2] SUSTAIN 0–100 low-level signals are boosted. Larger FAT (FAT WAH) a bold tone. values will result in longer sustain. LIGHT This wah has a refined [3] ATTACK 0–100 Adjusts the attack time. [1] TYPE sound with no unusual [4] LEVEL 0–100 Adjusts the volume. (LIGHT WAH) characteristics. Page 2 This expanded wah features 7STRING a variable range compat- [1] TONE -50–+50 This adjusts the tone. (7STRING WAH) ible with seven-string and baritone guitars. This completely original effect RESO offers enhancements on the characteristic resonances LIMITER (RESO WAH) produced by analog synth filters. The limiter attenuates loud input levels to prevent distortion. Adjusts the position of the wah pedal. PD .POS Knob Parameter Value Explanation [2] 0–100 (PEDAL POSITION) * This parameter is used after Page 1 it’s been assigned to an EXP Pedal or similar controller. Selects the limiter type. BOSS PD .MIN Selects the tone produced This selects a stereo limiter. [3] 0–100 when the heel of the EXP (BOSS LIMITER) (PEDAL MIN) Pedal is depressed. [1] TYPE 160D This models a dbx 160X. PD .MAX Selects the tone produced (RACK 160D) [4] 0–100 when the toe of the EXP Pedal (PEDAL MAX) RACK U is depressed. This models a UREI 1178. (VINAGE RACK U) Page 2 Adjust this as appropriate for E .LEVEL Adjusts the volume of the [1] 0–100 THRESH the input signal from your (EFFECT LEVEL) effect sound. [2] 0–100 guitar. When the input signal (THRESHOLD) DIR .MIX Adjusts the volume of the level exceeds this threshold [2] 0–100 level, limiting will be applied. (DIRECT MIX) direct sound. This selects the compression [3] RATIO 1:1–INF:1 ratio used with signals in excess of the threshold level. [4] LEVEL 0–100 Adjusts the volume. Page 2 Adjusts the strength of the picking attack when the strings are played. Higher [1] ATTACK 0–100 values result in s sharper attack, creating a more clearly defined sound. [2] RELEASE 0–100 Adjusts the release time.

9 EFFECT

SUB OD/DS Knob Parameter Value Explanation LM .FREQ Specifies the center of the frequency range that This effect distorts the sound to create long sustain. [1] 20 Hz–10.0 kHz (LOW-MID FRE- will be adjusted by the QUENCY) LOW-MID GAIN. Knob Parameter Value Explanation Adjusts the width of the Page 1 area affected by the EQ [2] LM .Q (LOW-MID Q) 0.5–16 centered at the LOW-MID Refer to “OD/DS TYPE” (p. 3). FREQ. Higher values will [1] TYPE * “CUSTOM” is not available. narrow the area. * “A-DIST” can be used only with FX2. LM .GAIN Adjusts the low-middle [3] -20–+20 dB [2] DRIVE 0–120 Adjusts the depth of distortion. (LOW-MID GAIN) frequency range tone. [3] TONE -50–+50 Adjusts the tone. Page 3 E .LEVEL Adjusts the volume of the effect Specifies the center of [4] 0–100 HM .FREQ sound. the frequency range that (EFFECT LEVEL) [1] 20 Hz–10.0 kHz (HIGH-MID FRE- will be adjusted by the Page 2 QUENCY) HIGH-MID GAIN. Adjusts the tone for the low Adjusts the width of the frequency range. Turning this to the area affected by the EQ left (counterclockwise) produces a HM .Q [1] BOTTOM -50–+50 [2] 0.5–16 centered at the HIGH-MID sound with the low end cut; turning (HIGH-MID Q) FREQ. Higher values will it to the right boosts the low end in narrow the area. the sound. HM .GAIN Adjusts the high-middle DIR .MIX Adjusts the volume of the direct [3] -20–+20 dB [2] 0–100 (HIGH-MID GAIN) frequency range tone. (DIRECT MIX) sound. Page 4 SOL .SW [3] OFF, ON The tone to one suitable for solos. This sets the frequency (SOLO SW) at which the low cut filter SOL .LV Adjusts the volume level when the LO .CUT begins to take effect. When [4] 0–100 [1] FLAT, 20 Hz–800 Hz (SOLO LEVEL) Solo Sw is ON. (LOW CUT) “Flat” is selected, the low cut filter will have no effect. This sets the frequency at which the high cut filter HI .CUT 630 Hz– begins to take effect. When [4] GRAPHIC EQ (HIGH CUT) 12.5 kHz, FLAT “FLAT” is selected, the high cut filter will have no This adjusts the tone. You can adjust the sound quality in ten bands. effect.

Knob Parameter Value Page 1 [1] 31 Hz TONE MODIFY [2] 62 Hz [3] 125 Hz This changes the tone of the connected guitar. [4] 250 Hz Page 2 Knob Parameter Value Explanation [1] 500 Hz Page 1 -20–+20 dB [2] 1 kHz Selects the type of tone modification. Fat tone with boosted mid [3] 2 kHz FAT range. [4] 4 kHz Bright tone with boosted Page 3 PRES (PRESENCE) high-mid range. [1] 8 kHz Mild tone with the high end MILD [2] 16 kHz cut back. [4] LEVEL -20–+20 dB Tone with the low frequencies [1] TYPE TIGHT cut. Tone with the high frequencies ENHANC (ENHANCE) boosted. This produces a tone with PARAMETRIC EQ RESO1 – 3 greater power and punch by adding resonance in the This adjusts the tone. You can adjust the sound quality in four (RESONATOR1–3) low-frequency range and bands. midrange. Adjusts the tone for the low [2] LOW -50–+50 Knob Parameter Value Explanation frequency range. Page 1 Adjusts the tone for the high [3] HIGH -50–+50 frequency range. LO .GAIN Adjusts the low frequency [1] -20–+20 dB Adjusts the volume of the (LOW GAIN) range tone. [4] LEVEL 0–100 effect sound. HI .GAIN Adjusts the high frequency [2] -20–+20 dB Page 2 (HIGH GAIN) range tone. This adjusts the strength of Adjusts the overall volume the low-end and midrange [4] LEVEL -20–+20 dB [1] RESO 0–100 level of the equalizer. resonance when TYPE is set to Page 2 RESO 1, 2, or 3.

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GUITAR SIM SLOW GEAR Simulation of the characteristics of particular guitar components This produces a volume-swell effect (“violin-like” sound). such as pickups and different guitar bodies allows you to switch among a number of different guitar types all while using a single Knob Parameter Value Explanation guitar. Adjusts the sensitivity of the slow gear. When it is set to a lower value, the effect of the slow Knob Parameter Value Explanation gear can be obtained only with a stronger Page 1 [1] SENS 0–100 picking, while no effect is obtained with a weaker picking. When the value is set higher, Selects the type of the guitar simulator. the effect is obtained even with a weak picking. Changes from a single-coil pickup S"H tone to a humbucking pickup tone. RISE .TM Adjusts the time needed for the volume to [2] 0–100 reach its maximum from the moment you Changes from a humbucking pickup H S (RISE TIME) begin picking. " tone to a single-coil pickup tone. [4] LEVEL 0–100 Adjusts the volume of the effect sound. H"HF Changes from a humbucking pickup (HALF TONE) tone to a single-coil pickup half tone. Changes a single-coil pickup tone to S HLW " a hollow body tone with the body (HOLLOW) resonance added. DEFRETTER [1] TYPE Changes a humbucking pickup tone H"HLW to a hollow body tone with the body This simulates a fretless guitar. resonance added.

S"AC Changes a single-coil pickup tone to Knob Parameter Value Explanation (ACOUSTIC) an acoustic guitar tone. Page 1 H AC This controls the input sensitivity of " Changes a humbucking pickup tone [1] SENS 0–100 (ACOUSTIC) to an acoustic guitar tone. the defretter. This controls the rate of the P"AC [2] DEPTH 0–100 Changes a piezo pickup tone to an harmonics. (PIEZO acoustic guitar tone. Adjusts the amount of blurring ACOUSTIC) [3] TONE -50–+50 " between the notes. [2] LOW -50–+50 Adjusts the low frequency range tone. E .LEVEL Adjusts the volume of the effect Adjusts the high frequency range [4] 0–100 [3] HIGH -50–+50 (EFFECT LEVEL) sound. tone. Page 2 Adjusts the volume of the effect [4] LEVEL 0–100 Adjusts the attack of the picking sound. [1] ATTACK 0–100 sound. Page 2 Adds a characteristically resonant [2] RESO 0–100 Adjusts the way the body sounds quality to the sound. when TYPE is set to SHLW, HHLW, SAC, HAC or PAC. DIR .MIX Adjusts the volume of the direct [4] 0–100 [1] BODY 0–100 The body sound increases as the value (DIRECT MIX) sound. is raised; reducing the value produces a tone similar to that from a piezo pickup. WAVE SYNTH This is a synth sound that processes the guitar input signal. AC. GUITAR SIM * When you use a wave synthesizer, observe the following points. This effect simulates the tonal character of an acoustic guitar. • Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to mute all the other strings and play only one note at a time. Knob Parameter Value Explanation • If the unit cannot detect the attack, it may not sound correctly. If the [1] BODY 0–100 Adjusts the body resonance. unit cannot detect the attack, it may not sound correctly. Specifies the sense of volume for the [2] LOW -50–+50 low-frequency range. • The sensitivity may vary according to the guitar’s TONE knob and pickup type. Specifies the sense of volume for the [3] HIGH -50–+50 high-frequency range. Knob Parameter Value Explanation [4] LEVEL 0–100 Specifies the volume of the effect. Page 1 Selects a wave type which the synth sound is based. Creates a synth sound with a saw SAW [1] WAVE waveform ( ). Creates a synth sound with the SQUARE square waveform ( ). Adjusts the frequency where the [2] CUTOFF 0–100 harmonics contents of the sound are cut off.

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Knob Parameter Value Explanation Knob Parameter Value Explanation This adjusts the amount of resonance E .LEVEL Adjusts the volume of the [3] 0–100 (and the tone coloration) in the synth (EFFECT LEVEL) sound one octave below. [3] RESO 0–100 sound. The higher the value, the DIR .MIX Adjusts the volume of the more the synth tone coloration is [4] 0–100 emphasized. (DIRECT MIX) direct sound. SENS This adjusts the amount of filtering [4] 0–100 (FILTER SENS) applied in response to the input. Page 2 DECAY This sets the time needed for the filter [1] 0–100 PITCH SHIFTER (FILTER DECAY) to finish its sweep. This effect changes the pitch of the original sound (up or down) DEPTH Adjusts the depth of the filter. When [2] 0–100 the value is higher, the filter will change within a range of two octaves. (FILTER DEPTH) more drastically. SYN .LVL Knob Parameter Value Explanation [3] 0–100 Adjusts the volume of the synth sound. (SYNTH LEVEL) Page 1 DIR .MIX Selects the number of voices for the pitch shift sound. [4] 0–100 Adjusts the volume of the direct sound. (DIRECT MIX) One-voice pitch-shifted sound 1VOICE output in monaural. Two-voice pitch-shifted sound [1] VOICE 2MONO (PS1, PS2) output in monaural. SITAR SIM. Two-voice pitch-shifted sound This simulates the sound of the sitar. 2STEREO (PS1, PS2) output through left and right channels.

Knob Parameter Value Explanation [2] 1:PITCH Adjusts the amount of pitch -24–+24 shift (the amount of interval) in Page 1 [3] 2:PITCH semitone steps. Adjusts the sensitivity of the sitar. DIR .MIX Adjusts the volume of the direct When it is set to a lower value, no [4] 0–100 effect of the sitar is obtained with (DIRECT MIX) sound. weaker picking, while stronger [1] SENS 0–100 Page 2/Page 3 (if VOICE is set to “1VOICE”: page 2 only) picking produces the effect. When it is set to a higher value, the effect of Selection for the pitch shifter mode. the sitar can be obtained whether the FAST, The response is slower in the picking is weak or strong. order of FAST, MEDIUM and SLOW, MEDIUM, This adjusts the amount of effect but the modulation is lessened in [2] DEPTH 0–100 applied. SLOW the same order. 1:MODE This adjusts the tone. The high end is [1] [3] TONE -50–+50 2:MODE MONO is used for inputting single boosted as the value increases. notes. E .LEVEL * You may be unable to produce [4] 0–100 Adjust the volume of the sitar sound. MONO (EFFECT LEVEL) the intended effect when playing chords (two or more Page 2 notes played simultaneously). This adjusts the undulation of the [1] RESO 0–100 resonance. Make fine adjustments to 1:FINE the interval. The amount of Adjusts the amount of characteristic [2] -50–+50 2:FINE the change in the Fine 100 is [2] BUZZ 0–100 buzz produced by the “buzz bridge” equivalent to that of the Pitch 1. when the strings make contact with it. Adjusts the time from when the DIR .MIX Adjusts the volume of the direct [4] 0–100 direct sound is heard until the (DIRECT MIX) sound. pitch shifted sounds are heard. Normally you can leave this set at 0 ms. * When set to BPM, the value OCTAVE 1:P-DLY of each parameter will be set according to the value of the (1:PRE DELAY) 0 ms–300 ms, “MASTER BPM” specified for This adds a note one octave lower, creating a richer sound. [3] 2:P-DLY BPM – each patch. This makes it easier to achieve effect sound settings Knob Parameter Value Explanation (2:PRE DELAY) that match the tempo of the This selects the register to which the effect is song. applied. * If, due to the tempo, the time B1 (corresponds to the sound is longer than the range of of an open 7th string) to E6 RANGE 1 (B1–E6) allowable settings, it is then (corresponds to the 1st string synchronized to a period either played at the 24th fret) 1/2 or 1/4 of that time. B1 (corresponds to the sound 1:LEVEL Adjusts the volume of the pitch of an open 7th string) to E5 [4] 0–100 RANGE 2 (B1–E5) shifter. (corresponds to the 1st string 2:LEVEL [1] RANGE played at the 12th fret) Page 4 (if VOICE is set to “1VOICE”: page 3) B1 (corresponds to the sound 1:F-BAK Adjusts the feedback amount of of an open 7th string) to E4 [1] 0–100 RANGE 3 (B1–E4) the pitch shift sound. (corresponds to the sound of (1:FEEDBACK) an open 1st string) B1 (corresponds to the sound of an open 7th string) to E3 RANGE 4 (B1–E3) (corresponds to the 4th string played at the 2nd fret) 12 EFFECT

Knob Parameter Value Explanation HARMONIST For 1VOICE: pages 3–5 Harmonist is an effect where the amount of shifting is adjusted For 2MONO or 2STEREO: pages 4–6 (1:HARM), 7–9 (2:HARM) according to an analysis of the guitar input, allowing you to create [1] C -24 C–+24 C harmony based on diatonic scales. [2] Db -24 D –+24 D * Because of the need to analyze the pitch, chords (two or more ² ² sounds played simultaneously) cannot be played. Be sure to [3] D -24 D–+24 D mute all the other strings and play only one note at a time. [4] Eb -24 E²–+24 E² * If the unit cannot detect the attack, it may not sound correctly. If [1] E -24 E–+24 E the unit cannot detect the attack, it may not sound correctly. You can specify a [2] USER SCALE F -24 F–+24 F pitch in the range * The sensitivity may vary according to the guitar’s TONE knob two octaves and pickup type. [3] *1 *2 F# -24 F¾–+24 F¾ above or below the direct sound. * For the USB SECONDARY audio routing (p. 34), the harmonist [4] G -24 G–+24 G effect cannot be used on audio from USB IN. [1] Ab -24 A²–+24 A²

Knob Parameter Value Explanation [2] A -24 A–+24 A Page 1 [3] Bb -24 B²–+24– B² Selects the number of voices for the pitch shift sound. [4] B -24 B–+24 B 1VOICE One pitch-shifted voice is output in monaural. *1 This can be specified if 1:HARM or 2:HARM is “USER.” *2 The correspondence between the note names and the knobs differs depending [1] VOICE 2MONO Two pitch-shifted voices are output in monaural. on the specified KEY. Knob [1] of the first page is the tonic (root note) of the specified KEY. The table shows the example of when KEY is set to C (Am). 2STEREO Two pitch-shifted voices are output to the L-channel and the R-channel respectively. This determines the pitch of the sound OVERTONE (FX2 Only) added to the input sound, when you are making a harmony. This effect uses MDP technology to add new harmonics to the sound, producing resonance and richness that was not present in [2] 1:HARM -2 oct–+2 It allows you to set it by up to 2 octaves [3] 2:HARM oct, USER higher or lower than the input sound. the original sound. When the scale is set to USER, this parameter sets the user scale number Knob Parameter Value Explanation to be used. Page 1 The key setting corresponds to the key LWR .LVL Adjusts the volume of the harmonic of the song (#, b) as follows. [1] 0–100 (LOWER LEVEL) one octave below. Major UPR .LVL Adjusts the volume of the harmonic [2] 0–100 one octave above. KEY C (Am)–B (UPPER LEVEL) [4] (MASTER KEY) (G#m) Minor DIR .MIX [3] 0–100 Adjusts the volume of the direct sound. Major (DIRECT MIX) Adjusts the amount of the detune [4] DETUNE 0–100 effect that adds depth to the sound. Minor Page 2 Page 2/Page 3 (if VOICE is set to “1VOICE”: page 2 only) [1] TONE -50–+50 This adjusts the tone. Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally you can leave this set at 0 ms. * When set to BPM, the value of each SOUND HOLD 1:P-DLY parameter will be set according (1:PRE DELAY) 0 ms–300 to the value of the “MASTER BPM” You can have sound played on the guitar be held continuously. [1] ms, specified for each patch. This makes 2:P-DLY This effect allows you to perform the melody in the upper registers BPM – it easier to achieve effect sound while holding a note in the lower registers. (2:PRE DELAY) settings that match the tempo of the song. * This function will not work properly when two or more notes are * If, due to the tempo, the time is played simultaneously. longer than the range of allowable settings, it is then synchronized to a Knob Parameter Value Explanation period either 1/2 or 1/4 of that time. Switches the hold sound on and off. 1:F-BAK Adjusts the feedback amount of the Normally, this is controlled with the [2] 0–100 (1:FEEDBACK) harmonist sound. CTL pedals. [1] HOLD OFF, ON • It is assumed that this parameter will 1:LEVEL Adjusts the volume of the harmony [3] 0–100 be assigned to the footswitch. 2:LEVEL sound. • Patches are written with the HOLD DIR .MIX Adjusts the volume of the direct parameter set to Off. [4] 0–100 (DIRECT MIX) sound. RISE.TM Adjusts how rapidly the Sound Hold [2] 0–100 (RISE TIME) sound is produced. E.LEVEL [4] 0–120 Adjusts the volume of the hold sound. (EFFECT LEVEL)

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Knob Parameter Value Explanation AC. PROCESSOR Page 2 This processor allows you to change the sound produced by the Adjusts the center frequency of the [1] MANUAL 0–100 pickup on an acoustic electric guitar, creating a richer sound similar phaser effect. to that obtained with a microphone placed close to the guitar. This sets the cycle of the step function that changes the rate and depth. Knob Parameter Value Explanation When it is set to a higher value, the change will be finer. Set this to “Off” Page 1 when not using the Step function. Selects the modeling type. * When set to BPM, the value of each This is the sound of a small-bodied parameter will be set according SMALL STEP .RT OFF, 0–100, acoustic guitar. [2] to the value of the “MASTER BPM” (STEP RATE) BPM – specified for each patch. This makes [1] TYPE This is a standard, unadorned acoustic MEDIUM it easier to achieve effect sound guitar sound. settings that match the tempo of BRIGHT This is a bright acoustic guitar sound. the song. * If, due to the tempo, the time is POWER This is a powerful acoustic guitar sound. longer than the range of allowable Adjusts the tone for the low frequency settings, it is then synchronized to a [2] BASS -50–+50 range. period either 1/2 or 1/4 of that time. [3] MIDDLE -50–+50 Adjusts the midrange balance. E .LEVEL [3] 0–100 Adjusts the volume of the phaser. M .FREQ 20.0 Hz–10.0 Specifies the frequency range to be (EFFECT LEVEL) [4] (MIDDLE FREQ) kHz adjusted with Middle. DIR .MIX Adjusts the volume of the direct [4] 0–100 Page 2 (DIRECT MIX) sound. Adjusts the tone for the high frequency [1] TREBLE -50–+50 range.

