Boss Audio Systems GS-10 Musical Instrument User Manual

Owner’s Manual
Thank you, and congratulations on your choice of the
BOSS GS-10 Guitar Effects System with USB Audio Interface.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 4–5)
These sections provide important information concerning the
proper operation of the unit.
Additionally, in order to feel assured that you have gained a
good grasp of every feature provided by your new unit, Owner’s
manual should be read in its entirety. The manual should be
saved and kept on hand as a convenient reference.
■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[WRITE] WRITE button
[USB]
USB button
• Reference such as (p. **) indicate pages in this manual to which you
can refer.
Copyright © 2003 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of BOSS CORPORATION.
03342912
‘03-8-1N
USING THE UNIT SAFELY
For EU Countries
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
to damage or
caused with
and all its
to domestic
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
Apparatus containing
Lithium batteries
ADVARSEL!
VARNING
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
Levér det brugte batteri tilbage til
leverandøren.
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Kassera använt batteri enligt
fabrikantens instruktion.
ADVARSEL
001
009
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
..........................................................................................................
002c
• Do not open (or modify in any way) the unit or its
AC adaptor.
..........................................................................................................
003
• Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the “Information” sheet.
..........................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
007
• Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
..........................................................................................................
008c
• Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptor’s body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
2
VAROITUS
Eksplosjonsfare ved feilaktig skifte av
batteri.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
010
• This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
011
• Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
012b
• Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” sheet when:
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
• If smoke or unusual odor occurs
This product complies with the requirements of European Directive 89/336/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Tested To Comply With FCC Standards
FOR HOME OR OFFICE USE
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
• Objects have fallen into, or liquid has been
spilled onto the unit; or
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
013
101b
• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
• The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
015
• Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
016
• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” sheet.
..........................................................................................................
023
• DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
102c
• Always grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
103b
• At regular intervals, you should unplug the AC
adaptor and clean it by using a dry cloth to wipe
all dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug and
the power outlet can result in poor insulation and
lead to fire.
..........................................................................................................
104
• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
• Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107c
• Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
108b
• Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
..........................................................................................................
109b
• Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet.
..........................................................................................................
110b
• Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
3
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Power Supply
Repairs and Data
301
452
• Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
• Please be aware that all data contained in the unit’s
memory may be lost when the unit is sent for repairs.
Important data should always be backed up in another
MIDI device (e.g., a sequencer), computer, or written
down on paper (when possible). During repairs, due care
is taken to avoid the loss of data. However, in certain
cases (such as when circuitry related to memory itself is
out of order), we regret that it may not be possible to
restore the data, and Roland assumes no liability
concerning such loss of data.
Placement
Memory Backup
351
501b
302
• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
307
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of interference.
352a
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
• This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have the
battery replaced with a fresh one as soon as possible to
avoid the loss of all data in memory. To have the battery
replaced, consult with your retailer, the nearest Roland
Service Center, or an authorized Roland distributor, as
listed on the “Information” sheet.
352b
• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
354a
• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
355b
• When moved from one location to another where the
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
has completely evaporated.
Maintenance
401a
“Battery Low !! Please Change”
Additional Precautions
551
• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer), or computer.
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a
sequencer), or computer once it has been lost. Roland
Corporation assumes no liability concerning such loss of
data.
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
• Never strike or apply strong pressure to the display.
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
556
402
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
4
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
558a
IMPORTANT NOTES
559a
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
• Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
562
• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
Copyright
851
• Unauthorized recording, distribution, sale, lending, public
performance, broadcasting, or the like, in whole or in part,
of a work (musical composition, video, broadcast, public
performance, or the like) whose copyright is held by a
third party is prohibited by law.
852a
Handling CD-ROMs
• When exchanging audio signals through a digital
connection with an external instrument, this unit can
perform recording without being subject to the restrictions
of the Serial Copy Management System (SCMS). This is
because the unit is intended solely for musical production,
and is designed not to be subject to restrictions as long as
it is used to record works (such as your own compositions) that do not infringe on the copyrights of others.
(SCMS is a feature that prohibits second-generation and
later copying through a digital connection. It is built into
MD recorders and other consumer digital-audio
equipment as a copyright-protection feature.)