PRES Adjusts the balance in the extended [2] -50–+50 (PRESENCE) upper range. FLANGER [4] LEVEL 0–100 Adjusts the volume. The flanging effect gives a twisting, jet-airplane-like character to the sound.

Knob Parameter Value Explanation PHASER Page 1 By adding varied-phase portions to the direct sound, the phaser This sets the rate of the flanging effect gives a whooshing, swirling character to the sound. effect. * When set to BPM, the value of each parameter will be set accord- Knob Parameter Value Explanation ing to the value of the “MASTER Page 1 BPM” specified for each patch. This 0–100, makes it easier to achieve effect Selects the number of stages that the phaser effect [1] RATE sound settings that match the will use. BPM – tempo of the song. This is a four-phase effect. A light 4 STAGE * If, due to the tempo, the time phaser effect is obtained. is longer than the range of This is a eight-phase effect. It is a allowable settings, it is then [1] TYPE 8 STAGE popular phaser effect. synchronized to a period either 1/2 or 1/4 of that time. This is a twelve-phase effect. A deep 12 STAGE Determines the depth of the phase effect is obtained. [2] DEPTH 0–100 flanging effect. This is the phaser with two phase shift BiPHASE circuits connected in series. Determines the amount of RESO resonance (feedback). Increasing This sets the rate of the phaser effect. [3] 0–100 (RESONANCE) the value will emphasize the effect, * When set to BPM, the value of each creating a more unusual sound. parameter will be set according Adjusts the center frequency at [4] MANUAL 0–100 to the value of the “MASTER BPM” which to apply the effect. specified for each patch. This makes 0–100, Page 2 [2] RATE it easier to achieve effect sound settings that match the tempo of BPM – SEPARAT Adjusts the diffusion. The diffusion the song. [1] 0–100 (SEPARATION) increases as the value increases. * If, due to the tempo, the time is longer than the range of allowable This sets the frequency at which the LO .CUT FLAT, low cut filter begins to take effect. settings, it is then synchronized to a [2] period either 1/2 or 1/4 of that time. (LOW CUT) 55 Hz–800 Hz When “Flat” is selected, the low cut filter will have no effect. Determines the depth of the phaser [3] DEPTH 0–100 effect. E .LEVEL [3] 0–100 Adjusts the volume of the flanger. Determines the amount of resonance (EFFECT LEVEL) RESO (feedback). Increasing the value will [4] 0–100 DIR .MIX Adjusts the volume of the direct emphasize the effect, creating a more [4] 0–100 (RESONANCE) (DIRECT MIX) sound. unusual sound.

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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 Knob Parameter Value Explanation undulation that you can’t get with a regular phaser. WAVE Adjusts changes in volume level. [1] 0–100 A higher value will steepen wave’s (WAVE SHAPE) shape. Knob Parameter Value Explanation Adjusts the frequency (speed) of the Adjusts the rate of the UNI-V effect. change. * 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 value of the “MASTER BPM” specified to the value of the “MASTER BPM” 0–100, for each patch. This makes it easier specified for each patch. This [1] RATE to achieve effect sound settings that 0–100, makes it easier to achieve effect BPM – [2] RATE match the tempo of the song. BPM – sound settings that match the * If, due to the tempo, the time is longer tempo of the song. than the range of allowable settings, it * If, due to the tempo, the time is is then synchronized to a period either longer than the range of allowable 1/2 or 1/4 of that time. settings, it is then synchronized to [2] DEPTH 0–100 Adjusts the depth of the UNI-V effect. a period either 1/2 or 1/4 of that time. [4] LEVEL 0–100 Adjusts the volume. [3] DEPTH 0–100 Adjusts the depth of the effect. [4] LEVEL 0–100 Adjusts the volume. PAN ROTARY 1/ROTARY 2 With the volume level of the left and right sides alternately This produces an effect like the sound of a rotary speaker. changing, when playing sound in stereo, you can get an effect that ROTARY 1 and ROTARY 2 provide a different-feeling sense of makes the guitar sound appear to fly back and forth between the rotation. speakers.

Knob Parameter Value Explanation Knob Parameter Value Explanation Page 1 Page 1 This parameter changes the [1] SPEED SLOW, FAST simulated speaker’s rotating This varies the volume level on the left and right according to speed (SLOW or FAST). AUTO the settings for WAVE SHAPE, RATE .S 0–100, This parameter adjusts the SPEED [1] TYPE [2] SELECT of rotation when set to RATE, and DEPTH. (RATE-SLOW) BPM – “SLOW.” Output uses the volume balance MANUAL This parameter adjusts the SPEED set with POS. SELECT of rotation when set to Adjusts changes in volume level. “FAST.” WAVE [2] 0–100 A higher value will steepen (WAVE SHAPE) *1 * When set to BPM, the value wave’s shape. of each parameter will be set according to the value of the Adjusts the frequency (speed) of “MASTER BPM” specified for the change. RATE .F 0–100, [3] each patch. This makes it easier * When set to BPM, the value (RATE-FAST) BPM – to achieve effect sound settings of each parameter will be that match the tempo of the set according to the value of song. the “MASTER BPM” specified * If, due to the tempo, the time 0–100, for each patch. This makes it is longer than the range of [3] RATE *1 easier to achieve effect sound BPM – allowable settings, it is then settings that match the tempo synchronized to a period either of the song. 1/2 or 1/4 of that time. * If, due to the tempo, the time This parameter adjusts the is longer than the range of [4] DEPTH 0–100 amount of depth in the rotary allowable settings, it is then effect. synchronized to a period either 1/2 or 1/4 of that time. Page 2 This parameter adjusts the time [4] DEPTH *1 0–100 Adjusts the depth of the effect. RISE .TM it takes for the rotation SPEED This adjusts the volume balance [1] 0–100 POS L 100–CENTER– (RISE TIME) SELECT to change when switched [2] between the left and right R 100 from “SLOW” to “FAST.” (POSITION) *2 channels. This parameter adjusts the time Page 2 FALL .TM it takes for the rotation SPEED [2] 0–100 (FALL TIME) SELECT to change when switched [4] LEVEL *3 0–100 Adjusts the volume. from “FAST” to “SLOW.” B/H .BAL Adjusts the volume balance *1 Setting available when TYPE is set to AUTO [3] (BASS/HORN 100:0–0:100 between the BASS rotor and the *2 Setting available when TYPE is set to MANUAL. BALANCE) *1 HORN rotor. *3 If TYPE is set to MANUAL, this is shown in page 1. [4] LEVEL 0–100 Adjusts the volume. Page 3 DIR .MIX Adjusts the volume of the direct [1] 0–100 (DIRECT MIX*1 sound.

1 ROTARY 2 only. 15 EFFECT

SLICER RING MOD This consecutively interrupts the sound to create the impression The sound can be unmusical and lack distinctive pitches. that a rhythm backing phrase is being played. Knob Parameter Value Explanation This selects the mode for the ring modulator. Knob Parameter Value Explanation NORMAL This is a normal ring modulator. Page 1 By ring-modulating the Select the slice pattern that will be [1] PATTERN P1–P20 input signal, a bell like sound used to cut the sound. is created. The intelligent Adjust the rate at which the sound ring modulator changes the will be cut. oscillation frequency according * When set to BPM, the value of each [1] MODE to the pitch of the input sound parameter will be set according INTELLI and therefore produces a sound to the value of the “MASTER BPM” (INTELLIGENT) with the sense of pitch, which specified for each patch. This is quite different from NORMAL. 0–100, makes it easier to achieve effect This effect does not give a [2] RATE satisfactory result if the pitch of BPM – sound settings that match the tempo of the song. the guitar sound is not correctly detected. So, you must use * If, due to the tempo, the time is single notes, not chords. longer than the range of allowable FREQ Adjusts the frequency of the settings, it is then synchronized to [2] 0–100 a period either 1/2 or 1/4 of that (FREQUENCY) internal oscillator. time. E .LEVEL Adjusts the volume of the effect [3] 0–100 Adjust the sensitivity of triggering. (EFFECT LEVEL) sound. DIR .MIX Adjusts the volume of the direct With low settings of this parameter, [4] 0–100 softly picked notes will not retrigger (DIRECT MIX) sound. the phrase (i.e., the phrase will SENS continue playing), but strongly [3] 0–100 picked notes will retrigger the (TRIGGER SENS) phrase so that it will playback from HUMANIZER the beginning. With high settings of this parameter, the phrase will be This can create human vowel-like sounds. retriggered even by softly picked notes. Knob Parameter Value Explanation E .LEVEL Adjusts the volume of the effect [4] 0–100 Page 1 (EFFECT LEVEL) sound. This sets the mode that switches the vowels. Page 2 It changes from VOWEL 1 to VOWEL 2 DIR .MIX Adjusts the volume of the direct PICKING along with the picking. The time spent [1] 0–100 (DIRECT MIX) sound. [1] MODE for the change is adjusted with the rate. By adjusting the rate and depth, two AUTO vowels (VOWEL 1 and VOWEL 2) can be switched automatically. VIBRATO [2] VOWEL 1 a, e, i, o, u Selects the first vowel. [3] VOWEL 2 a, e, i, o, u Selects the second vowel. This effect creates vibrato by slightly modulating the pitch. Adjusts the sensitivity of the humanizer. Knob Parameter Value Explanation When it is set to a lower value, no effect of the humanizer is obtained Page 1 [4] SENS *1 0–100 with weaker picking, while stronger Adjusts the rate of the vibrato. picking produces the effect. When it is * When set to BPM, the value of each set to a higher value, the effect of the parameter will be set according to the humanizer can be obtained whether value of the “MASTER BPM” specified the picking is weak or strong. 0–100, for each patch. This makes it easier Page 2 [1] RATE to achieve effect sound settings that BPM – Adjusts the cycle for changing the two match the tempo of the song. vowels. * If, due to the tempo, the time is longer * When set to BPM, the value of each than the range of allowable settings, it is parameter will be set according then synchronized to a period either 1/2 to the value of the “MASTER BPM” or 1/4 of that time. specified for each patch. This makes 0–100, [2] DEPTH 0–100 Adjusts the depth of the vibrato. [1] RATE it easier to achieve effect sound BPM – settings that match the tempo of This selects on/off of the vibrato. the song. [3] TRIGGER OFF, ON * It is assumed that this parameter will be * If, due to the tempo, the time is assigned to the footswitch. longer than the range of allowable This sets the time passing from the settings, it is then synchronized to moment the Trigger is turned on until the a period either 1/2 or 1/4 of that time. set vibrato is obtained. [2] DEPTH 0–100 Adjusts the depth of the effect. * When a patch with TRIGGER set to ON is Adjusts the cycle for changing the two RISE .TM [4] 0–100 called up, the effect obtained is identical vowels. When it is set to lower than 50, (RISE TIME) to what happens when TRIGGER is [3] MANUAL *2 0–100 the time for VOWEL 1 is shorter. When switched from Off to On. If you want it is set to higher than 50, the time for the vibrato effect to be produced VOWEL 1 is longer. immediately after the patches are [4] LEVEL 0–100 Adjusts the volume. switched, set RISE TIME to 0.

Page 2 *1 Setting available when MODE is set to PICKING. [1] LEVEL 0–100 Adjusts the volume. *2 Setting available when MODE is set to AUTO. 16 EFFECT

2X2 CHORUS SUB DELAY This allows you to achieve a more natural chorus sound. This is a delay with the maximum delay time of 1,000 ms. This effect is useful for making the sound fatter. Knob Parameter Value Explanation Page 1 Knob Parameter Value Explanation Adjust the speed of the chorus Page 1 effect for the low frequency range. Use this to choose the type of delay. * When set to BPM, the value Use this to choose the type of MONO of each parameter will be set delay. according to the value of the [1] TYPE “MASTER BPM” specified for Provides a tap delay effect that PAN divides the delay time between LO .RATE 0–100, each patch. This makes it easier [1] to achieve effect sound settings the left and right channels. (LOW RATE) BPM – that match the tempo of the Adjusts the delay time. song. * When set to BPM, the value * If, due to the tempo, the time of each parameter will be is longer than the range of set according to the value of allowable settings, it is then the “MASTER BPM” specified synchronized to a period either for each patch. This makes it 1/2 or 1/4 of that time. DLY .TIM 1 ms–1000 ms, [2] easier to achieve effect sound Adjust the depth of the chorus (DELAY TIME) BPM – settings that match the tempo LO .DPT effect for the low frequency of the song. [2] 0–100 (LOW DEPTH) range. If you wish to use this as a * If, due to the tempo, the time doubling effect, use a setting of 0. is longer than the range of Adjust the speed of the chorus allowable settings, it is then effect for the high frequency synchronized to a period either range. 1/2 or 1/4 of that time. * When set to BPM, the value Adjusts the volume that is FEEDBAK returned to the input. Higher of each parameter will be set [3] 0–100 according to the value of the (FEEDBACK) settings will result in more delay “MASTER BPM” specified for repeats. HI .RATE 0–100, [3] each patch. This makes it easier E .LEVEL Adjusts the volume of the delay to achieve effect sound settings [4] 0–120 (HIGH RATE) BPM – (EFFECT LEVEL) sound. that match the tempo of the song. Page 2 * If, due to the tempo, the time This sets the frequency at which is longer than the range of the high cut filter begins to take HI .CUT 630 Hz– allowable settings, it is then [1] effect. When “FLAT” is selected, 12.5 kHz, FLAT synchronized to a period either (HIGH CUT) the high cut filter will have no 1/2 or 1/4 of that time. effect. Adjust the depth of the chorus Adjusts the delay time of the HI .DPT effect for the high frequency [4] 0–100 left channel delay. This setting (HIGH DEPTH) range. If you wish to use this as a [2] TAP TIME *1 0–100% adjusts the L channel delay time doubling effect, use a setting of 0. relative to the R channel delay Page 2 time (considered as 100%). DIR .MIX Adjusts the volume of the direct Adjusts the delay of the effect [4] 0–100 sound in the low-frequency range. (DIRECT MIX) sound. LO .PDLY 0.0 ms–40.0 [1] Extending the pre-delay will ms (LOW PRE DELAY) produce the sensation of multiple sounds (doubling effect). *1 Setting available when TYPE is set to PAN.

LO .LVL Adjusts the volume of the effect [2] 0–100 (LOW LEVEL) sound in the low-frequency range. Adjusts the delay of the effect TERA ECHO (FX2 Only) sound in the high-frequency HI .PDLY 0.0 ms–40.0 [3] range. Extending the pre-delay This uses MDP technology to create spaciousness and distinctive ms (HIGH PRE DELAY) will produce the sensation of ambience that varies according to your picking dynamics. multiple sounds (doubling effect). Knob Parameter Value Explanation HI .LVL Adjusts the volume of the effect [4] 0–100 sound in the high-frequency Page 1 (HIGH LEVEL) range. Selects the mode of the effect sound. Page 3 The L and R channels will both This sets the frequency dividing MONO XOVER (CROSSOVER 100 Hz–4.00 output the same sound. [1] the low- and high-frequency FREQUENCY) kHz The effect is applied separately to ranges. [1] MODE STEREO1 the L and R channels. DIR .MIX Adjusts the volume of the direct [4] 0–100 The L channel outputs the direct (DIRECT MIX) sound. STEREO2 sound, and the R channel outputs the effect sound. Adjusts the length of the effect [2] S .TIME 0–100 sound.

FEEDBAK Adjusts the decay of the effect [3] 0–100 (FEEDBACK) sound.

17 EFFECT

Knob Parameter Value Explanation

E .LEVEL Adjusts the volume of the effect DELAY [4] 0–100 sound. (EFFECT LEVEL) This effect adds delayed sound to the direct sound, giving more Page 2 body to the sound or creating special effects. [1] TONE -50–+50 This adjusts the tone. Knob Parameter Value Explanation DIR .MIX Adjusts the volume of the direct [2] 0–100 (DIRECT MIX) sound. DELAY OFF, ON Turns this effect on/off. The effect sound is held when you ON/OFF [4] HOLD OFF, ON turn this on. Page 1 This selects which type of delay. * If you switch patches with the Type set to either DUAL-S, DUAL-P, or DUAL- L/R and then begin to play immediately after the patches change, you may be unable to attain the intended effect in the first portion of what you perform. * The stereo effect is cancelled if a monaural effect or COSM amp is connected after a stereo delay effect.* SINGLE This is a simple monaural delay. This delay is specifically for stereo output. This allows you to obtain the tap delay effect that divides the delay time, then deliver them to L and R channels.

TAP TIME PAN OUTPUT L EFFECT LEVEL DELAY TIME INPUT DELAY OUTPUT R

FEEDBACK

STEREO The direct sound is output from the left channel, and the effect sound is output from the right channel. This is a delay comprising two different delays connected in series. Each delay time can be set in a range from 1 ms to DUAL-S 1000 ms.

D1: DELAY 1 D1 D2 [1] TYPE D2: DELAY 2 This is a delay comprising two delays connected in parallel. Each delay time can be set in a range from 1 ms to 1000 DUAL-P ms.

This is a delay with individual settings available for the left and right channels. Delay 1 goes to the left channel, Delay 2 DUAL-L/R to the right.

D1 L

D2 R

REVERSE This produces an effect where the sound is played back in reverse.

ANALOG This gives a mild analog delay sound. The delay time can be set within the range of 1 to 2000 ms. This setting provides the characteristic TAPE wavering sound of the tape echo. The delay time can be set within the range of 1 to 3400 ms.

MOD This delay adds a pleasant wavering (MODULATE) effect to the sound.

18 EFFECT COMMON MODULATE

Knob Parameter Value Explanation Knob Parameter Value Explanation Page 1 (if TYPE is set to other than DUAL-S, DUAL-P, or DUAL-L/R) Page 3 Adjusts the delay time. MOD .RT Adjusts the modulation rate of [1] 0–100 * When set to BPM, the value (MODULATION RATE) the delay sound. of each parameter will be MOD .DPT (MODULATION Adjusts the modulation depth [2] 0–100 set according to the value of DEPTH) of the delay sound. the “MASTER BPM” specified for each patch. This makes DLY .TIM 1 ms–2000 ms, [2] it easier to achieve effect (DELAY TIME) BPM – sound settings that match the tempo of the song. * If, due to the tempo, the time CHORUS is longer than the range of allowable settings, it is then In this effect, a slightly detuned sound is added to the original synchronized to a period sound to add depth and breadth. either 1/2 or 1/4 of that time. Adjusts the volume that is Knob Parameter Value Explanation FEEDBAK returned to the input. A higher [3] 0–100 CHORUS (FEEDBACK) value will increase the number OFF, ON Turns this effect on/off. of the delay repeats. ON/OFF E .LEVE Adjusts the volume of the Page 1 [4] 0–120 (EFFECT LEVEL) delay sound. Selection for the chorus mode. Page 2 (if TYPE is set to other than DUAL-S, DUAL-P, or DUAL-L/R) MONO This chorus effect outputs the same This sets the frequency at sound from both L channel and R which the high cut filter begins channel. HI .CUT 630 Hz– [1] to take effect. When “FLAT” is (HIGH CUT) 12.5 kHz, FLAT STEREO1 This is a stereo chorus effect that selected, the high cut filter will [1] MODE adds different chorus sounds to L have no effect. channel and R channel. DIR .MIX Adjusts the volume of the [4] 0–100 This stereo chorus uses spatial (DIRECT MIX) direct sound. STEREO2 synthesis, with the direct sound output in the L channel and the effect sound output in the R channel. PAN Adjust the speed of the chorus effect for the high frequency range.

Knob Parameter Value Explanation * When set to BPM, the value of each parameter will be set according Page 2 to the value of the “MASTER BPM” Adjusts the delay time of the left channel specified for each patch. This 0–100, delay. This setting adjusts the L channel makes it easier to achieve effect [2] TAP TIME 0–100% [2] RATE delay time relative to the R channel delay BPM – sound settings that match the time (considered as 100%). tempo of the song. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to DUAL-S, DUAL-P, DUAL-L/R a period either 1/2 or 1/4 of that time.

Knob Parameter Value Explanation Adjusts the depth of the chorus effect. Page 2, 3 (if TYPE is set to DUAL-S, DUAL-P, or DUAL-L/R) [3] DEPTH 0–100 * To use it for doubling effect, set the Adjusts the delay time. value to 0. * When set to BPM, the value E .LEVEL Adjusts the volume of the effect of each parameter will be set [4] 0–100 sound. according to the value of the (EFFECT LEVEL) “MASTER BPM” specified for Page 2 each patch. This makes it easier Adjusts the time needed for the 1:TIME 1 ms–1000 ms, to achieve effect sound settings [1] effect sound to be output after the that match the tempo of the 2:TIME BPM – direct sound has been output. By song. PRE .DLY 0.0 ms–40.0 [1] setting a longer pre delay time, you ms * If, due to the tempo, the time (PRE DELAY) can obtain an effect that sounds like is longer than the range of more than one sound is being played allowable settings, it is then at the same time (doubling effect). synchronized to a period either This sets the frequency at which the 1/2 or 1/4 of that time. LO .CUT FLAT, low cut filter begins to take effect. 1:F .BAK [2] Adjusts the amount of feedback of (LOW CUT) 20 Hz–800 Hz When “Flat” is selected, the low cut (FEEDBACK) the DELAY 1 (or DELAY 2). A higher filter will have no effect. [2] 0–100 value will increase the number of This sets the frequency at which the 2:F .BAK 630 Hz– the delay repeats. HI .CUT high cut filter begins to take effect. (FEEDBACK) [3] 12.5 kHz, (HIGH CUT) When “FLAT” is selected, the high cut 1:HiCUT FLAT This sets the frequency at which filter will have no effect. (HIGH CUT) 630 Hz– the high cut filter begins to take DIR .MIX Adjusts the volume of the direct [3] [4] 0–100 2:HiCUT 12.5 kHz, FLAT effect. When “FLAT” is selected, the (DIRECT MIX) sound. high cut filter will have no effect. (HIGH CUT) 1:LEVEL Adjusts the volume of the DELAY 1 [4] 0–120 2:LEVEL (or DELAY 2). 19 EFFECT REVERB PEDAL FX

This effect adds reverberation to the sound. PEDAL FX is an effect that lets you use an expression pedal connected to the CTL/EXP jack to control WAH or PEDAL BEND. For Knob Parameter Value Explanation details on how to edit the effect that’s assigned to the expression REVERB ON/OFF OFF, ON Turns this effect on/off. pedal, refer to ”CTL/EXP” (p. 25). Page 1 This selects the reverb type. Various different simulations of space are offered. PEDAL BEND Simulates an ambience mic (off-mic, placed at a distance This lets you use the pedal to get a pitch bend effect. from the sound source) used in * Because of the need to analyze the pitch, chords (two or more sounds AMBIENC recording and other applications. played simultaneously) cannot be played. (AMBIENCE) Rather than emphasizing the reverberation, this reverb is used * To use PEDAL BEND, set EXP PEDAL’s FUNC to PB (PEDAL BEND) to produce a sense of openness or PB/FV (PEDAL BEND/FOOT VOLUME). and depth. Knob Parameter Value Explanation Simulates the reverberation in ROOM a small room. Provides warm This sets the pitch at the point reverberations. [1] PITCH -24–+24 where the EXP Pedal is all the way down. Simulates the reverberation in a HALL 1 concert hall. Provides clear and Adjusts the pedal position for spacious reverberations. PD .POS pedal bend. This parameter is [1] TYPE [2] 0–100 used after it’s been assigned to an Simulates the reverberation in (PEDAL POSITION) EXP Pedal or similar controller. HALL 2 a concert hall. Provides mild reverberations. E .LEVEL Adjusts the volume of the pitch [3] 0–100 Simulates plate reverberation (EFFECT LEVEL) bend sound. (a reverb unit that uses the DIR .MIX Adjusts the volume of the direct PLATE vibration of a metallic plate). [4] 0–100 sound. Provides a metallic sound with a (DIRECT MIX) distinct upper range. This simulates the sound of SPRING a guitar amp’s built-in spring reverb. WAH This reverb adds the wavering MOD (MODU- sound found in hall reverb to The expression pedal connected to the CTL/EXP jack controls the LATE) provide an extremely pleasant wah effect in real time. reverb sound. * To use WAH, set EXP PEDAL’s FUNC to WAH or WAH/FV (WAH/ TIME Adjusts the length (time) of [2] 0.1 s–10.0 s FOOT VOLUME). (REVERB TIME) reverberation. PRE .DLY Adjusts the time until the reverb Knob Parameter Value Explanation [3] 0 ms–500 ms (PRE DELAY) sound appears. Page 1 E .LEVEL Adjusts the volume of the reverb [4] 0–100 Selects the type of wah. (EFFECT LEVEL) sound. This models the sound of the Page 2 CRY (CRY WAH) CRY BABY wah pedal popular This sets the frequency at which in the ’70s. LO .CUT FLAT, the low cut filter begins to take This models the sound of the [1] VO (VO WAH) (LOW CUT) 20 Hz–800 Hz effect. When “Flat” is selected, the VOX V846. low cut filter will have no effect. This is a wah sound featuring FAT (FAT WAH) This sets the frequency at which a bold tone. the high cut filter begins to take HI .CUT 630 Hz– This wah has a refined [2] effect. When “FLAT” is selected, LIGHT 12.5 kHz, FLAT [1] TYPE sound with no unusual (HIGH CUT) the high cut filter will have no (LIGHT WAH) characteristics. effect. This expanded wah features Adjusts the density of the reverb [3] DENSITY 0–10 7STRING a variable range compat- sound. (7STRING WAH) ible with seven-string and DIR .MIX Adjusts the volume of the direct baritone guitars. [4] 0–100 (DIRECT MIX) sound. This completely original effect Page 3 RESO offers enhancements on the characteristic resonances SPRING Adjusts the sensitivity of the (RESONANCE WAH) produced by analog synth (SPRING SENS) spring effect. When the value is filters. 0–100 (TYPE = SPRING set higher, the effect is obtained Adjusts the position of the only) even with a weak picking. wah pedal. PD .POS [2] 0–100 (PEDAL POS) * This parameter is used after it’s been assigned to an EXP Pedal or similar controller.

PD .MIN Selects the tone produced [3] 0–100 when the heel of the EXP (PEDAL MIN) Pedal is depressed.

PD .MAX Selects the tone produced [4] 0–100 when the toe of the EXP Pedal (PEDAL MAX) is depressed.

20 EFFECT

Knob Parameter Value Explanation Page 2 DIVIDER E .LEVEL Adjusts the volume of the [1] 0–100 Within the effect chain, the point where the signal is split into effect sound. (EFFECT LEVEL) channels “A” and “B” is called the “divider,” and the point where the DIR .MIX Adjusts the volume of the [2] 0–100 two signals are recombined is called the “mixer.” direct sound. (DIRECT MIX) You can use the divider to switch between channels “A” and “B,” to assign strongly picked notes and softly picked notes to different channels, or to assign different frequency bands of your guitar sound to different channels. FOOT VOLUME The mixer lets you adjust the volume balance of channels “A” and “B,” place them in the stereo field, or slightly delay the sound of channel “B” to produce a spacious sound.

FOOT VOLUME DIVIDER MIXER This is a volume control effect. It’s controlled by the expression pedal connected to the CTL/EXP jack.

Knob Parameter Value Explanation MIN Sets the volume when the heel of the EXP [1] 0–100 (VOLUME Pedal is depressed. MIN) Knob Parameter Value Explanation MAX Page 1 Selects the volume when the toe of the [2] (VOLUME 0–100 SINGLE Use only one channel, either “A” or “B.” EXP Pedal is depressed. [1] MODE MAX) DUAL Use the two channels “A” and “B.” You can select how the actual volume changes relative to the amount the pedal is pressed. Volume SINGLE If “SINGLE” is selected in [1]

FAST CURVE SLOW 1, Knob Parameter Value Explanation SLOW 2, [3] (VOLUME NORMAL, Page 1 CURVE) NORMAL FAST CH .SEL Ch. A, [2] Selects the channel to use. SLOW 2 (CHANNEL SELECT) Ch. B

SLOW 1

Minor When the DUAL Ch. A, DUAL Ch. B When the pedal is pedal is fully advanced fully raised If “DUAL” is selected in [1] [4] LEVEL 0–100 Adjusts the volume. Knob Parameter Value Explanation Page 2, 3 OFF DYNAMIC will not be used. A:DYN Only notes picked more (Ch .A:DYNAMIC) POLAR+ strongly than the DYNAMIC [1] SENS setting will be output. B:DYN Only notes picked more (Ch .B:DYNAMIC) POLAR- softly than the DYNAMIC SENS setting will be output. A:SENS (Ch .A:DYNAMIC SENS) [2] 0–100 Specifies the picking sensitivity. B:SENS (Ch .B:DYNAMIC SENS) OFF The filter will not be used. A:FILTR Only the region below the (Ch .A:FILTER) LPF cutoff frequency will be [3] output. B:FILTR Only the region above the (Ch .B:FILTER) HPF cutoff frequency will be output. A:CUTOF (Ch .A:CUTOFF FREQUENCY) 100 Hz–4 [4] Cutoff frequency B:CUTOF kHz (Ch .B:CUTOFF FREQUENCY) 21 EFFECT MIXER ACCEL FX

You can use six types of Accel effects in which operating an external Knob Parameter Value Explanation pedal connected to the CTL/EXP jack produces time-varying Channels “A” and “B” will be mixed and output changes in the sound. STEREO in stereo. * To use the Accel effect, connect a pedal such as the FS-6 to the [1] MODE Channels “A” and “B” will be assigned CTL/EXP jack, and set MENU"CTL/EXP"CTL1/CTL2 to assign PAN L/R respectively to the L and R OUTPUT jacks. the FUNC (FUNCTION) as ACCEL. A/B .BAL 100:0– Adjusts the volume balance of channels “A” [2] Knob Parameter Value Explanation (Ch .A/B 0:100 and “B.” BALANCE)*1 Page 1 Slightly delays the sound of channel “B” to S-BEND Applies intense bending. [3] SPREAD *1 0–100 make the sound more spacious. LASR BM Produces a laser beam-like sound. (LASER BEAM) *1 Shown only if DIVIDER MODE is “DUAL.” RNGMOD Produces a metallic sound, creating the impression that the sound is (RING MOD) being focused. [1] TYPE Produces an aggressive sense of rotation. Using this in conjunction NS1/NS2 TWIST with distortion will produce an even This effect reduces the noise and hum picked up by guitar pickups. wilder sense of rotation. Since it suppresses the noise in synchronization with the envelope WARP Produces a dream-like sound. of the guitar sound (the way in which the guitar sound decays over FEEDBKR time), it has very little effect on the guitar sound, and does not Generates feedback performance. (FEEDBACKER) harm the natural character of the sound.

Knob Parameter Value Explanation NS ON/OFF OFF, ON Switches the noise suppressor effect on/off. Adjust this parameter as appropriate for the S-BEND volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise Applies intense bending. THRESH level is low, a lower setting is appropriate. [1] 0–100 (THRESHOLD) * High settings for the threshold parameter Knob Parameter Value Explanation may result in there being no sound when Page 1 you play with your guitar volume turned -3 oct, -2 oct, down. -1 oct, +1 oct, Adjusts the amount of pitch shift in [2] PITCH Adjusts the time from when the noise +2 oct, +3 oct, octave steps. [2] RELEASE 0–100 suppressor begins to function until the noise +4 oct level reaches “0.” RISE .TM This parameter adjusts the amount This controls the noise suppressor based on the [3] 0–100 of time it is to take for the effect to (RISE TIME) volume level for the point specified in Detect. transition to the maximum. Input volume from input jack. FALL .TM This parameter adjusts the amount [4] 0–100 of time it is to take for the effect to INPUT * Ordinarily, DETECT should be set to (FALL TIME) transition to the original. “INPUT.” Noise suppressor input volume. * When connected as illustrated below, and you want to prevent a spatial-type effects sound (such as a delay sound) from being LASER BEAM NS eradicated by the NS, you should set INPUT DETECT to “NS INPUT.” Produces a laser beam-like sound.

[4] DETECT DLY NS1 Knob Parameter Value Explanation (Spatial-type effect) Page 2 [1] RATE 0–100 Adjusts the modulation rate of the sound. Volume after passing through Foot Volume. [2] DEPTH 0–100 Adjusts the modulation depth of the sound. * If you want to use FV (Foot Volume) in place of the guitar’s volume control, you RISE .TM This parameter adjusts the amount of time need to set DETECT to “FV OUT.” [3] 0–100 it is to take for the effect to transition to the (RISE TIME) maximum. FV OUT FALL .TM This parameter adjusts the amount of time [4] 0–100 it is to take for the effect to transition to the INPUT FV NS1 (FALL TIME) original.

Foot Volume

22 EFFECT

RING MOD FEEDBACKER Produces a metallic sound, creating the impression that the sound Generates feedback performance. is being focused. * Note that the notes you want to apply feedback to must be played singly and cleanly. Knob Parameter Value Explanation Page 1 Knob Parameter Value Explanation Adjusts the frequency of the internal [2] FREQ 0–100 Page 1 oscillator. Analyzes the pitch of the guitar This parameter adjusts the amount RISE .TM NORMAL sound being input, and then [3] 0–100 of time it is to take for the effect to creates a feedback sound. (RISE TIME) transition to the maximum. An artificial feedback sound will This parameter adjusts the amount FALL .TM be created internally. When OSC [4] 0–100 of time it is to take for the effect to is selected, the effect is activated (FALL TIME) transition to the original. [2] MODE OSC after a single note is played and Page 2 the note stabilizes. A feedback (OSCILLATOR) effect is created when the RNG .LVL [1] 0–100 Adjusts the volume of the effect sound. effect switches on; the feedback (RING LEVEL) disappears when the OSC effect switches off. OCT .LVL Adjusts the volume of the one octave [2] 0–100 (OCTAVE LEVEL) low sound. DEPTH Adjusts the ease with which [3] 0–100 feedback will occur when the DIR .MIX *1 [3] 0–100 Adjusts the volume of the direct sound. FEEDBACKER is on. (DIRECT MIX) This determines the time needed RISE .TM for the volume of the feedback [3] (RISE TIME) 0–100 sound to reach its maximum *2 from the moment the effect is turned on. TWIST OCT .RTM This determines the time needed for the volume of the one octave (OCTAVE RISE Produces an aggressive sense of rotation. Using this in conjunction [4] 0–100 higher feedback sound to reach TIME) with distortion will produce an even wilder sense of rotation. its maximum from the moment *2 the effect is turned on. Knob Parameter Value Explanation Page 2 Page 1 FEEDBAK (FEEDBACK Adjusts the volume of the This parameter adjusts the amount of time [1] 0–100 RISE .TM LEVEL) feedback sound. [2] 0–100 it is to take for the effect to transition to the (RISE TIME) maximum. *2 OCT .FBK FALL .TM This parameter adjusts the amount of time [3] 0–100 it is to take for the effect to transition to the (OCTAVE Adjusts the volume of the one [2] 0–100 (FALL TIME) original. FEEDBACK LEVEL) octave higher feedback sound. [4] LEVEL 0–100 Adjusts the volume of the effect sound. *2 VIB .RAT Adjusts the rate of the vibrato [3] (VIBRATO RATE) 0–100 when the FEEDBACKER is on. *2 WARP VIB .DPT Adjusts the depth of the vibrato [4] (VIBRATO DEPTH) 0–100 Produces a dream-like sound. when the FEEDBACKER is on. *2

Knob Parameter Value Explanation *1 MODE=NORMAL only Page 1 *2 MODE=OSC only RISE .TM This parameter adjusts the amount of time [2] 0–100 it is to take for the effect to transition to the (RISE TIME) maximum.

FALL .TM This parameter adjusts the amount of time [3] 0–100 it is to take for the effect to transition to the (FALL TIME) original. [4] LEVEL 0–100 Adjusts the volume of the effect sound.

23 EFFECT MASTER SETTING

These settings are applied to the overall patch.

MASTER SETTING

Knob Parameter Value Explanation Page 1 PAT .LVL [1] (PATCH 0–200 Adjusts the volume of the patch. LEVEL) Adjusts the BPM value for each patch. * BPM (beats per minute) indicates the number of quarter note beats that occur USB type B each minute. [3] (MASTER 40–250 * When you have an external MIDI BPM) device connected, the MASTER BPM synchronizes to the external MIDI device’s tempo, making it impossible to set the MASTER BPM. To enable setting of the”SYNC” (p. 36), set to INTERNAL. This sets the key for the FX HARMONIST.