563
853
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.
• Unauthorized duplication, reproduction, hiring, and
lending prohibited.
564
• Before you open the included CD-ROM, you must read
the “license agreement.” Opening the CD-ROM will be
taken to mean your acceptance of the license agreement.
• Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of
third-party copyrights arising through your use of this
unit.
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
962b
• In the interest of product improvement, the specifications
and/or contents of this package are subject to change
without prior notice.
• DO NOT play a CD-ROM disc on a conventional audio
CD player. The resulting sound may be of a level that
could cause permanent hearing loss. Damage to speakers
or other system components may result.
204
* Microsoft and Windows are registered trademarks of Microsoft Corporation.
206e
* Screen shots in this documents are reprinted with permission from Microsoft Corporation.
206j
* Windows® is known officially as: “Microsoft® Windows® operating system.”
207
* Apple and Macintosh are registered trademark of Apple Computer, Inc.
209
* MacOS is a trademark of Apple Computer, Inc.
220
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
231
* OMS is a registered trademark of Opcode Systems, Inc.
232
* FreeMIDI is a trademark of Mark of the Unicorn, Inc.
5
Contents
USING THE UNIT SAFELY ...................2
IMPORTANT NOTES ..........................4
Chapter 3
Saving the Tones You Have Created ..... 25
Storing Patches (PATCH WRITE)...............................25
Main Features ..................................9
Copying Patches .............................................................25
Exchanging Patches........................................................26
Initializing Patches ........................................................26
Panel Descriptions ..........................10
Registering Your Favorite Patches
(DIRECT PATCH)..........................................................27
Front Panel.......................................................................10
Copying the PREAMP/SPEAKER Settings
to Another Channel........................................................27
Rear Panel ........................................................................12
Signal Flow......................................................................13
Chapter 1
Playing Sounds ..............................14
Making the Connections...............................................14
Turning On the Power ..................................................15
Chapter 4
Introduction to Effects and Parameters .... 28
PREAMP/SPEAKER
(Preamp/Speaker Simulator)........................................28
COMP (Compressor) .....................................................31
Turning Off the Power..............................................15
OD/DS (Overdrive/Distortion)....................................32
Using the GS-10’s Speakers .........................................15
DELAY..............................................................................33
Adjusting the Output Level .........................................15
CHORUS..........................................................................34
Setting Output Device (Amps)
(OUTPUT SELECT) .......................................................16
REVERB ...........................................................................34
Connecting
Audio Devices to the AUX INPUT Jack.....................17
FX-1....................................................................................36
Using the Digital Output..............................................17
AW (Auto Wah) .........................................................36
EQ (Equalizer).................................................................35
PW (Pedal Wah).........................................................36
TM (Tone Modify) .....................................................37
Chapter 2
Creating Your Own Favorite Tones
(Patches)..........................................18
ACS (Advanced Compressor)..................................38
What is a Patch? ..............................................................18
SG (Slow Gear) ...........................................................39
How to Select Patches (Patch Change).......................18
About the Display Indication ..................................18
If the Patch Does Not Switch ...................................18
Selecting the Input (INPUT SELECT)........................19
Setting the Mic Input Level (MIC GAIN) ..............20
Adjusting the Tones with the Knobs .........................21
Turning the Effect On and Off ....................................22
Setting the Effects Simply (QUICK FX) ....................22
Making More Precise Effect Settings .........................23
Naming Patches ..............................................................24
Changing the Connection Order of Effects
(Effect Chain) ..................................................................24
6
LM (Limiter) ...............................................................38
ENH (Enhancer).........................................................39
TR (Tremolo) ..............................................................39
DF (Defretter) .............................................................40
RM (Ring Modulator)................................................40
FB (Feedbacker)..........................................................40
FX-2....................................................................................41
PH (Phaser).................................................................42
FL (Flanger) ................................................................42
HR (Harmonist) .........................................................43
PS (Pitch Shifter) ........................................................44
OC (Octave) ................................................................45
PB (Pedal Bend)..........................................................45
2CE (2x2 Chorus) .......................................................45
PAN .............................................................................46
Contents
VB (Vibrato)................................................................46
UV (Uni-V) .................................................................47
RT (Rotary) .................................................................47
SDD (Short Delay) .....................................................48
HU (Humanizer)........................................................48
SL (Slicer) ....................................................................49
AR (Auto Riff) ............................................................49