Major

KEY C (Am) – [4] (MASTER Minor B (G#m) KEY) Major

Minor

MASTER EQ

Knob Parameter Value Explanation Page 2 LO .GAIN Adjusts the low frequency [1] -20–+20 dB (MASTER LOW GAIN) range tone.

HI .GAIN Adjusts the high frequency [2] -20–+20 dB (MASTER HIGH GAIN) range tone. Page 3

MID .FREQ Specify the center of the 20.0 Hz–10.0 frequency range that will [1] (MASTER MID kHz be adjusted by the MASTER FREQUENCY) MID GAIN. Adjusts the width of the MID .Q area affected by the EQ [2] 0.5–16 centered at the MASTER (MASTER MID Q) MID FREQ. Higher values will narrow the area.

MID .GAIN Adjusts the middle [3] -20–+20 dB (MASTER MID GAIN) frequency range tone.

24 MENU

CTL/EXP Using a Pedal to Control Desired Parameters Here’s how to assign the parameters that will be controlled by the Pedal Settings CTL 1, CTL 2 and the expression pedals. Connect your footswitch to the CTL/EXP jack as shown in the illustration, 1. Choose [MENU]"”CTL/EXP”"”CTL1”, ”CTL2”, or ”EXP ”. and set its POLARITY switch. 2. Set the parameter values with knobs [1]–[4] . CTL1, CTL2 EXP Assign the parameters that are controlled by the CTL1 and CTL2 pedals.

Knob Parameter Value Explanation OFF No assignment. ACCEL Switches the ACCEL effect on and off. CH SEL (DIV CH Switches between Preamp channel A and B. SELECT) When Connecting an FS-5U OD SL (OD/DS Switches the OD/DS SOLO on and off. SOLO) A/B SL Switches the Preamp SOLO on and off. CTL 1 (A/B SOLO) Switches the preamp SOLO, for both Cable: A&B SL channel A and B, on and off. If one of the 1/4” phone (A&B SOLO) two channels is off, both will be turned on. type#" COMP Switches the COMP on and off. 1/4” phone type OD/DS Switches the OD/DS on and off. PREAMP Switches the PREAMP/SPEAKER on and off.

POLARITY switch EQ Switches the EQ on and off. FX1 Switches the FX1 on and off. FX2 Switches the FX2 on and off. or DELAY Switches the DELAY on and off. CHORUS Switches the CHORUS on and off. When Connecting Two FS-5Us REVERB Switches the REVERB on and off. PEDL FX Switches the Pedal FX on and off. (PEDAL FX) TUNER Switches the TUNER on and off. CTL 1 CTL 2 BPM TAP *1 Used for tap input of the MASTER BPM. Cable: DELY TAP [1] FUNC Used for tap input of the delay time. Stereo 1/4” phone type (DELAY TAP) *1 #" MIDI ST (MIDI Controls the Start/Stop of external MIDI 1/4” phone type x 2 START) devices (such as sequencers). MMC PLY (MMC Controls the Play/Stop of external MIDI PLAY) devices (such as hard disk recorders). POLARITY switch LVL+10 (LEVEL Increases the patch volume level by 10 +10) *1 units. LVL+20 (LEVEL Increases the patch volume level by 20 +20) *1 units. or LVL-10 (LEVEL Decreases the patch volume level by 10 -10) *1 units. When Connecting an FS-6 LVL-20 (LEVEL Decreases the patch volume level by 20 -20) *1 units. NUM INC (NUMBER INC) Switches to the next higher patch number. CTL 1 CTL 2 Cable: *1 *2 Stereo 1/4” phone type NUM DEC #" (NUMBER DEC) Switches to the next lowers patch number. Stereo 1/4” phone type *1 *2 FAV INC Switches FAVORITE in the order of (FAVORITE A"B"C"D"A... MODE/POLARITY switch INC) *2 FAV DEC Switches FAVORITE in the order of (FAVORITE D"C"B"A"D... DEC) *2

*1 The function will activate as soon as you press the pedal, regardless of whether the SOURCE MODE parameter is MOMENT or TOGGLE. *2 To switch patches, use MENU"SYSTEM"PREFERENCE to specify CTL1/2 as SYSTEM, or set CTL1/2’s FUNC to NUMBER INC/DEC for all of the patches that you want to switch.

25 MENU

Knob Parameter Value Explanation OFF, ON Specifying the External Pedal Function This sets the value for times when the [2] MIN (or STOP, START, switch is Off. PLAY) for Each Patch (Assign) OFF, ON This sets the value for times when the Here’s how the function of an external pedal (footswitch, expression [3] MAX (or STOP, START, switch is On. pedal) connected to the CTL/EXP jack can be specified for each PLAY) patch. For each patch, you can make eight different assignments This sets the behavior of the value each time the switch is (assign number 1–8) that specify which pedal controls which operation. parameter. MODE The normal state is Off (minimum value), * Select each individual parameter to specify which pedal will MOMENT with the switch On (maximum value) [4] control each parameter. (SOURCE only while the footswitch is depressed. MODE) The setting is toggled On (maximum Choose [MENU] ”CTL/EXP” ”ASSIGN C (COMMON)” or TOGGLE value) or Off (minimum value) with each 1. " " press of the footswitch. ”ASSIGN 1–8 ”. 2. Set the parameter values with knobs [1]–[4] . EXP ASSIGN COMMON Here’s how to assign the parameters that will be controlled by an expression pedal (such as the separately available EV-5) connected Knob Parameter Value Explanation to the CTL/EXP jack. SENS This adjusts the input sensitivity when INPUT [1] 0–100 (INPUT SENS) LEVEL is selected for SOURCE. Knob Parameter Value Explanation OFF No assignment. FV Foot volume will be assigned. (FOOT VOLUME) ASSIGN 1–8 PB Pedal bend will be assigned. (PEDAL BEND) Knob Parameter Value Explanation [1] ASSIGN OFF, ON Turns the ASSIGN 1–8 on/off. [1] FUNC WAH Wah will be assigned. Assigns the external footswitch Pedal bend and foot volume EXP PDL PB/FV (FS-5U, FS-6; available separately) will be assigned. (EXP PEDAL) connected to the CTL/EXP jack. Wah and foot volume will be WAH/FV CTL1 PDL Assigns the external footswitch assigned. (FS-5U, FS-6; available separately) (CTL1 PEDAL) PAT LV connected to the CTL/EXP jack. Patch level will be assigned. (PATCH LEVEL) *1 CTL2 PDL Assigns the external footswitch (FS-5U, FS-6; available separately) MIN (CTL2 PEDAL) connected to the CTL/EXP jack. [3] 0–200 Specifies the minimum value. (PATCH LEVEL INT PDL Refer to “Virtual expression pedal MIN) *2 (INTERNAL system (Internal Pedal / Wave [2] SOURCE MAX PEDAL) Pedal)” (p. 31) [4] (PATCH LEVEL 0–200 Specifies the maximum value. WAV PDL Refer to “Virtual expression pedal MAX) *2 system (Internal Pedal / Wave (WAVE PEDAL) Pedal)” (p. 31)

INPUT The assigned target parameter This is shown only if PERFORMANCE (p. 35) is set to SYSTEM. will change according to the input *2 Shown only if PATCH LEVEL is selected in FUNC. (INPUT LEVEL) level. Control Change messages from an CC#1–#31 external MIDI device. Control Change messages from an CC#64–#95 external MIDI device. The normal state is Off (minimum value), with the switch On MOMENT (maximum value) only while the MODE footswitch is depressed. [3] (SOURCE MODE) The setting is toggled On (maximum value) or Off TOGGLE (minimum value) with each press of the footswitch. Page 2 CATEGORY This selects the parameter to be changed. [1] (TARGET CATEGORY) Refer to TARGET list [2] TARGET

MIN This sets the minimum value for the range in which [3] the parameter can change. The value differs depend- (TARGET MIN) ing on the parameter assigned for TARGET parameter. This sets the maximum value for the range in MAX which the parameter can change. The value differs [4] (TARGET MAX) depending on the parameter assigned for TARGET parameter.

26 MENU

Knob Parameter Value Explanation Page 3 ACT .LO You can set the controllable range [1] 0–126 for target parameters within the (ACT RANGE LO) source’s operational range. Target parameters are controlled within ACT .HI the range set with ACT LO and [2] 1–127 (ACT RANGE HI) ACT HI. You should normally set ACT LO to 0 and ACT HI to 127. This determines the time spend 0–100, for one cycle of the assumed EXP BPM – Pedal. When set to BPM, the value of each parameter will WAV .RT be set according to the value of the “MASTER BPM” [3] (WAVE RATE) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo *1 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.

SAW WAV .FM [4] (WAVE FORM) TRI *1 SINE

Page 4 PAT CNG This is activated when a patch is (PATCH CHANGE) selected. This is activated when an external expression pedal connected to EXP LO the CTL/EXP jack is set to the minimum position. This is activated when the external expression pedal EXP MID connected to the CTL/EXP jack is moved through the middle position. TRIGGER This is activated when the (INT PEDAL [1] external expression pedal TRIGGER) EXP HI connected to the CTL/EXP jack is *2 set to the maximum position. This is activated when an external CTL1 PDL footswitch connected to the CTL/ EXP jack is operated. This is activated when an external CTL2 PDL footswitch connected to the CTL/ EXP jack is operated. This is activated when a control CC#1–#31 change is received. This is activated when a control CC#64–#95 change is received. TIME This specifies the time over which the internal pedal will move from [2] (INT PEDAL TIME) 0–100 the toe-raised position to the *2 toe-down position.

LINEAR CURVE (INT PEDAL SLOW [3] CURVE) (SLOW RISE) *2 FAST (FAST RISE)

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

27 MENU TARGET list

CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET ON/OFF TYPE ON/OFF LO CUT FX1/FX2 TYPE GAIN TYPE (LOW CUT) SUSTAIN T-COMP MODE LO GAIN COMP ATTACK BASS POLARTY (LOW GAIN) (POLARITY) TONE MIDDLE LM FREQ (LOW-MID SENS FREQUENCY) LEVEL TREBLE FREQ LM Q ON/OFF PRES (PRESENCE) 1/2 T .WAH PEAK (LOW-MID Q) TYPE LEVEL (FX1/FX2 T .WAH) E.LVL LM GAIN DRIVE BRIGHT (EFFECT LEVEL) (LOW-MID GAIN) BOTTOM GAIN SW 1/2 PEQ DIR MIX HM FREQ (HIGH-MID TONE SOL SW (FX1/FX2 PEQ) FREQUENCY) (DIRECT MIX) SOL SW (SOLO SW) HM Q MODE (SOLO SW) SOL LV (HIGH-MID Q) FREQ SOL LV (SOLO LEVEL) HM GAIN (HIGH-MID PEAK (SOLO LEVEL) SP TYPE 1 A .WAH/ GAIN) RATE E.LVL MIC TYP 2 A .WAH HI CUT DEPTH (HIGH CUT) (EFFECT LEVEL) (MIC TYPE) (FX1 AUTO WAH/ E.LVL HI GAIN OD/DS DIR MIX MIC DIST FX2 AUTO WAH) (DIRECT MIX) (MIC DISTANCE) (EFFECT LEVEL) (HIGH GAIN) C-TYPE (CUSTOM MIC POS DIR MIX LEVEL TYPE) (MIC POSITION) (DIRECT MIX) TYPE C-BTM (CUSTOM MIC LVL TYPE 1/2 TonMD RESO BOTTOM) PRAMP (MIC LEVEL) PDL POS (FX1/FX2 LOW C-TOP A/B(PREAMP DIR MIX (PEDAL POSITION) TONE MODIFY) HIGH (CUSTOM TOP) A/B) (DIRECT MIX) PDL MIN LEVEL C-LOW (CUSTOM (PEDAL MIN) LOW) C-TYPE (CUSTOM 1/2 S .WAH TYPE TYPE) PDL MAX C-HIGH (CUSTOM (FX1/FX2 SUB WAH) 1/2 GtrSM LOW HIGH) C-BTM (CUSTOM (PEDAL MAX) BOTTOM) (FX1/FX2 GUITAR HIGH C-CHAR (CUSTOM E.LVL C-EDG (CUSTOM SIM) BODY CHAR) (EFFECT LEVEL) EDGE) LEVEL PREAMP ON/OFF DIR MIX C-LOW (CUSTOM BODY LOW) (DIRECT MIX) 1/2 A .SIM LOW C-HIGH (CUSTOM TYPE (FX1/FX2 AC . HIGH HIGH) 1/2 A .CMP SUSTAIN GUITAR SIM) C-CHAR (CUSTOM LEVEL (FX1/FX2 ADV ATTACK CHAR) SENS COMP) TONE 1/2 SlGER SP SIZE (CUSTOM RISE TM SPEAKER SIZE) LEVEL (FX1/FX2 SLOW (RISE TIME) SP LO TYPE GEAR) LEVEL (CUSTOM COLOR ATTACK LOW) TONE 1/2 LIMTR THRES SP HI (THRESHOLD) SENS (CUSTOM COLOR (FX1/FX2 LIMITER) RATIO ATTACK HIGH) RELEASE 1/2 DEFRT DEPTH SP NUM (CUSTOM LEVEL (FX1/FX2 DEFRET- RESO SPEAKER NUMBER) TYPE TER) E.LVL SP CABI (CUSTOM CABINET) DRIVE (EFFECT LEVEL) ON/OFF BOTTOM DIR MIX LO CUT TONE (DIRECT MIX) (LOW CUT) SOL SW WAVE LO GAIN 1/2 OD/DS (SOLO SW) CUTOFF (LOW GAIN) (FX1/FX2 OD/DS) SOL LV RESO (RESONANCE) LM FREQ (LOW-MID (SOLO LEVEL) FLT SNS FREQUENCY) E.LVL (FILTER SENS) LM Q (EFFECT LEVEL) 1/2 WvSYN FLT DCY (LOW-MID Q) DIR MIX (FX1/FX2 WAVE (FILTER DECAY) LM GAIN (DIRECT MIX) SYNTH) FLT DPT (LOW-MID GAIN) EQ 31 Hz (FILTER DEPTH) HM FREQ (HIGH-MID 62 Hz SYN LVL FREQUENCY) 125 Hz (SYNTH LEVEL) HM Q 250 Hz DIR MIX (HIGH-MID Q) (DIRECT MIX) 500 Hz HM GAIN 1/2 GEQ 1 kHz (HIGH-MID GAIN) (FX1/FX2 GEQ) HI GAIN 2 kHz (HIGH GAIN) 4 kHz HI CUT (HIGH CUT) 8 kHz LEVEL 16 kHz LEVEL 28 MENU

CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET TONE TYPE PATTERN MODE SENS RATE RATE TIME (S.TIME) DEPTH DEPTH TRG SNS (TRIGGER F.BACK (FEEDBACK) SENS) 1/2 StrSM RESO MANUAL 1/2 SLICR E.LVL E.LVL 2 T .ECHO (FX1/FX2 SITAR BUZZ RESO (RESONANCE) (FX1/FX2 SLICER) (EFFECT LEVEL) 1/2 PHASR (EFFECT LEVEL) (FX2 TERA ECHO) SIM) E.LVL STEP RT TONE (FX1/FX2 PHASER) DIR MIX (EFFECT LEVEL) (STEP RATE) DIR MIX (DIRECT MIX) DIR MIX E.LVL (DIRECT MIX) RATE (DIRECT MIX) (EFFECT LEVEL) HOLD DEPTH RANGE DIR MIX ON/OFF (DIRECT MIX) 1/2 VIBRT TRIGGER 1/2 OCTAV OCT LVL (OCTAVE TYPE LEVEL) RISE TM RATE (FX1/FX2 VIBRATO) DLY TIM (FX1/FX2 OCTAVE) (RISE TIME) DIR MIX DEPTH (DELAY TIME) (DIRECT MIX) LEVEL MANUAL F.BACK (FEEDBACK) VOICE MODE RESO (RESONANCE) HI CUT 1 MODE FREQ (FREQUENCY) 1/2 FLNGR SEPARAT (SEPARA- 1/2 RNGMD DELAY MODEMODE (HIGH 1 PITCH TION) E.LVL CUT) (FX1/FX2 FLANGER) (FX1/FX2 RING 1 FINE LOW CUT (EFFECT LEVEL) E.LVL MOD) (PITCH FINE) E.LVL DIR MIX (EFFECT LEVEL) 1 PrDLY (EFFECT LEVEL) (DIRECT MIX) DIR MIX (PRE DELAY) DIR MIX MODE (DIRECT MIX) 1 LEVEL (DIRECT MIX) VOWEL 1 TAPTIME 1/2 PSHFT 2 MODE WAVE VOWEL 2 (PAN TAP TIME) (FX1/FX2 1/2 HUMAN 2 PITCH (WAVE SHAPE) SENS TIME PITCH SHIFTER) 1/2 TREML (FX1/FX2 HUMAN- 2 FINE RATE RATE F.BACK (FEEDBACK) (FX1/FX2 TREMOLO) IZER) (PITCH FINE) DEPTH DEPTH DELAY HI CUT 2 PrDLY LEVEL MANUAL D1 MODEMODE (HIGH CUT) (PRE DELAY) SPEED LEVEL LEVEL 2 LEVEL (SPEED SELECT) XOVER (CROSSOVER TIME 1 F.BAK (FEEDBACK) RAT SLW FREQUENCY) F.BACK (FEEDBACK) DIR MIX (RATE SLOW) LO RATE DELAY HI CUT (DIRECT MIX) RAT FST (LOW RATE) D2 MODEMODE (HIGH VOICE (RATE FAST) LO DEPT 1/2 ROTY1 CUT) 1 HRMNY RISE TM (LOW DEPTH) (FX1/FX2 ROTARY 1) LEVEL (HARMONY) (RISE TIME) LO PrD (LOW PRE MOD RAT (MODULA- 1 PrDLY DELAY) FALL TM TION RATE) (PRE DELAY) LO LEVL DELY MD (FALL TIME) MOD DPT 1/2 2X2CH (LOW EFFECT LEVEL) (DELAY MOD) 1 LEVEL DEPTH (MODULATION 1/2 HARM (FX1/FX2 2X2 HI RATE DEPTH) 2 HRMNY LEVEL (FX1/FX2 (HARMONY) CHORUS) (HIGH RATE) ON/OFF SPEED HARMONIST) 2 PrDLY HI DEPT MODE (SPEED SELECT) (PRE DELAY) (HIGH DEPTH) RATE RAT SLW 2 LEVEL HI PrD DEPTH (RATE SLOW) 1 F.BAK (FEEDBACK) (HIGH PRE DELAY) PRE DLY RAT FS DIR MIX HI LEVL (PRE DELAY) (RATE FAST) (DIRECT MIX) (HIGH LEVEL) LO CUT DEPTH HOLD DIR MIX CHORUS (LOW CUT) 1/2 ROTY2 RISE TM 1/2 S .HLD RISE TM (DIRECT MIX) HI CUT (FX1/FX2 ROTARY 2) (RISE TIME) (FX1/FX2 SOUND (RISE TIME) TYPE MODEMODE (HIGH FALL TM CUT) HOLD) E.LVL DLY TIM (FALL TIME) (EFFECT LEVEL) (DELAY TIME) E.LVL BAL (EFFECT LEVEL) TYPE F.BACK (FEEDBACK) (BASS/HORN MIX) DIR MIX BASS HI CUT LEVEL (DIRECT MIX) MIDDLE 1/2 SubDL MODEMODE (HIGH 1/2 AcPRO DIR MIX CUT) MID FRQ (MIDDLE (FX1/FX2 SUB (DIRECT MIX) (FX1/FX2 FREQUENCY) DELAY) E.LVL AC .PROCESSOR) RATE TREBLE 1/2 UNIV (EFFECT LEVEL) DEPTH PRES (PRESENCE) (FX1/FX2 DIR MIX LEVEL UNIV) LEVEL (DIRECT MIX) TYPE TAP TIM WAVE (TAP TIME) 1/2 PAN (WAVE SHAPE) UPPR LV (FX1/FX2 RATE (UPPER LEVEL) PAN) DEPTH LOWR LV (LOWER 2 O .TONE LEVEL) POS (POSITION) DIR MIX LEVEL (FX2 OVERTONE) (DIRECT MIX) DETUNE TONE

29 MENU

CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET ON/OFF ON/OFF MstBPM (MASTER BPM) TYPE THRES BMP .KEY (THRESHOLD) MstKEY REV TIM NS1 (MASTER KEY) (REVERB TIME) RELEASE DETECT TUNER PRE DLY TUNER (TUNER SW) (PRE DELAY) ON/OFF BPM TAP LO CUT THRES (THRESHOLD) (LOW CUT) NS2 TAP DLY TAP RELEASE (DELAY TAP) HI CUT REVERB DETECT MODEMODE (HIGH ST/STP CUT) ON/OFF (START/STOP) ACCEL MIDI DENSITY TYPE PLY/STP E.LVL PITCH (MMC PLAY/STOP) (EFFECT LEVEL) RISE TM LVL +10 S-BEND DIR MIX (RISE TIME) (LEVEL +10) (ACCEL S-BEND) (DIRECT MIX) FALL TM LVL +20 SPRING (FALL TIME) (LEVEL +20) (SPRING SENS) RATE LVL -10 PDL FX DEPTH (LEVEL -10) ON/OFF LASER (PEDAL FX) RISE TM LVL -20 (ACCEL LASER (RISE TIME) PATCH (LEVEL -20) PITCH BEAM) PDL POS FALL TM NUM INC (NUMBER INC) PDL P .B . (PEDAL POSITION) (FALL TIME) NUM DEC (NUMBER FREQ (FREQUENCY) (PEDAL PITCH E.LVL DEC) RISE TM BEND) (EFFECT LEVEL) FAV INC (FAVORITE DIR MIX (RISE TIME) INC) (DIRECT MIX) FALL TM FAV DEC (FAVORITE (FALL TIME) DEC) TYPE RING RNG LVL PDL POS (ACCEL RING MOD) (PEDAL POSITION) (RING LEVEL) PDL MIN OCT LVL (OCTAVE LEVEL) (PEDAL MIN) PDL WAH DIR MIX PDL MAX (PEDAL WAH) (DIRECT MIX) (PEDAL MAX) LEVEL E.LVL RISE TM (EFFECT LEVEL) TWIST (RISE TIME) DIR MIX (ACCEL TWIST) FALL TM (DIRECT MIX) (FALL TIME) VOL CRV (VOLUME CURVE) LEVEL RISE TM FOT VOL VOL MIN (VOLUME WARP MIN) (RISE TIME) (FOOT VOLUME) (ACCEL WARP) VOL MAX (VOLUME FALL TM MAX) (FALL TIME) LEVEL MODE MODE DEPTH CH SEL (CHANNEL RISE TM SELECT) (RISE TIME) ChA DYN OCT R.TM (OCTAVE (Ch.A DYNAMIC) F .BACK RISE TIME) ChA SNS (ACCEL FEED- FB LVL (FEEDBACK (Ch.A DYNAMIC LEVEL) SENS) BACKER) OCT FB (OCTAVE ChA FLT FEEDBACK LEVEL) (Ch.A FILTER) VIB RAT (VIBRATO ChA COF RATE) DIVIDER (Ch.A CUTOFF VIB DPT (VIBRATO FREQUENCY) DEPTH) ChB DYN PAT LVL (Ch.B DYNAMIC) (PATCH LEVEL) ChB SNS LO (Ch.B DYNAMIC (MASTER LOW GAIN) SENS) MID F (MASTER MID ChB FLT FREQUENCY) MASTER (Ch.B FILTER) MID Q ChB COF (MASTER MID Q) (ChB CUTOFF MID FREQUENCY) (MASTER MID GAIN) MODE HI Ch BAL MIXER (MASTER HI GAIN) (ChA/B BALANCE) SPREAD 30 MENU

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 By assigning a desired parameter to the virtual expression pedal, GT-001. you can produce an effect as though you were operating a physical When using an external footswitch, or other controller that expression pedal to change the volume or tone quality in real time. acts as an on/off switch, “Min” is selected with Off (CLOSED), The virtual expression pedal system provides the following two and “Max” is selected with On (OPEN). types of functions, and you can use the SOURCE setting for ASSIGN When using an external expression pedal or other controller 1–8 to choose the desired type. that generates a consecutive change in the value, the value * If you want to use the internal pedal or wave pedal, set the of the setting changes accordingly, within the range set by ASSIGN parameter MODE to “MOMENT.” the minimum and maximum values. Also, when the target is of an on/off type, the median value of the received data is used as the dividing line in determining whether to switch it Internal pedal on or off. If SOURCE is set to “INT PDL,” the virtual expression pedal will begin operating when started by the specified trigger (INT PDL TRIGGER), When using the footswitch: modifying the parameter specified by TARGET.

The value changes in a curve MAX

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

MIN Allowable Allowable Parameter Settings Range

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

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

MEMO If you want to adjust the input sensitivity, set the SENS. Degree to 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.

31 MENU

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 LO: 40, ACT 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 LO: 0” and “ACT HI: 127.” With certain settings, the value may not change.

32 MENU SYSTEM KNOB SETTING

Settings that are shared by the entire GT-001 are called “system Here you can assign the desired parameters to knobs [1]–[4] in the settings.” Play Screen. * The settings you make here are only for the knobs in the Play MEMO Screen. For details on how to make settings, refer to “Editing: Editing the Effects” (p. 7) in the owner’s manual. 1. Choose [MENU]"”SYSTEM”"”KNOB ”. OUTPUT SELECT 2. Set the parameter values with knobs [1]–[4] .

Specify the device (amp) that’s connected to the OUTPUT jacks. Knob Parameter Value

Parameter Value Explanation OFF, PATCH, CmpSUS (COMP SUSTAIN), CmpATK (COMP Choose this setting if the GT-001 is connected ATTACK), CmpLEV (COMP LEVEL), OD DRV (OD/DS DRIVE), JC-120 to the guitar input of a Roland JC-120 guitar OD TNE (OD/DS TONE), OD ELV (OD/DS EFFECT LEVEL), amp. [1] KNOB 1 OD SLV (OD/DS SOLO LEVEL), A: TYPE (PREAMP A TYPE), A: GAIN (PREAMP A GAIN), A: LEV (PREAMP A LEVEL), A: Choose this setting if the GT-001 is connected SMALL AMP BASS (PREAMP A BASS), A: MID (PREAMP A MID), A: TRB to a small guitar amp. (PREAMP A TREBLE), A: PRES (PREAMP A PRESENCE), A: SLV Choose this setting if the GT-001 is connected (PREAMP A SOLO LEVEL), A: MLV (PREAMP A MIC LEVEL), to the guitar input of a combo-type guitar B: TYPE (PREAMP B TYPE), B: GAIN (PREAMP B GAIN), amp (i.e., a single unit that contains the amp B: LEV (PREAMP B LEVEL), B: BASS (PREAMP B BASS), B: COMBO AMP and speaker) other than the JC-120. MID (PREAMP B MID), B: TRB (PREAMP B TREBLE), B: PRES For some types of guitar amps, the “JC-120” (PREAMP B PRESENCE), B: SLV (PREAMP B SOLO LEVEL), B: MLV (PREAMP B MIC LEVEL), EQ LC (EQ LOW CUT), EQ setting might produce better results. [2] KNOB 2 LOW (EQ LOW GAIN), EQ LMD (EQ LOW-MID GAIN), EQ Choose this setting if the GT-001 is connected HMD (EQ HIGH-MID GAIN), EQ HI (EQ HIGH GAIN), EQ to the guitar input of a stack-type guitar amp STACK AMP HC (EQ HIGH CUT), DlyTIM (DELAY TIME), DlyFBK (DELAY (i.e., one in which the amp and speaker are SELECT FEEDBACK), DlyHC (DELAY HI CUT), DlyELV (DELAY EFFECT separate units). LEVEL), D1 TIM (D1 TIME), D1 FBK (D1 FEEDBACK), D1 HC Choose this setting if the GT-001 is connected (D1 HIGH CUT), D1 LEV (D1 EFFECT LEVEL), D2 TIM (D2 JC-120 RETURN to the RETURN jack of the JC-120. TIME), D2 FBK (D2 FEEDBACK), D2 HC (D2 HIGH CUT), D2 LEV (D2 EFFECT LEVEL), ChoRAT (CHORUS RATE), Choose this setting if the GT-001 is connected ChoDPT (CHORUS DEPTH), ChoDLY (CHORUS PRE DELAY), COMBO RETURN to the RETURN jack of a combo-type guitar [3] KNOB 3 ChoLEV (CHORUS EFFECT LEVEL), RevTIM (REVERB TIME), amp. RevHC (REVERB HIGH CUT), RevELV (REVERB EFFECT Choose this setting if the GT-001 is connected LEVEL), MT LOW (MASTER LOW GAIN), MT MID (MASTER to the RETURN jack of a combo-type guitar MID GAIN), MT HI (MASTER HIGH GAIN), PAT LV (PATCH STACK RETURN amp. You should also choose the “STACK LEVEL), WahLEV (PEDAL WAH LEVEL), PB LEV (PEDAL RETURN” setting if you’re using a guitar PITCH BEND LEVEL), CH A/B (DIVIDER CH SELECT), NS1THR power amp together with a speaker cabinet. (NS1 THRESHOLD), NS1REL (NS1 RELEASE), NS2THR (NS2 Choose this setting if you’re using THRESHOLD), NS2REL (NS2 RELEASE), GB LOW (GLOBAL LINE/PHONES headphones, or if the GT-001 is connected to EQ LOW), GB MID (GLOBAL EQ MID), GB HI (GLOBAL EQ [4] KNOB 4 a keyboard amp, mixer, or digital recorder. HIGH), USB LV (USB MIX LEVEL), ACC SW (ACCEL SWITCH), OD SL (OD/DS SOLO), A/B SL (PREAMP A/B SOLO), A&B SL (PREAMP A&B SOLO), CmP SW (COMP SWITCH), OD/DS, PREAMP, EQ, FX1, FX2, REVERB, PEDL FX (PEDAL FX) INPUT

Here you can make settings related to input. On the GT-001 you can use either the guitar input or the mic input. You can’t use both simultaneously.

Knob Parameter Value Explanation Page 1 Specifies which signal will be received: GUITAR IN or MIC IN. SELECT The input from GUITAR IN is sent through [1] GUITAR (INPUT the effect. SELECT) The input from MIC IN is sent through the MIC effect. Page 2 GT .LVL MUTE, -19 Adjusts the guitar input level. The input is [1] dB–+20 (GUITAR muted if you select MUTE. LEVEL) dB Adjusts the mic input level. The input is muted if you select MUTE. MIC .LVL MUTE, 0 [2] dB–+20 While watching the level meter shown in (MIC LEVEL) dB the same screen, set the level so that it does not exceed the second line from the top. Specifies whether phantom power is PHANTM supplied. You must turn this OFF if you’re [4] OFF, ON (PHANTOM) using a mic that does not support phantom power. * The sound might be interrupted when you adjust MIC LEVEL or PHANTOM. 33 MENU

USB USB PRIMARY Here you can make USB-related settings for when the GT-001 is Knob Parameter Value Explanation connected to a computer via USB. Page 1 Adjusts the level of the audio input from the MIX .LVL computer. At this time, the audio input from [1] 0–200% USB audio flow (MIX LEVEL) the computer is mixed at the final stage of the GT-001. GT-001 provides two USB audio outputs: “PRIMARY” and EFX .OUT “SECONDARY.” Adjusts the level of the output to the [2] (EFFECT 0–200% PRIMARY outputs the effect sound, and the return from the OUTPUT computer. computer is mixed with your guitar performance at the final LEVEL) stage. LOOP If this is ON, the sound from the computer is Regardless of the settings of the GT-001 itself, SECONDARY [3] OFF, ON mixed with the effect sound of the GT-001 (LOOP BACK) always outputs the dry sound, and the return from the and sent to the computer. computer is always returned to the beginning of the effect Switches the output of the GT-001 sound to the OUTPUT chain. and PHONES jacks. With GT-001, both PRIMARY and SECONDARY are being * This setting cannot be saved. It is set to ON when the output to the computer; this means that by using two guitar power is turned on. tracks on your computer, you can record the dry sound and Set this to Off if transmitting audio data effect sound simultaneously. internally through a computer (Thru). [4] DIR . MONITOR OFF If you’re not happy with the effect sound from PRIMARY, you No sound is heard at this time unless the can play back the simultaneously-recorded dry sound from setting for the computer is Thru. SECONDARY, and send it through the effect chain of GT-001 The GT-001 sound is output. Set this to ON to modify the sound to your liking. when using the GT-001 as a standalone ON device, without connecting to a computer USB PRIMARY (only USB input sound will be output if this is set to Off). GT-001 USB OUT OUTPUT

USB SECONDARY USB IN MIX Knob Parameter Value Explanation LVL OUTPUT Page 2 INPUT Level TO .EFX Adjusts the input level from the [1] -20–+20 dB Effect Chain (TO EFFECT LEVEL) computer to the GT-001’s effects.

DRY .OUT Outputs the unmodified sound (dry [3] (DRY GUITAR 0–200% sound) of the guitar that is being input USB SECONDARY OUTPUT LEVEL) to the GT-001.

GT-001 USB OUT OUTPUT GLOBAL EQ USB IN DRY OUT This adjusts the tone of the OUTPUT regardless of the equalizer on/ off settings of individual patches. TO INPUT EFX Knob Parameter Value Explanation Effect Chain Page 1

LOW Adjusts the low frequency [1] -20–+20 dB (LOW GAIN) range tone.

MID Adjusts the middle frequency [2] -20–+20 dB (MID GAIN) range tone. Specifies the center of the MID .FREQ 20.0 Hz–10.0 [3] frequency range that will be kHz (MID FREQUENCY) adjusted by the MID GAIN. Adjusts the width of the area affected by the EQ centered at [4] MID .Q 0.5–16 the MID FREQ. Higher values will narrow the area. Page 2 Adjusts the high frequency [1] HIGH (HIGH GAIN) -20–+20 dB range tone.

34 MENU

TOTAL PREFERENCE These parameters control the threshold level of the noise Here you can specify whether settings for the type of connected suppressor used by each patch, the overall reverb level, and the amp and preamp, control pedal, expression pedal, etc. will be overall output. They do not affect the settings of each patch. independent for each patch, or whether the same settings will be shared by all patches. Knob Parameter Value Explanation Control the threshold level of the Knob Parameter Value Explanation noise suppressor used by each patch. Page 1 This does not affect the settings of If this is set to PATCH, different NS .THRS each patch. They do not affect the OUTPUT settings can be made indepen- [1] (NS THRESH- -20–+20 dB settings of each patch. [1] (OUTPUT PATCH, SYSTEM dently for each patch. If this is set to OLD) SELECT) SYSTEM, the same settings will be * If you want to use the settings shared by all patches. specified for each patch, set this [2] PREAMP PATCH, SYSTEM 1–3 to 0 dB. Page 2 Adjusts the reverb level specified for * Here, even if a CTL/EXP pedal that [1] CTL1 PATCH, SYSTEM each patch. has been set to SYSTEM is set to [2] CTL2 PATCH, SYSTEM ASSIGN SOURCE (p. 26), that setting It is useful to adjust the reverb level will be ignored. appropriately for the space in which [3] EXP PATCH, SYSTEM [2] REVERB 0–200% you’re performing. This does not affect the settings of each patch. * If you want to use the settings specified for each patch, set this to 100%. LCD Here you can adjust the brightness of the characters in the display. PLAY OPTION Knob Parameter Value Explanation CONTRST [1] 1–16 Higher values increase the brightness. Here you can specify what happens when you operate an external (CONTRAST) expression pedal while performing, and specify the range of patches that can be selected.

Knob Parameter Value Explanation G.2MIDI (GUITAR TO MIDI) The operational status of the EXP PEDAL’s FUNC (p. 26) is not This converts the guitar input to a MIDI signal that can be output OFF carried over when patches are from the USB port. switched. This allows you to create MIDI tracks on your DAW, or to use If the EXP PEDAL’s FUNC (p. Guitar Friend Jam (www.roland.com/FriendJam/Guitar/) to make 26) are the same between 2 connections with guitarists around the world. patches, the operational status is carried over when patches * The input supports only monophonic playing (single notes). The are switched. pitch will not be correctly detected if you play multiple notes For example, if EXP PEDAL simultaneously. FUNC is set to FOOT VOLUME in both patches, the one before Knob Parameter Value Explanation EXP .HLD and the one after the change, [1] (EXP PEDAL HOLD) the volume corresponding Page 1 to the position the pedal is in The input signal is not converted to ON (angle) at the time of the patch OFF GTR .MIDI MIDI. change will be maintained [1] after the patch change. On the (GUITAR TO MIDI) The input signal is converted to MIDI, ON other hand, if the patch being and sent from the USB port. changed to is set to WAH, the volume will be in accordance The guitar notes are divided into six with the value set within the channels for transmission, according to patch, and you’ll obtain a wah their pitch range. The six channels (one effect that is in accordance for each string) starting with the TX CH with a value that reflects the you specify in “MIDI SETTING” (p. 36)are current position (angle) of the used as the transmission channels. pedal. MULTI Example: PatMIN If the TX CH is 1, the transmission U001–U200, Sets the lower limit for the [2] MODE [3] (PATCH EXTENT channels will be ch.1–ch.6. P001–P200 patches. MIN) * If the TX CH is set to 12 or following, PatMAX the notes for channels beyond 16 are U001–U200, Sets the upper limit for the not transmitted. [4] (PATCH EXTENT P001–P200 patches. MAX) All guitar notes are transmitted on a single MIDI channel. The TX CH SINGLE specified in “MIDI SETTING” is used as the transmission channel.