SYN (Guitar Synth) ...................................................50
BS (Bass Simulator) ...................................................52
SEQ (Stereo Equalizer)..............................................52
NAME/NS/MASTER .....................................................53
Chapter 7
Convenient Functions and System Settings ... 64
Tuning the Guitar ..........................................................64
Turning the Tuner Function On ..............................64
About the Display During Tuning..........................64
How to Tune...............................................................64
Changing the Tuner Settings ...................................64
Adjusting the Display Contrast
(LCD Contrast) ................................................................65
Limiting the Patches
That Can Be Switched (Patch Extent) .........................65
Noise Suppressor.......................................................53
Keeping the Same Pedal Operations
When Switching Patches (Assign Hold)....................66
Master..........................................................................54
Setting the Knob Functions (Knob Mode) ................66
Foot Volume ...............................................................54
Checking the Effect Output Level
with the Level Meter......................................................67
Name (Patch Name) ..................................................53
Effect Chain ................................................................54
Chapter 5
Creating Original Effects Types (Customize) ..55
Customizing the COSM Amps....................................55
Customizing the Speakers............................................56
Customizing Overdrive and Distortion.....................56
Customizing Pedal Wah ...............................................57
Chapter 8
Using the GS-10 with
External MIDI Devices Connected ......... 68
Operations Using MIDI ................................................68
Operating From the GS-10........................................68
Remotely Controlling the GS-10
Using an External MIDI Device...............................68
Making the Settings for MIDI Functions ..................69
Chapter 6
Setting the External Pedal Functions .....58
Transmitting and Receiving Settings Data ...............71
Setting the External Expression Pedal Functions
(Expression Pedal Function) ..............................................58
Receiving Data
from an External MIDI Device (Bulk Load)...........72
Setting the External Foot Switch Functions
(Control 1, 2 Function)...................................................59
Setting the Program Change Map...............................73
Setting the External Pedal Function
for Individual Patches (Assign)...................................60
Quick Settings ............................................................60
Manual Settings .........................................................61
Transmitting Data
to an External MIDI Device (Bulk Dump) .............71
Enabling/Disabling the
Program Change Map Settings (MIDI Map Select) .......74
Changing Patch Numbers
on an External MIDI Device From the GS-10 ...........74
Controlling Recorders and Sequencers Remotely
from the GS-10 (Remote Control) .....................................75
Setting the Messages
Used for Controlling Devices...................................75
Controlling the Device Remotely ............................76
7
Contents
Chapter 9
Using the GS-10
Connected to a Computer Via USB .......78
Before Connecting with USB.......................................78
Driver Mode ...............................................................78
Setting USB-Related Functions ...................................78
Installing &
Setting Up the Driver (Windows) .............................126
Installing &
Setting Up the Driver (Macintosh) ...........................146
Adjusting the Recording Level
(Output Level)............................................................78
Setting the Special Driver’s Functions.....................162
Adjusting the Playback Volume Level
(Input Level)...............................................................78
Troubleshooting ........................... 164
Enabling and Disabling
the Direct Monitor Command .................................79
Problems when using the GS-10 ...............................164
Switching the Output Signals
(Direct Monitor) .........................................................79
Other Problems ........................................................165
Setting the Output Mode..........................................79
Switching the Driver Mode......................................80
Recording the GS-10’s Output
with a Computer.............................................................81
Applying Effects with the GS-10
to a Computer’s Audio Playback.................................81
Running the GS-10 from a Computer ........................81
Using the GS-10 As a MIDI Interface ........................81
Appendices ....................................82
About MIDI.....................................................................82
How MIDI messages are transmitted
and received ...............................................................82
Main types of MIDI message
used by the GS-10 ......................................................82
About the MIDI implementation ............................83
About USB.......................................................................83
Error Messages................................................................83
Patch List..........................................................................84
Restoring the Factory Settings
(Factory Reset).................................................................86
Factory Settings..........................................................86
Roland Exclusive Messages .........................................87
MIDI Implementation...................................................89
MIDI Implementation Chart .....................................122
Specifications................................................................123
8
Installing &
Setup the USB Driver .................... 125
Problems with the sound........................................164
Problems related to the USB driver ..........................165
Problems when using the USB driver ......................167
Deleting the special driver .........................................173
Index ........................................... 174
Main Features
True “Tabletop Guitar Effects System”
This is an all-new guitar effects system, which gives you not only the kind of professional-quality effects
available only from BOSS, but features a USB interface and built-in monitor speakers as well.
Internal Effects Derived from the GT-6/GT-6B, Made More Powerful
All components of the GT-6 and GT-6B COSM amps and effects, famous for their sonic quality and ease of
use, have been thoroughly improved in this system. With its new amp types and effects, the GS-10 takes
you to a new dimension in sound creation.
The Functions You Want for Digital Recording
The GS-10 not only gives you the recording capabilities you would expect with its DIGITAL OUT (coaxial)
connector, it also allows you to record simply and easily via USB. What’s more, you can also record the
direct sound while listening to the performance as it sounds with the effects added, and add effects to
sounds that have already been recorded.
Accepts Multiple Inputs
You can use the GS-10 not just with your guitar, but as an audio interface for input of sounds from bass
guitars, mics, and external stereo equipment. The GS-10 also includes amp types and effects for basses,
giving you total song-creation capabilities all in one single device.
Stereo Monitor Speakers Built-In
The GS-10 comes with its own monitor speakers, so you can enjoy creating and performing music all with
one unit.
GS-10 Editor and GS-10 Librarian Included
In addition to intuitive knob controls, the GS-10 also includes the “Editor” software for use in creating
sounds and “Librarian” software for managing the tones you have created. These softwares let you
perform the procedures for creating sounds and changing effect connection sequences easily from your
computer screen.
WDM/ASIO-Compatible USB Driver
The GS-10 comes with a GS-10-exclusive driver for stable, high-quality recording and playback. Now enjoy
high-quality audio recordings with 24-bit and ASIO applications.
COSM (Composite Object Sound Modeling)
Composite Object Sound Modeling (COSM) is Roland’s innovative and powerful sound modeling technology. COSM analyzes
the many factors that make up the original sound, such as the electrical and physical characteristics of the original, and then
produces a digital model that can reproduce the same sound.
9
Panel Descriptions
Front Panel
fig.00-041
21
1
19
2
20
15
16
3
4
5
6
22
24
7
23
8
26
9
27
25
10
11 17 18
12 13 14
1. Display
A variety of information about the GS-10 appears here.
Normally, patch names are displayed.
2. PREAMP/SPEAKER (p. 21, p. 28)
(Preamp/Speaker Simulator)
GAIN Knob
Adjusts the degree of preamp distortion.
BASS Knob
3. COMP (Compressor) (p. 21, p. 31)
SUSTAIN Knob
Adjusts the compressor’s sustain effect (an effect that
keeps the sound playing).
COMP On/Off Button
Press to change the settings.
4. OD/DS (p. 21, p. 32)
(Overdrive/Distortion)
Adjusts the sound quality of the preamp’s lowfrequency range.
DRIVE Knob
MIDDLE Knob
LEVEL Knob
Adjusts the sound quality of the preamp’s midrange.
TREBLE Knob
Adjusts the sound quality of the preamp’s highfrequency range.
PRESENCE Knob
Adjusts the degree of overdrive or distortion.
Adjusts the overdrive/distortion volume level.
OD/DS On/Off Button
Press to change the settings.
5. DELAY (p. 21, p. 33)
Adjusts the sound quality in the preamp’s ultra-highfrequency range.
FEEDBACK Knob
LEVEL Knob
LEVEL Knob
Adjusts the preamp volume level.
PREAMP/SPEAKER On/Off Button
Press to change the settings.
CHANNEL SELECT Button
Switches the preamp channel.