B .RANGE Specifies the bend range in semitone [3] 1–24 (BEND RANGE) units. B .THIN OFF Bend data is thinned for transmission. [4] (BEND THIN) ON Bend data is thinned for transmission.

35 MENU

Knob Parameter Value Explanation Knob Parameter Value Explanation This sets the MIDI Device ID used for transmitting and Page 2 DEV .ID [4] receiving Exclusive messages. Selects the response to your picking dynamics. By (DEVICE ID) changing this setting appropriately for your guitar 1–32 Sets the MIDI Device ID. playing style or the sound that you’re controlling, Page 2 you can make the sound respond more naturally This setting determines the basis used for synchroniz- to the dynamics of your playing. ing the timing for effect modulation rates and other FEEL1 is the setting that gives you the time-based parameters. broadest expressive range of volume * When you have an external MIDI device connected change in response to your picking via USB, the MASTER BPM is then synchronized to dynamics. As the number increases, the external MIDI device’s tempo, thus disabling PLY .FEL FEEL1–4 it becomes easier to produce a loud the MASTER BPM setting. To enable setting of the [1] volume even for softly-picked notes. (PLAY FEEL) MASTER BPM, set to “INTERNAL.” This allows you to perform with a consistent volume even when tapping * When synchronizing performances to the MIDI or when your picking is inconsistent. SYNC Clock signal from an external MIDI device, timing [1] problems in the performance may occur due to NO This mode produces a fixed volume (SYNC CLOCK) errors in the MIDI Clock. DYNA regardless of your picking dynamics. Operations are synchronized Softly-picked notes are suppressed. This to the MIDI Clock received via lets you suppress unwanted notes that STRUM MIDI. However, operations are might otherwise be sounded when your AUTO automatically synchronized to finger accidentally contacts a string. the GT-001’s internal Clock if the When you smoothly change the pitch of a guitar GT-001 is unable to receive the note, for example by bending a string, this setting external Clock. lets you quantize the pitch change of the transmit- Operations are synchronized to INTERNAL ted MIDI messages to semitone steps. the GT-001’s internal Clock. Conventional pitch bend data is This setting determines whether or not Program transmitted. The pitch changes Change messages are output when patches are OFF smoothly in response to string bending switched on the GT-001. and vibrato. * On the GT-001, Bank Select messages are output When the pitch is changed, the simultaneously with Program Change messages. currently-sounding note is not stopped, [3] PC .OUT Program Change messages are TYPE1 but only pitch bend data is transmitted. OFF not output, even when patches This allows you to produce smooth slurs are switched. as when playing a recorder. CHROMA Program Change messages are [2] When the pitch is changed, the note is ON simultaneously output when (CHOROMATIC) retriggered at the new pitch, so that the patches are switched. pitch changes only in semitone steps. This setting determines whether patches are switched This means that a new attack is heard TYPE2 according to the Program Change Map settings, or to each time the pitch changes. If the the default settings. string vibration has diminished since you plucked the string, the retriggered This deactivates the Program MAP .SEL notes gradually diminish to reflect this. Change Map. (PROGRAM FIX As with TYPE2, the note is retriggered at [4] Switches to the patches accord- CHANGE MAP ing to the default settings. the new pitch, so that the pitch changes SELECT) only in semitone steps. However, the This activates the Program TYPE3 retriggered note does not reflect any Change Map. PROG decrease in the string vibration; the Switches to the patches accord- retriggered note has the same level as ing to the Program Change Map. the initially-played note. Page 3 This sets the controller number when operation data from the footswitch connected to the CTL/EXP jack is output as Control Change messages. Control Change messages are MIDI SETTING C1 .OUT OFF [1] not output. (CTL1 OUT) Here you can make MIDI-related settings for the GT-001. This sets the controller number CC#1–CC#31, when CTL 1 pedal operation Knob Parameter Value Explanation CC#64–CC#95 data is output as Control Change messages. Page 1 Control Change messages are This sets the MIDI channel used for receiving MIDI OFF RX .CH(RECEIVE not output. [1] messages. C2 .OUT CHANNEL) [2] This sets the controller number Ch. 1– Ch. 16 Specifies the receive channel. (CTL2 OUT) CC#1–CC#31, when CTL 2 pedal operation This makes the settings for the channels used for MIDI CC#64–CC#95 data is output as Control Change information. messages. Information is received on the This sets the controller number when operation data OMNI OFF channel specified by the RX.CH from the expression pedal connected to the CTL/EXP [2] (OMNI MODE) setting. jack is output as Control Change messages. Messages are received on all Control Change messages are OFF ON channels, regardless of the MIDI [3] EXP OUT not output. channel settings. This sets the controller number This sets the MIDI channel used for transmitting MIDI CC#1–CC#31, when [EXP] pedal operation TX .CH messages. CC#64–CC#95 data is output as Control Change messages. [3] (TRANSMIT Ch. 1– Ch. 16. Specifies the transmit channel. CHANNEL) Transmits on the same channel RX as the RX CH.

36 MENU

P.MAP (MIDI-PROGRAM CHG MAP) AUTO OFF When switching patches using Program Change messages The GT-001 can turn off its power automatically. The power will transmitted by an external MIDI device, you can freely set the turn off automatically when 10 hours have passed since you last correspondence between Program Change messages received played or operated the unit. The display will show a message by the GT-001 and the patches to be switched to in the “Program approximately 15 minutes before the power turns off. Change Map.” With the factory settings, this function is turned “ON” (power-off in 10 hours). If you want to have the power remain on all the time, Knob Parameter Value Explanation turn it “OFF.” Page 1 (BANK#0) * When the power is turned off, any settings you were editing will BANK#0 Specify the program change be lost. You must save settings that you want to keep. [1] PC# PC#1–PC#128 number that you want to assign. Knob Parameter Value Explanation U001–U200 This sets the patch number (U001 [4] PATCH through P200) for the correspond- OFF The power will not turn off automatically. P001–P200 ing Program Change number. [1] AUTO OFF The power will automatically turn off when Page 2 (BANK#2) ON 10 hours have passed since you last played or operated the GT-001. BANK#1 Specify the program change [1] PC# PC#1–PC#128 number that you want to assign.

U001–U200 This sets the patch number (U001 [4] PATCH through P200) for the correspond- P001–P200 ing Program Change number. FACTORY RESET Page 3 (BANK#2) Initializes the GT-001 to its factory-set condition. Refer to “Restoring BANK#2 Specify the program change [1] PC# the Factory Settings. PC#1–PC#128 number that you want to assign.

U001–U200 This sets the patch number (U001 Knob Parameter Value Explanation [4] PATCH through P200) for the correspond- SYSTEM System parameter settings P001–P200 ing Program Change number. QUICK Settings for User Quick Setting Page 4 (BANK#3) [1] FROM Settings for Patch Numbers BANK#3 Specify the program change U001–P200 [1] PC# U001−U200 PC#1–PC#128 number that you want to assign. SYSTEM System parameter settings This sets the patch number (U001 U001–U200, QUICK Settings for User Quick Setting [4] PATCH through P200) for the correspond- [4] TO P001–P200 ing Program Change number. Settings for Patch Numbers U001–P200 U001−U200

MIDI BULK DUMP You can use Exclusive messages to provide another GT-001 with identical settings, and save effect settings on a MIDI sequencer or other device.

Knob Parameter Value Explanation SYSTEM System parameter settings QUICK Settings for User Quick Setting U001– [1] FROM Settings for Patch Numbers U001−U200 P200 Settings for the patch that is currently TEMP selected SYSTEM System parameter settings QUICK Settings for User Quick Setting U001– [4] TO Settings for Patch Numbers U001−U200 P200 Settings for the patch that is currently TEMP selected

37 MENU DAW CTL (DAW Control)

You can use the panel [A]–[D] buttons and value knob to control the following items on DAW software that supports Mackie Control Universal, such as Logic or Sonar.

Value knob

[A] –[D] buttons

GT-001 Logic Sonar Controller [A] button Switches click on/off. Switches Loop on/off. [B] button Stops recording or playback. [C] button Starts playback. [D] button Starts recording on record-enabled tracks. Value knob Moves the current value (POSITION).

For details on how to make settings in your DAW software, refer to the owner’s manual of your software. * The GT-001 does not support the HUI mode of Mackie Control Universal.

38 Other Settings

TUNER/METRONOME

Press the [TUNER] button to use the tuner and metronome functions. Turn the value knob to switch between tuner and metronome.

TUNER Here you can make settings for the TUNER mode.

Knob Parameter Value Explanation Page 1 [1] PITCH 435 Hz–445 Hz Specifies the reference pitch. Sound will not be output while MUTE tuning. While tuning, the sound of the guitar being input to the GT-001 will be [4] OUTPUT BYPASS output without change. All effects will be off. Allows you to tune while hearing the THRU current effect sound.

METRONOME Here you can make settings for the METRONOME mode.

Knob Parameter Value Explanation [1] TEMPO 40–250 Specifies the tempo of the metronome. 1/1–8/1, 1/2–8/2, [2] BEAT Selects the time signature. 1/4–8/4, 1/8–8/8 [3] ON/OFF OFF, ON Turns the metronome on/off. [4] LEVEL 0–100 Adjusts the volume of the metronome.

39 Troubleshooting

Problem Items to check Action Problems with the sound Are the connection cables broken? Try another set of MIDI cables. Is the GT-001 correctly connected to the other devices? Check connections with the other devices. Is the connected amp/mixer turned off, or the volume Check the settings of your amp/mixer system. lowered? Is the [OUTPUT LEVEL] knobs lowered? Adjust the OUTPUT LEVEL knobs to an appropriate position. No sound / volume too low When the OUTPUT is set to “MUTE” in the Tuner mode, even the direct Is Tuner set to On? sound will not be output by setting the Tuner to “On” (p. 39). Is each effect set correctly? Check the settings of each effect. Is “FOOT VOLUME: LEVEL” or “MASTER: PATCH LEVEL” Move the controller (pedal) to which it is assigned. specified as an assign Target (p. 26)? Is INPUT (GUITAR/MIC) set correctly (p. 33)? Make the correct setting. Sound from devices connected to Is the “DIR.MONITOR” (p. 34) set to OFF? Set to ON. the INPUT jack is not heard in the headphones Is INPUT (GUITAR/MIC) set correctly(p. 33)? Make the correct setting. The volume level of the instrument Could you be using a connection cable that contains connected to INPUT, AUX IN jacks are Use a connection cable that does not contain a resistor. a resistor? too low Is the value for any gain- or volume-related effects Lower these values. parameter set too high? Depending on the software settings, audio signals may end up Oscillating sound occurs looping. You can use the following methods to prevent this from Could the USB PRIMARY (p. 34) parameter “LOOP” (LOOP happening. BACK) be turned ON? • Stop playback with the software, and set Soft Thru to Off. • Switch the software’s audio input off. If PREFERENCE: PREAMP is set to “SYSTEM 1–3,” the preamp settings No change in preamp tone even after Could the preamp “PREFERENCE” (p. 35) be set to won’t change when you switch patches. switching patches “SYSTEM 1–3”? If you want to make preamp settings individually for each patch, set the above setting to “PATCH.” When the ASSIGN –8, SOURCE is set to “INT PDL (INT PEDAL)” or “WAVE PDL (WAVE PEDAL)”, the effect parameter set as the Assign Target Is “INT PEDAL” or “WAVE PEDAL” set as the ASSIGN 1–8, changes automatically. SOURCE in Assign (p. 26)? If you want to be able to change the parameters manually with the Unable to change parameters with knobs, first switch off Assign to deactivate the Internal Pedal System. the knobs When “INPUT LEVEL” is set for the ASSIGN 1–8, SOURCE (p. 26), the effect parameter set as the Assign Target changes automatically according to Is “INPUT LEVEL” set as the ASSIGN 1–8, SOURCE (p. 26)? the level of the input from the guitar (the playing dynamics). If you want to be able to change the parameters manually with the knobs and dial, first switch off Assign. Other Problems Is something other than the Play screen shown in the On the GT-001, patches can be selected only when the Play screen is Patch does not change display? displayed. Press [EXIT] to return to the Play screen. To control a parameter using the expression pedal or footswitch, make Could the effect be switched off? sure the effect that contains the parameter you intend to control is switched on. If the preference is set to “SYSTEM,” the patch assignment will be Could the pedal function “PREFERENCE” (p. 35) be set to Parameters specified with Assign ignored. If you want to enable the settings of the patch, change the “SYSTEM”? can’t be controlled preference for the corresponding parameter to “PATCH”. Do the MIDI channel settings of both devices match? Make sure that the MIDI channels of both devices match (p. 36). Do the controller number settings of both devices Make sure that the controller number of both devices match (p. 36). match? Is the USB cable broken? Try another USB cable. Is the GT-001 correctly connected to the other MIDI Check connections with the other MIDI device. device? MIDI messages are not transmitted/ received Do the MIDI channel settings of both devices match? Make sure that the MIDI channels of both devices match (p. 36). When you send messages from the GT-001, make Check the on/off status for transmission of program change messages sure the GT-001 is set to the settings appropriate for (p. 36) and the settings for the controller numbers to be transmitted sending data. (p. 36) .

40 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU The powerful and fat sound of SINGLE: HiGAIN HiGAIN 1 Hi GAIN STACK a high-gain amp stack. Ideal for A&B SOLO DIV CH SELECT WAH/FV H Ch. A STACK STACK backing or riffs. A sound that takes advantage of the SINGLE: POWER NATURAL 2 TERA ECHO LD TERA ECHO’s distinctive reverbera- A&B SOLO DIV CH SELECT WAH/FV S Ch. A DRIVE CLEAN tion, and is perfect for long notes. An all-around sound usable for everything from solos to rhythm. SINGLE: NATURAL COMBO 3 NATURAL CLEAN With a broad range and good A&B SOLO DIV CH SELECT WAH/FV S/H Ch. A CLEAN CRUNCH sustain from the high frequencies to the low frequencies. A metal sound with powerful ultra-low range. Two types of 4 POWER METAL RIFF metal-optimized amp are used DUAL CORE METAL BGNR UB A&B SOLO DELAY WAH/FV H separately for the low and high frequency ranges. A crisp sound suitable for lead. Two types of distortion are used OD/DS SOLO, FX1 5 OD-1 + DIST DUAL JC-120 JC-120 A&B SOLO WAH/FV H separately for the low and high (SUB OD/DS) SOLO frequency ranges. A clean sound with chorus is mixed NATURAL 6 LAYER SOUND with a highly processed crunch DUAL TWEED A&B SOLO DELAY WAH/FV S CLEAN sound. A straightforward crunch sound. Two types of combo amp are used DELUXE 7 FDR BLUES CRUNCH DUAL TWEED A&B SOLO OD/DS WAH/FV S/H separately for the low and high CRUNCH frequency ranges. A hard rock sound with phaser and SINGLE: STACK 8 OD-1 + STACK MS1959 I FX1 (PHASER) DIV CH SELECT WAH/FV H OD-1 applied before the distortion. Ch. A CRUNCH Clear crunch sound that combines NATURAL NATURAL 9 ADD TRANSPARENCY DUAL A&B SOLO DELAY WAH/FV S the A-DIST crunch and clean. CLEAN CLEAN Coarse distortion that combines SINGLE: NATURAL 10 ORNG ROOMY LEAD TREBLE BOOSTER and ORNG ORNG RV A&B SOLO DIV CH SELECT WAH/FV H Ch. A CLEAN REVERB. SINGLE: COMBO STACK 11 ROTARY CRUNCH Standard rotary sound for rock. DELAY DIV CH SELECT WAH/FV S Ch. A CRUNCH CRUNCH SINGLE: NATURAL FX1 (AC. GUITAR 12 AC SIM STRAIGHT An uncolored acoustic simulator. FULL RANGE DELAY WAH/FV S Ch. A CLEAN SIM) A drive sound that does not impair chords. Two types of combo amp MATCH 13 COMBO AC+DC DUAL VO DRIVE A&B SOLO DELAY WAH/FV S are used separately for the low and DRIVE high frequency ranges. A beautiful pad-type sound that SINGLE: NATURAL NATURAL 14 SUPER SLOW GEAR CHORUS DIV CH SELECT WAH/FV S uses Slow Gear. Ch. A CLEAN CLEAN SINGLE: NATURAL 15 SLAPBACK ECHO ’50s-style crunch and echo sound. TWEED REVERB DIV CH SELECT WAH/FV S Ch. A CLEAN A lead sound that emphasizes the SINGLE: NATURAL NATURAL 16 A-DIST&OVERTONE overtones of the high frequency FX2 (OVERTONE) DIV CH SELECT WAH/FV S Ch. A CLEAN CLEAN region. A fat lead sound that uses A-DIST SINGLE: DELUXE NATURAL 17 FAT BLUESY LEAD as a booster, suitable for single-coil A&B SOLO DIV CH SELECT WAH/FV S Ch. A CRUNCH CLEAN pickups. A sound that mixes electric guitar 18 EG & AG MIX and acoustic guitar. We recommend DUAL TWEED FULL RANGE MIXER MODE CHORUS WAH/FV S setting the mixer to stereo. With both an edgy low range as well as good sustain in the mid and high 19 Hi:BG LD Lo:1959 DUAL BG LEAD MS1959 I A&B SOLO OD/DS WAH/FV H ranges, this sound can be used for riffing and lead without switching. A filter is used to divide the NATURAL NATURAL FX1 (ROTARY 2) 20 DIVID ORGAN TONE frequency ranges, and OVERTONE is DUAL A&B SOLO WAH/FV S CLEAN CLEAN SPEED SELECT applied only to the low range. The sound of a combo amp featuring extremely direct and SINGLE: COMBO COMBO 21 COMBO CRUNCH sensitive touch response, with DELAY DIV CH SELECT WAH/FV H Ch. A CRUNCH CRUNCH the low-frequency range reduced appropriately. A crunch sound that responds SINGLE: COMBO NATURAL 22 TOUCH & GO nicely to the nuances of your A&B SOLO DIV CH SELECT WAH/FV S Ch. A CRUNCH CLEAN picking. A high-quality distortion sound that SINGLE: COMBO COMBO DIV CH SELECT, 23 CRUNCH LEAD instantly responds to your picking DELAY WAH/FV S/H Ch. A CRUNCH CRUNCH CHORUS dynamics. Great for solos.