10
28
Adjusts the number of times the delay is repeated.
Adjusts the volume level of the delay sound.
DELAY On/Off Button
Press to change the settings.
Panel Descriptions
TAP Button
Use this when setting the delay time with the tap input.
(p. 33)
6. CHORUS (p. 21, p. 34)
LEVEL Knob
Adjusts the volume level of the chorus sound.
CHORUS On/Off Button
Press to change the settings.
7. REVERB (p. 21, p. 34)
LEVEL Knob
Adjusts the volume level of the reverb sound.
REVERB On/Off Button
Press to change the settings.
8. FX-1 (p. 36)
FX-1 On/Off Button
Press to change the settings.
9. FX-2 (p. 41)
FX-2 On/Off Button
Press to change the settings.
10. EQ (Equalizer) (p. 35)
EQ On/Off Button
Press when changing the settings.
11. NAME/NS/MASTER Button (p. 24, p. 53)
Use for naming patches (NAME), setting the noise
suppressor (NS), and making the master settings
(MASTER).
12. ASSIGN Button (p. 60)
Use this to make settings for the expression pedal and
control pedal.
13. INPUT SELECT Button
17. EXIT Button
Use this to undo operations.
18. WRITE Button
Press to store settings.
19. AUX INPUT LEVEL Knob
Adjusts the volume of the input from the AUX INPUT
jack.
* Setting the input level too high may result in oscillation.
20. OUTPUT LEVEL Knob
Adjusts the GS-10’s output level and the unit’s speaker
volume.
21. USB Button (p. 78)
Used when making USB-related settings.
The indicator lights when the GS-10 is connected to
your computer.
22. SPEAKER ON/OFF Button (p. 15)
Switches the GS-10’s speakers on and off.
23. METER Button (p. 67)
Press to use the meter function.
24. SYSTEM Button
Use for making settings for the GS-10’s overall
operating environment.
25. TUNER Button (p. 64)
Press to use the tuner function.
26. DIRECT PATCH Button (p. 18)
Allows you to directly call up your favorite patches
registered in the GS-10.
27. PHONES Jack
Connect the stereo headphones here.
28. GUITAR/BASS Jack
The guitar or bass is connected here.
Selects the input signal to which the effect is applied.
14. QUICK FX Button (p. 22)
Using the Quick Settings lets you complete the settings
procedure quickly and easily.
15. PATCH/VALUE Dial
Use this when switching patches and changing the
values of settings.
16. PARAMETER Buttons
Press to select parameters.
* To jump to the main parameters, hold down one of these
buttons while you press the other. With items for which there
aren’t that many parameters, the GS-10 jumps to the last (or
initial) parameter.
11
Panel Descriptions
Rear Panel
fig.00-042
1
12
3
2
5
4
1. MIC INPUT Jack/Connector
Input jack/connector for use with mics. Both standard
TRS type and XLR type are provided.
* Use only one of these jacks at a time.
* Not compatible with phantom power.
2. AUX INPUT Jacks L/R
Used for connecting a CD player or similar audio
device, rhythm machine, sound module, or similar
devices.
3. OUTPUT Jacks L/R
Used for connecting to an audio set, recorder, mixer, or
similar equipment.
4. GUITAR AMP OUT Jack
Connect your guitar amp here.
5. EXP PEDAL/CTL 1,2
(Expression Pedal/Control Pedal 1,2) Jack
Connect an optional expression pedal (such as the EV5) or foot switch (such as the FS-5U) here.
6. DIGITAL OUT Connector
Outputs digital audio signals.
7. USB Connector
Use a USB cable to connect this connector to your
computer to exchange data between the GS-10 and the
computer.
8. MIDI IN/OUT Connector
Connect an external MIDI device to these connectors to
transmit and receive MIDI messages
9. POWER switch
Turns the power on and off.
10. AC Adaptor Jack
Connect the included AC adaptor (BRC series) here.
11. Cord Hook
Hook the AC adaptor cord here to prevent the adaptor
plug from being disconnected.