41 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU Switch between stack crunch SINGLE: STACK STACK DIV CH SELECT, 24 STACK CRUNCH sounds with different gain for CHORUS WAH/FV H Ch. A CRUNCH CRUNCH DELAY backing and solo. The crunch sound of a UK stack SINGLE: NATURAL 25 ORNG CRUNCH ORNG RV A&B SOLO DIV CH SELECT WAH/FV S amp. Ch. A CLEAN A hard crunch sound, ideal for SINGLE: STACK STACK 26 SINGLE COIL ROCK punchy rhythm playing. The CTL A&B SOLO DIV CH SELECT WAH/FV S Ch. A CRUNCH CRUNCH pedal boosts the GAIN and MID. A sustaining crunch sound that’s suitable for blues. Two types of COMBO MATCH 27 BLUES COMBO DUAL A&B SOLO OD/DS WAH/FV S/H combo amp are used separately for CRUNCH DRIVE the low and high frequency ranges. The sound of a fat and extremely MATCH COMBO 28 UNMATCHED COMBO DUAL FX2 (COMP) CHORUS WAH/FV S clean combo amp. DRIVE CRUNCH Combo amp sound suitable for SINGLE: COMBO 29 BEE BEE THRILL VO LEAD DELAY DIV CH SELECT WAH/FV H blues leads. Ch. A CRUNCH The sound of two high-gain amps POWER EXTREME 30* STEREO STACK DUAL A&B SOLO DELAY, OD/DS WAH/FV H set up in stereo, suitable for riffing. DRIVE LEAD A crunch sound with a sense of COMBO COMBO 31 ATTACKY CRUNCH attack. The CTL pedal applies DUAL A&B SOLO OD/DS, DELAY WAH/FV H CRUNCH CRUNCH mid-boost. SINGLE: NATURAL 32 MELLOW LEAD Bluesy sound with warm overdrive. JC-120 A/B SOLO DIV CH SELECT WAH/FV H Ch. A CLEAN Classic blues sound from a tweed SINGLE: NATURAL 33 TWEED BLUES TWEED OD/DS DIV CH SELECT WAH/FV S/H amp. Ch. A CLEAN SINGLE: 34 1959 CRUNCH Crunch sound based on MS1959. MS1959 I — OD/DS, DELAY DIV CH SELECT WAH/FV H Ch. A STACK STACK 35 DIAMOND ECHO A clean sound with echo. DUAL A&B SOLO DELAY F.BACK WAH/FV S CRUNCH CRUNCH American crunch sound with chorus SINGLE: COMBO COMBO 36 CRUNCH DELAY and delay applied. Also suitable for A&B SOLO DIV CH SELECT WAH/FV S Ch. A CRUNCH CRUNCH country styles. Crunch sound with a boosted SINGLE: COMBO COMBO DIV CH SELECT, 37 MID RANGE CRUNCH A&B SOLO WAH/FV S/H mid-range. Ch. A CRUNCH CRUNCH DELAY A crunch tone that will sound SINGLE: COMBO MATCH 38 LIMITED CRUNCH smooth and refined when playing A&B SOLO DIV CH SELECT WAH/FV H Ch. A CRUNCH DRIVE chords. Crunch sound ideal for use with the SINGLE: MATCH COMBO 39 MATCH CRUNCH OD/DS, EQ, DELAY DIV CH SELECT WAH/FV S rear single coil pickup. Ch. A DRIVE CRUNCH The crunch sound of a mid-boosted SINGLE: COMBO 40 MID BOOST COMBO MS1959 I DELAY DIV CH SELECT WAH/FV S/H combo amp. Ch. A CRUNCH SINGLE: DELUXE 41 KING OF BLUES A sound that’s ideal for blues leads. — A&B SOLO FX2 (SUB DELAY) WAH/FV S Ch. A CRUNCH SINGLE: 42 COUNTRY PICKIN' A classic country rock sound. CLEAN TWIN — A&B SOLO OD/DS WAH/FV S Ch. A Drive sound ideal for rock’n’roll. The SINGLE: COMBO 43 NATURAL OVER-DRV TWEED OD/DS, DELAY DIV CH SELECT WAH/FV S CTL pedal switches to a dry sound. Ch. A CRUNCH Crunch sound with compressor, SINGLE: COMBO COMBO 44 BASIC BLUES A&B SOLO DIV CH SELECT WAH/FV H ideal for blues or classic rock. Ch. A CRUNCH CRUNCH Tweed amp sound notable for its SINGLE: FX1 (SUB OD/DS), 45 T-SCREAM TWEED TWEED — A&B SOLO WAH/FV S/H mellow tube distortion. Ch. A DELAY A sound that combines a high-gain COMBO EXTREME 46 Hi GAIN + CRUNCH DUAL A&B SOLO DELAY WAH/FV H amp and a combo amp. CRUNCH LEAD SINGLE: COMBO COMBO DIV CH SELECT, 47 TIGHT CRUNCH A tight combo crunch sound. A&B SOLO WAH/FV H Ch. A CRUNCH CRUNCH DELAY, CHORUS A bluesy sound with ambience SINGLE: 48 SQUEEZE BLUES GT TWEED CLEAN TWIN OD/DS DIV CH SELECT WAH/FV H included. Ch. B SINGLE: PRO STACK DIV CH SELECT, 49 PLEXI RHYTHM A rhythm tone used in classic rock. A&B SOLO WAH/FV H Ch. A CRUNCH CRUNCH DELAY Crunch rhythm sound for blues. The SINGLE: 50 BLUES BUDDY CLEAN TWIN CLEAN TWIN FX2 (SUB DELAY) DIV CH SELECT WAH/FV S/H CTL pedal switches to a lead sound. Ch. A The sound of a small combo amp PRO 51 DIRTY OLE TWEED with a bit of overdrive. Great for DUAL TWEED DELAY ACCEL (S-BEND) WAH/FV S CRUNCH blues or funk. SINGLE: DELUXE NATURAL 52 COMP CRUNCH LEAD A lead sound suitable for jazz fusion. DELAY DIV CH SELECT WAH/FV H Ch. A CRUNCH CLEAN The drive sound produced by a SINGLE: DELUXE COMBO 53 70s SMALL AMP A&B SOLO DIV CH SELECT WAH/FV S small amp of the 70s. Ch. A CRUNCH CRUNCH

42 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU Crunch sound suitable for chordal SINGLE: COMBO MATCH 54 COLLEGE ROCK A&B SOLO DIV CH SELECT WAH/FV S riffs. Ch. A CRUNCH DRIVE Ideal sound for playing slide guitar SINGLE: 55 SLIDE FOR ST TWEED TWEED DELAY DIV CH SELECT WAH/FV S with single coil pickups. Ch. A Crunch sound for funky rock. SINGLE: COMBO 56 CRNCH 4 RHYTHM Suitable for use with the rear single MS1959 I FX1 (T. WAH) DIV CH SELECT WAH/FV S Ch. A CRUNCH coil pickup. SINGLE: DIV CH SELECT, FX1 57 TUESDAYS LEAD A sound with phaser lightly applied. TWEED TWEED DELAY WAH/FV H Ch. A (PHASER), DELAY A wild crunch sound for chording. Two types of amp are used STACK 58 WILD STK CRUNCH DUAL TWEED A&B SOLO EQ WAH/FV H separately for the low and high CRUNCH frequency ranges. The sound of two crunch amps in a COMBO 59* DBL CRUNCH 4 HUM DUAL ORNG RV A&B SOLO DELAY WAH/FV H stereo setup. CRUNCH SINGLE: DIV CH SELECT, 60 TWIN CRUNCH Crunch sound from a Twin Reverb. CLEAN TWIN CLEAN TWIN A&B SOLO WAH/FV S Ch. A REVERB LEVEL Light American crunch sound of the PRO 61 FULLERTN DRIVE DUAL TWEED A&B SOLO CHORUS WAH/FV S late 50s. CRUNCH Combo amp sound suitable for SINGLE: COMBO 62 UK ComboForChord VO LEAD A&B SOLO DIV CH SELECT WAH/FV H playing chords. Ch. A CRUNCH Rotary crunch sound that changes SINGLE: COMBO NATURAL 63 AUTO ROTARY 2 DELAY DIV CH SELECT WAH/FV S randomly. Ch. A CRUNCH CLEAN Play chords to get sparkling crunch SINGLE: 64 MODERN VO DRIVE VO DRIVE VO LEAD A&B SOLO DIV CH SELECT WAH/FV S sound. Ch. A A straightforward and powerful SINGLE: POWER POWER DIV CH SELECT, 65 POWER DRIVE drive sound that lets the character A&B SOLO WAH/FV S/H Ch. A DRIVE DRIVE DELAY of the guitar come through. The sound of a stereo tremolo effect 66* SYNC TREMOLO DUAL MS1959 I MS1959 I DELAY FX2 (TREMOLO) WAH/FV S whose depth changes. A drive sound, simple yet with SINGLE: HiGAIN HiGAIN DIV CH SELECT, 67 POWER CHORD! A/B SOLO WAH/FV H presence. Ch. A STACK STACK DELAY Power chords produce a wall of SINGLE: STACK 68 WALL OF DIST BG DRIVE CHORUS DIV Ch SELECT WAH/FV S distortion. Ch. A CRUNCH A sound that combines core metal COMBO FX1 (PITCH SHIFTER), 69 DUAL MTL/CRUNCH DUAL CORE METAL A&B SOLO WAH/FV H and crunch. CRUNCH OD/DS, DELAY The sound of a vintage stack amp with the gain reduced. Two types of HiGAIN 70 70s COOL STACK DUAL MS1959 I A&B SOLO DELAY WAH/FV H stack amp are used separately for STACK the low and high frequency ranges. Drive sound that’s ideal for hard rock riffs. Two types of stack amp HiGAIN 71 STEREO STK DRIVE DUAL MS1959 I DELAY CHORUS WAH/FV H are used separately for the low and STACK high frequency ranges. Drive sound with added room SINGLE: STACK 72 AMBIENT DIRTY OD MS1959 I REVERB DIV CH SELECT WAH/FV H ambience. Ch. A CRUNCH One of the rock sounds of the late SINGLE: NATURAL NATURAL 73 BOSSToneDrv-SOLO 70s. The CTL pedal switches to a REVERB LEVEL DIV CH SELECT WAH/FV S/H Ch. A CLEAN CLEAN sound for soloing. On-mic and off-mic sounds are mixed, and ambience is lightly 74 MS MULTI MIC AMB applied. For the off-mic sound, DUAL MS1959 I MS1959 I A&B SOLO OD/DS WAH/FV S/H RESONANCE is added in TONE MODIFY. The fusion rhythm tone of the 90s. SINGLE: POWER POWER 75 FRANKLY SWEEPING The CTL pedal boosts the gain and DELAY DIV CH SELECT WAH/FV H Ch. A DRIVE DRIVE volume for soloing. SINGLE: STACK 76 FAT DRY MIX MS Crisp and bold drive sound. MS1959 I+II A&B SOLO DIV CH SELECT WAH/FV H Ch. A CRUNCH An early British stack tone that’s SINGLE: PRO COMBO 77 70s BRITISH ROCK A&B SOLO DIV CH SELECT WAH/FV H ideal for leads. Ch. A CRUNCH CRUNCH 70s rock sound with phaser. The CTL SINGLE: DIV CH SELECT, 78 BARK TONE pedal makes the sound suitable for CORE METAL CORE METAL FX1 (PHASER) WAH/FV H Ch. A DELAY leads and also turns on a delay. Psychedelic rock sound of the EXTREME 79 1969 XPERIENCE 1969 Woodstock festival. Intense DUAL TWEED REVERB LEVEL ACCEL (S-BEND) WAH/FV S LEAD distortion produced using fuzz. A riff tone used in classic rock. The SINGLE: DIV CH SELECT, FX1 80 CHAINED UP 5150 DRIVE 5150 DRIVE A&B SOLO WAH/FV S/H CTL pedal adds a flanger. Ch. A (FLANGER)

43 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU Drive sound reminiscent of 80s SINGLE: HiGAIN ACCEL (FEED- 81 1984 DRIVIN' 5150 DRIVE DIV CH SELECT WAH/FV H hard rock. Ch. A STACK BACKER) Dirty rock sound. Ideal for backing POWER R-FIER ACCEL (S-BEND), 82* ROUGH'N' DIRTY DUAL A&B SOLO WAH/FV S/H or riffs. DRIVE VINTAGE DELAY LEVEL A bluesy sound of the late 60s that SINGLE: STACK 83 CREAMY SET MS1959 I OD/DS DIV CH SELECT WAH/FV H combines MS1959 with FUZZ. Ch. A CRUNCH A stack amp sound with sustained SINGLE: POWER EXTREME DIV CH SELECT, 84 STACK LEAD distortion. Suitable for both backing A/B SOLO WAH/FV S/H Ch. A DRIVE LEAD DELAY and soloing. A hard rock tone used in the 80s SINGLE: HiGAIN 85 GREAT ROCK MS1959 I A&B SOLO DIV CH SELECT WAH/FV S/H and 90s. Ch. A STACK Ideal sound for playing slide guitar SINGLE: PRO PRO 86 SLIDE FOR LP A&B SOLO DIV CH SELECT WAH/FV H with humbucking pickups. Ch. A CRUNCH CRUNCH The classic, fat fuzz sound of the SINGLE: 87 FAT 60s FUZZ MS1959 I+II MS1959 I+II DELAY DIV CH SELECT WAH/FV S ’60s. Ch. A SINGLE: HiGAIN DIV CH SELECT, 88 UFOBJECT The classic sound of 70s hard rock. MS1959 I+II A&B SOLO WAH/FV H Ch. A STACK DELAY SINGLE: R-FIER ACCEL (S-BEND), 89 VAN FLANGE The flanger sound of 80s hard rock. — FX1 (FLANGER) WAH/FV S/H Ch. A MODERN DELAY Different types of fuzz are placed 90* WALL OF FUZZTONE DUAL TWEED MS1959 I CHORUS DELAY WAH/FV S in stereo. A fuzz sound with a unique SINGLE: COMBO 91 OCTAFUZZ LEAD character. Also useable even if the CLEAN TWIN A&B SOLO FX2 (UNI-V) WAH/FV S Ch. A CRUNCH volume of your guitar is lowered. Reproduces the combination of a SINGLE: STACK COMBO 92 60s FUZZ LEGEND OD/DS DIV CH SELECT WAH/FV S late 60s fuzz and distorted amp. Ch. A CRUNCH CRUNCH Produces a sharp sound when used SINGLE: DELUXE COMBO 93 70s PUB ROCK DELAY DIV CH SELECT WAH/FV S with single coil pickups. Ch. A CRUNCH CRUNCH SINGLE: STACK 94* VINTAGE & MDN Thick stereo crunch sound. MS1959 I A&B SOLO CHORUS WAH/FV H Ch. A CRUNCH The hard rock sound of the late 70s. STACK HiGAIN 95* PASADENA PLEXI Phaser and delay are applied to a fat DUAL A&B SOLO ACCEL (S-BEND) WAH/FV S/H CRUNCH STACK British overdrive. A fuzz sound with a rich overtone SINGLE: COMBO 96 SHRED FZ structure. Ideal for backing or for VO DRIVE DELAY DIV CH SELECT WAH/FV H Ch. A CRUNCH solos. Rock sound of the 80s using a stereo SINGLE: 97 80s HARD ROCK BG LEAD BG DRIVE A/B SOLO, DELAY DIV CH SELECT WAH/FV H chorus. Ch. A 80s sound that combines a SINGLE: COMBO 98 80s NEW WAVE JC-120 OD/DS DIV CH SELECT WAH/FV S doubling delay with a chorus. Ch. A CRUNCH The mid-boost lead sound of a stack SINGLE: EXTREME POWER 99 Hi GAIN LEAD A&B SOLO DIV CH SELECT WAH/FV H amp. The CTL pedal turns SOLO on. Ch. A LEAD DRIVE A tube amp sound typical of the late 70s through the 80s. The CTL pedal SINGLE: 100 BG LEAD BG LEAD BG LEAD DELAY DIV CH SELECT WAH/FV S/H switches to a lead tone with chorus Ch. A applied. Sustaining harmony tone, ideal for SINGLE: NATURAL COMBO 101 HarmonyLead inAm FX2 (HARMONIST) DIV CH SELECT WAH/FV S/H fusion solos. Ch. A CLEAN CRUNCH Vintage OD-1 sound. The CTL pedal SINGLE: NATURAL OD/DS SOLO, COMP, 102 VINTAGE OVERDRV selects a sound appropriate for JC-120 DIV CH SELECT WAH/FV H Ch. B CLEAN DELAY solos. A spacious sound that takes SINGLE: NATURAL NATURAL 103 TERA ECHO LEAD advantage of A-DIST and TERA FX2 (TERAECHO) OD/DS SOLO WAH/FV S Ch. A CLEAN CLEAN ECHO. A retro hard rock sound from the SINGLE: STACK POWER DIV CH SELECT, 104 70s US HARD ROCK A&B SOLO WAH/FV S 70s. Ch. A CRUNCH DRIVE DELAY A chorused sound with sustain, suitable for lead. Two types of stack 105 80s STUDIO LEAD DUAL ORNG RV SLDN A&B SOLO CHORUS WAH/FV S/H amp are used separately for the low and high frequency ranges. Metal sound with chorus applied. SINGLE: NATURAL NATURAL DIV CH SELECT, 106 CHORUS LEAD DELAY WAH/FV S/H Usable for either backing or lead. Ch. A CLEAN CLEAN OD/DS Delay and vibrato automatically SINGLE: POWER NATURAL 107 DUCKING DLY&VIB become deeper when you sustain A&B SOLO ACCEL (WARP) WAH/FV S Ch. A DRIVE CLEAN a note. A combo amp lead sound. You can SINGLE: COMBO COMBO ACCEL (FEED- 108 COMBO LEAD use the ACCEL pedal for feedback DIV CH SELECT WAH/FV S/H Ch. A CRUNCH CRUNCH BACKER) performance.

44 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU An aggressive jazz tone. The CTL DIV CH SELECT, SINGLE: 109 JAZZ FIELD pedal switches to a sound for BG LEAD BG LEAD CHORUS COMP, DELAY, WAH/FV H Ch. A soloing. REVERB LEVEL High-gain but with good consis- tency, this lead sound is suitable for EXTREME 110 METAL STACK LEAD metal. Two types of high-gain amp DUAL T-AMP LEAD A&B SOLO ACCEL (S-BEND) WAH/FV H LEAD are used separately for the low and high frequency ranges. Use a Strat to reproduce the hard rock sound of the late SINGLE: NATURAL 111 BROWN SOUND 4 ST ’70s. Transforms the sound of a MS1959 I A&B SOLO DIV CH SELECT WAH/FV S Ch. A CLEAN single-coil pickup to a humbucking pickup sound. SINGLE: NATURAL NATURAL 112 OVERDRV LEAD A simple overdrive sound. A&B SOLO DIV CH SELECT WAH/FV H Ch. B CLEAN CLEAN Fat sound that still remains sensitive SINGLE: STACK 113 FINGER LEAD to the nuances of your touch. Ideal MS1959 I DELAY OD/DS WAH/FV S/H Ch. A CRUNCH for bluesy fusion. Distortion sound with extreme SINGLE: COMBO 114 SQUARE LEAD sustain. Use the CTL pedal to apply FULL RANGE ACCEL (S-BEND) DIV CH SELECT WAH S/H Ch. A CRUNCH pitch bend. Classic lead tone for rock. Also ideal SINGLE: 115 SMOOTH LEAD 5150 DRIVE T-AMP LEAD A/B SOLO DIV CH SELECT WAH/FV H for sweep-picking. Ch. A A sustaining lead sound. Two types POWER HiGAIN 116 Hi GAIN STK LEAD of stack amp are used separately for DUAL DELAY ACCEl (S-BEND) WAH/FV H DRIVE STACK the low and high frequency ranges. The sound of a mid-boosted stack SINGLE: COMBO ACCEL (FEED- 117 MID BOOST STACK amp. You can use the CTL pedal for MS1959 I DELAY WAH/FV S/H Ch. A CRUNCH BACKER) feedback performance. An extremely smooth lead tone. SINGLE: MATCH MATCH 118 MATCH LEAD CHORUS DIV CH SELECT WAH/FV H Ideal for fusion solos. Ch. A DRIVE DRIVE A lead sound suitable for ballads, with distinctively ample echo. Two COMBO 119 BALLAD ECHO LEAD DUAL BG LEAD DELAY FX2 (TERAECHO) WAH/FV H types of amp are used separately for CRUNCH the low and high frequency ranges. A lead tone of 70s fusion. The CTL SINGLE: NATURAL DELUXE 120 FUSION 335 DELAY DIV CH SELECT WAH/FV H pedal boosts the gain and volume. Ch. A CLEAN CRUNCH A fusion lead tone using stereo SINGLE: NATURAL 121 80s JAZZ FUSION JC-120 OD/DS DIV CH SELECT WAH/FV H chorus. Ch. A CLEAN Sound with delay applied, ideal for SINGLE: NATURAL 122 ROADS CORE METAL DELAY DIV CH SELECT WAH/FV H leads in 70s rock. Ch. B CLEAN SINGLE: 123 FUSIONY Fusion lead tone with pan delay. SLDN SLDN FX2 (SUB DELAY) DIV CH SELECT WAH/FV H Ch. A SINGLE: R-FIER COMBO 124 OUT DELAY Lead tone using a long stereo delay. A&B SOLO FX2 (SUB DELAY) WAH/FV S/H Ch. A MODERN CRUNCH SINGLE: COMBO 125 ROYAL LEAD British lead tone of the 70s and 80s. VO LEAD DELAY DIV CH SELECT WAH/FV H Ch. A CRUNCH A wide-ranged lead tone of the EXTREME 126 MahoganyFlashbak DUAL TWEED A&B SOLO ACCEL (S-BEND) WAH/FV S/H late 70s. LEAD A lead sound of the 70s using touch SINGLE: STACK 127 70s T .WAH LEAD MS1959 I FX1 (T. WAH) DIV CH SELECT WAH/FV H wah. Ch. A CRUNCH A lead sound with a strongly SINGLE: DIV CH SELECT, 128 NY LEAD MODULATE modulated flanger. Also usable for BG DRIVE JC-120 DELAY WAH/FV H Ch. A OD/DS cool jazz fusion. Enjoy sound-on-sound with a SINGLE: COMBO 129 MID 70s S .O .S . VO LEAD BPM TAP DIV CH SELECT WAH/FV S two-beat delay. Ch. A CRUNCH A smooth high-gain lead sound. SINGLE: EXTREME POWER 130 Hi GAIN LEAD 2 Fat distortion can be obtained even A/B SOLO DIV CH SELECT WAH/FV S/H Ch. A LEAD DRIVE with single coil pickups. Lead sound using BGNR UB METAL, SINGLE: 131 BGNR LEAD BGNR UB BGNR UB A/B SOLO DIV CH SELECT WAH/FV H suitable for humbucking pickups. Ch. A A stereo high-gain amp sound using 132* ST GERMAN HIGAIN DUAL BGNR UB T-AMP LEAD A&B SOLO DELAY WAH/FV H BGNR UB METAL and T-AMP. An extremely heavy metal sound, SINGLE: EXTREME EXTREME ACCEL (FEED- DIV CH SELECT, 133 MODERN METAL usable for anything from rhythm WAH/FV S/H Ch. A LEAD LEAD BACKER) DELAY to lead. Hard distortion sound, ideal for SINGLE: R-FIER R-FIER 134 R-FIER LEAD metal riffs. The CTL pedal switches ACCEL (S-BEND) DIV CH SELECT WAH/FV S/H Ch. A VINTAGE VINTAGE to a lead sound. SINGLE: 135 METAL MONEY The metal sound of the 90s. CORE METAL CORE METAL A&B SOLO DIV CH SELECT WAH/FV S/H Ch. A 45 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU A modern hard rock sound POWER EXTREME 136* STEREO HARD RIFF DUAL DELAY CHORUS WAH/FV H appropriate for riffing. DRIVE LEAD SINGLE: NATURAL NATURAL DIV CH SELECT, 137 METAL FLANGER Metal sound with flanger applied. A&B SOLO WAH/FV S/H Ch. A CLEAN CLEAN DELAY Slash metal sound of the 80s. The SINGLE: 138 LATE 80s MetalRF JC-120 CORE METAL A/B SOLO DIV CH SELECT WAH/FV H CTL pedal switches to JC-120. Ch. B Stereo high-gain sound produced R-FIER 139* DUAL ST Hi GAIN DUAL T-AMP LEAD A&B SOLO CHORUS WAH/FV H by two amps. VINTAGE Slash metal sound of the 80s. Ideal SINGLE: DIV CH SELECT, 140 REIGN IN THRASH SLDN SLDN OD/DS WAH/FV H for riffing. Ch. A DELAY The ideal sound for heavy metal SINGLE: R-FIER 141 METAL CORN riffing. The CTL pedal boosts the CORE METAL A/B SOLO DIV CH SELECT WAH/FV H Ch. A MODERN gain and volume. SINGLE: R-FIER 142 BLADE METAL An extremely sharp metal tone. — DELAY OD/DS WAH/FV H Ch. A MODERN Ideal modern metal sound for SINGLE: EXTREME 143 DRAGON METAL T-AMP LEAD OD/DS DIV CH SELECT WAH/FV H humbucking pickups. Ch. A LEAD SINGLE: R-FIER 144 HARD ROCK FLANGE The flanger sound of 80s metal. 5150 DRIVE FX1 (FLANGER) DIV CH SELECT WAH/FV S/H Ch. A MODERN Stereo amp sound appropriate for POWER HiGAIN 145* STEREO RIFF DUAL OD/DS CHORUS WAH/FV H heavy riffs. DRIVE STACK SINGLE: R-FIER R-FIER DIV CH SELECT, 146 RECTOSARIUS A modern rock sound. ACCEL (S-BEND) WAH/FV S/H Ch. A VINTAGE MODERN DELAY Produces a unison sound with one R-FIER 147 JP METAL UNISON octave below. Ideal for riffs or single DUAL 5150 DRIVE FX1 (OCTAVE) ACCEL (S-BEND) WAH/FV S/H VINTAGE notes. A high-gain stereo sound suitable R-FIER R-FIER 148* STEREO R-FIER DUAL ACCEL (S-BEND) DELAY WAH/FV H for low-pitched riffing. MODERN VINTAGE DELAY, COMP LEVEL, Core metal sound that adds a PREAMP A SOLO 149 METAL Gt w/Bass DUAL CORE METAL — REVERB LEVEL WAH/FV S/H suitable bass tone to your riffs. ACCEL (LASER BEAM), A straightforward limiter sound with NATURAL NATURAL 150 MULTIBAND COMP DUAL DELAY CHORUS WAH/FV S minimal sense of compression. CLEAN CLEAN Use the CTL pedal to switch SINGLE: 151 TWEED CLEAN between a tweed amp’s clean tone TWEED TWEED DELAY DIV CH SELECT WAH/FV H Ch. A and a mid-boost lead tone. SINGLE: NATURAL 152 RETRO FUNK A retro low-fi sound of the ’60s. CLEAN TWIN FX1 (TONE MODIFY) DIV CH SELECT WAH/FV S Ch. A CLEAN Lets you get the sound of a hollow SINGLE: PRO NATURAL 153 JAZZ SIMULATOR body guitar from a solid-body DELAY DIV CH SELECT WAH/FV H Ch. A CRUNCH CLEAN guitar. A clean sound with good sustain. SINGLE: NATURAL STACK 154 CLEAN SUSTAIN The CTL pedal switches to a stack CHORUS DIV CH SELECT WAH/FV S/H Ch. A CLEAN CRUNCH crunch sound. Clean sound suitable for simple SINGLE: NATURAL 155 70s FUNKY CLEAN CLEAN TWIN FX1 (LIMITER) DIV CH SELECT WAH/FV S strumming. Ch. A CLEAN DELAY, FX2 A bright clean sound. The CTL pedal SINGLE: NATURAL 156 BRIGHT RHYTHM FULL RANGE (PITCHSHIFTER), DIV CH SELECT WAH/FV S/H applies chorus. Ch. A CLEAN REVERBLEVEL Transparently clean sound. Ideal for SINGLE: NATURAL 157 SUPER CLEAN FULL RANGE ACCEL (S-BEND) DIV CH SELECT WAH/FV S/H arpeggios or chording. Ch. A CLEAN Tremolo sound suitable for the surf SINGLE: STACK 158 SAFARI USA TWEED REVERB LEVEL DIV CH SELECT WAH/FV S music of the 60s. Ch. A CRUNCH Transforms the sound of an electric guitar to the sound of an SINGLE: NATURAL 159 Acoustic Gt SIM FULL RANGE BODY DELAY WAH/FV H acoustic guitar. The front pickup is Ch. A CLEAN recommended. Sound that won’t distort even when SINGLE: NATURAL NATURAL 160 FunkyGT For HumB playing through humbuckers. Also CHORUS, COMP DIV CH SELECT WAH/FV H Ch. A CLEAN CLEAN suitable for clean muted chords. Vintage clean sound. The CTL pedal SINGLE: 161 BLACK PANEL CLEAN TWIN — DELAY OD/DS WAH/FV S applies mid-boost. Ch. A Combines a TERA ECHO set to a SINGLE: DELUXE NATURAL TERAECHO Off, 162 TERA REV & COMP spring reverb type with compressed DIV CH SELECT WAH/FV S/H Ch. A CRUNCH CLEAN REVERB On and clean sound. Sound that adds the distinctive SINGLE: NATURAL DIV CH SELECT, 163 NORWEGIN GROOVE FULL RANGE BUZZ TONE LEVEL WAH/FV H buzz drone of a sitar. Ch. A CLEAN DELAY, CHORUS

46 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU A sound suitable for funky strumming. Two types of clean amp NATURAL 164 FUNKY GROOVE DUAL JC-120 DIV CH SELECT DIVIDER MODE WAH/FV S are used separately for the low and CLEAN high frequency ranges. A rich sound that uses a combina- SINGLE: NATURAL HiGAIN 165 DEEP CS StCHORUS tion of several modulation-type FX2 (PAN) DIV CH SELECT WAH/FV S/H Ch. A CLEAN STACK effects. A sound that’s ideal for 16-beat SINGLE: DELUXE EXTREME 166 FUNKY DELICK FX1 (PHASER) DIV CH SELECT WAH/FV S/H muted chording in funk or fusion Ch. A CRUNCH LEAD A clean sound suitable for orthodox jazz. Two types of clean amp are NATURAL 167 JAZZ CLEAN DUAL CLEAN TWIN FX2 (OVERTONE) A&B SOLO WAH/FV S/H used separately for the low and high CLEAN frequency ranges. Clean sound that’s great for country SINGLE: DELUXE 168 CLN TwinSouthern CLEAN TWIN DELAY DIV CH SELECT WAH/FV S rock riffs. Ch. A CRUNCH Clean sound with stereo panning 169* GREAT WIDE OPEN that creates the impression of a DUAL TWEED VO LEAD REVERB LEVEL ACCEL (S-BEND) WAH/FV S broad horizon. British clean tone with chorus and SINGLE: DELAY, CHORUS, 170 THE ULTRA CLEAN deep reverb. Appropriate for 80s FULL RANGE JC-120 DIV CH SELECT WAH/FV S/H Ch. A REVERB LEVEL pop. Clean sound with modulation NATURAL NATURAL 171 SUPER MODULATE applied. Also effective when used DUAL ACCEL (S-BEND) OD/DS WAH/FV H CLEAN CLEAN in the intro. Produces a sound reminiscent of a SINGLE: NATURAL 172 DEEP DEFRETTER fretless guitar. Suitable for playing JC-120 FX2 (SUB DELAY) DIV CH SELECT WAH/FV S Ch. A CLEAN single notes. Reproduces the sound of the 50s SINGLE: COMBO COMBO 173 ROCKABIL50s ECHO A&B SOLO DIV CH SELECT WAH/FV S with a tape echo and spring reverb. Ch. A CRUNCH CRUNCH A sound reminiscent of an electric SINGLE: NATURAL COMBO 174 E SITAR SIMULATE sitar. Usable with single notes or DELAY DIV CH SELECT WAH/FV H Ch. A CLEAN CRUNCH chords. A sliced sound modulated by a filter POWER EXTREME 175 SLICING MIX DUAL DIVIDER MODE ACCEL (S-BEND) WAH/FV S is mixed with a distorted sound. DRIVE LEAD Fantasy-like sound with deep SINGLE: EXTREME 176 RIPPIN’ delay. The ACCEL pedal applies ring — DELAY ACCEL (RING MOD) WAH/FV H Ch. A LEAD modulator. Multiple effects are turned on SINGLE: NATURAL NATURAL 177 MultiDimensional simultaneously. Provides a mix of DELAY, CHORUS ACCEL (WARP) WAH/FV S Ch. A CLEAN CLEAN the direct and processed sounds. Straight sound and tremolo sound COMBO COMBO 178* LA TR RIFF DUAL TREMOLO RATE CHORUS WAH/FV H are generated in stereo. CRUNCH CRUNCH The force of your picking varies the SINGLE: COMBO NATURAL 179 AUTO RATE FX1 (AUTO WAH) CH DIV SELECT WAH/FV S rate of the auto wah. Ch. A CRUNCH CLEAN A smooth lead sound using Slow SINGLE: NATURAL COMBO FX1 (SLOW GEAR), 180 SLOWGEAR LEAD Gear. Also effective on sound-effect CH DIV SELECT WAH/FV S Ch. A CLEAN CRUNCH FX2 (SUB DELAY) phrases. A fuzz sound using octaves is EXTREME POWER 181 WAVE PEDAL SE overlaid with a flamboyant effect DUAL CHORUS DELAY PB S LEAD DRIVE sound. Transforms a guitar sound into a SINGLE: COMBO 182 WAVE SYNTH FULL RANGE FX2 (FLANGER) ACCEL (S-BEND) WAH/FV S/H synth sound. Use with single notes. Ch. A CRUNCH A cyclically varying Humanizer can SINGLE: NATURAL 183 HUMANIZER SP JC-120 CHORUS ACCEL (S-BEND) WAH/FV S be used as the beat. Ch. A CLEAN Distorted lead sound with harmony EXTREME EXTREME 184 REVERSE HARMONY added by effective use of reverse DUAL DELAY ACCEL (S-BEND) WAH/FV H LEAD LEAD delay. Irregularly-pitched effect sound is SINGLE: COMBO NATURAL 185 GUNYA GUNYA added in response to the dynamics DELAY ACCEL (S-BEND) WAH/FV S Ch. A CRUNCH CLEAN of your touch. Slicer and tempo delay are synchronized, so that the settings PRO PRO 186 SEQ CLEAN DUAL DELAY MOD DEPTH BPM TAP WAH/FV S will follow if you simply change the CRUNCH CRUNCH tempo. An ’80s-type sound that combines SINGLE: EXTREME NATURAL 187 5th PS & GATE a pitch a perfect fifth above with FX1 (OCTAVE) DELAY WAH/FV S/H Ch. A LEAD CLEAN gated reverb. Sound that combines clean and STACK 188 D’CLEAN DIRT overdrive. A nice fit with alternative DUAL JC-120 FX2 (PAN) ACCEL (S-BEND) WAH/FV S/H CRUNCH rock.

47 Preset Patch List

No Patch Name Explanation DIVIDER PREAMP A PREAMP B CTL2 CTL1 EXP PU By fixing a lower fourth interval, you SINGLE: NATURAL 189 HARMO STAY-4th=C BGNR UB FX2 (HARMONIST) CH DIV SELECT WAH/FV H can maintain three-voice harmony. Ch. A CLEAN Sound for an electro-acoustic guitar, SINGLE: FX1 (ACOUSTIC 190 [AC] AC BODY MID — — DELAY WAH/FV — using AC.PROCESSOR. Ch. A PROCESSOR) SINGLE: FX1 (ACOUSTIC 191 [AC]FOR ARPEGGIO A sound suitable for arpeggios. — — DELAY WAH/FV — Ch. A PROCESSOR) SINGLE: FX1 (ACOUSTIC 192 [AC] FOR STRUM A sound suitable for playing chords. — — CHORUS WAH/FV — Ch. A PROCESSOR) Sound suitable for single-note SINGLE: FX1 (ACOUSTIC 193 [AC] FOR AC SOLO — — PREAMP WAH/FV — soloing. Ch. A PROCESSOR) Sound using 2X2 CHORUS for more SINGLE: FX1 (ACOUSTIC 194 [AC] AC 2X2 CHO naturalness than conventional — — DELAY WAH/FV — Ch. A PROCESSOR) chorus. All-purpose vocal sound that can be SINGLE: 195 [VOCAL] POP — — DELAY FX2 (LIMITER) PB/FV — used for pop or any type of vocal. Ch. A Sound with deep plate reverb, ideal SINGLE: 196 [VOCAL] BALLAD — — REVERB LEVEL DELAY PB/FV — for ballads. Ch. A Sound with ambience, suitable for SINGLE: 197 [VOCAL] ROCK — — OD/DS REVERB, DELAY PB/FV — rock vocals. Ch. A Provides the effect of double- SINGLE: 198 [VOCAL] DOUBLE tracking created by recording the — — CHORUS DIVIDER (MODE) PB/FV — Ch. A same phrase sung twice. Adds harmony at one third above SINGLE: 199 [VOCAL]HARMONY C — — DELAY FX2 (HARMONIST) PB/FV — the Key=C. Ch. A Sound that adds extreme distortion SINGLE: 200 [VOCAL] DIST — — DELAY OD/DS, EQ PB/FV — to the vocal. Ch. A

* Patches with an “*” following the patch number have their mixer mode set to PAN L/R. For other patches, the mode is set to STEREO. * DIVIDER = Divider setting • SINGLE: Ch. A = Divider MODE is SINGLE and CH SELECT is CH. A • SINGLE: Ch. B = Divider MODE is SINGLE and CH SELECT is CH. B • DUAL = Divider MODE is DUAL * PU=Pickup • S=This patch is good for single-coil pickups. • H=This patch is good for humbucking pickups. • P=This patch is good for piezo pickups.