12
7
6
8
10
9
12. Security Slot (
11
)
http://www.kensington.com/
Panel Descriptions
Signal Flow
fig.00-043
MIDI OUT
MIDI IN
CONTROL OUT
CONTROL IN
GS-10 OUT
Recorder
etc.
GS-10 IN
Computer
USB
DIGITAL
OUT
MIDI OUT
Expression Pedal
MIDI
SELECT
MIDI IN
Sound
Module
Sequencer
Foot Switch
EXP/CTL 1, 2
Guitar/Bass
CONTROL
Speaker
GUITAR/
BASS
Headphones
PHONES
MIC
INPUT
Mic
AUX
INPUT
INPUT
SELECT
GUITAR
AMP OUT
A/D
MULTI EFFECTS
Guitar Amp
D/A
OUTPUT
Mixer etc.
CD/MD
Audio signal
Control or MIDI signal
13
Chapter 1 Playing Sounds
Making the Connections
fig.01-010
Mic
or
Computer
AC Adaptor
(BRC series)
Guitar
or
Bass
Foot Switch
(FS-5U, etc.)
Guitar Amp
Stereo Headphones
* To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
* Turn up guitar amp and audio amp volume levels and the GS10’s OUTPUT LEVEL only after turning on the power to all
connected devices.
●
To prevent the inadvertent disruption of power to your
unit (should the plug be pulled out accidentally), and to
avoid applying undue stress to the AC adaptor jack,
anchor the power cord using the cord hook, as shown in
the illustration.
fig.01-020
14
Expression Pedal
(Roland EV-5, etc.)
Mixer
●
This instrument is equipped with balanced (XLR/TRS)
type MIC INPUT jacks. Wiring diagrams for these jacks
are shown below. Make connections after first checking
the wiring diagrams of other mic you intend to connect.
fig.01-021
* Not compatible with phantom power.
●
Howling could be produced depending on the location
of mics relative to speakers. This can be remedied by:
1.
Changing the orientation of the mic(s).
2.
Relocating mic(s) at a greater distance from
speakers.
3.
Lowering volume levels.
Chapter 1 Playing Sounds
●
●
When using the unit with an expression pedal connected
to the EXP PEDAL/CTL 1,2 jack, set Minimum Volume
to the “MIN” position.
Use only the specified expression pedal (Roland EV-5;
optional). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
When using the unit with a foot switch (FS-5U; optional)
connected to the EXP PEDAL/CTL 1,2 jack, set the
polarity switch as shown below.
fig.01-030
Polarity
Switch
* Upon power-up, the patch most recently selected when the
power was last turned off is selected.
* This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
3. Next, turn on the power to guitar amp and audio
devices.
Turning Off the Power
1. Before turning off the power, confirm the following.
• Is the volume on the GS-10, your amp, and all other
connected devices turned down to the minimum level?
2. Turn off the power to guitar amp and audio devices.
* You can use the special (optional Roland) PCS-31 connector
cord to connect two foot switches.
3. Turn the GS-10’s power off.
fig.01-040
Using the GS-10’s Speakers
PCS-31
Press [SPEAKER ON/OFF], causing the indicator to light.
fig.01-050
White
Red
When using the unit with a foot switch (the optional FS5U) connected to the EXP PEDAL/CTL 1,2 jack, make
the settings given on p. 59.
Turning On the Power
Once the connections have been completed, turn on power to
your various devices in the order specified. By turning on
devices in the wrong order, you risk causing malfunction
and/or damage to speakers and other devices.
1. Before turning on the power, confirm the following.
• Are all external devices properly connected?
* When not using the GS-10’s speakers, press [SPEAKER ON/
OFF], so the indicator is off.
Adjusting the Output Level
Adjust the GS-10’s output level and speaker volume with the
OUTPUT LEVEL knob.
fig.01-060
• Is the volume on the GS-10, your amp, and all other
connected devices turned down to the minimum level?
2. Switch ON the POWER switch on the GS-10’s rear panel.
A few seconds later, the unit enters the ordinary
performance mode. The screen that appears at this point
is called the “Play screen.”
fig.01-050d
15
Section 1
●
Chapter 1 Playing Sounds
Setting Output Device
(Amps) (OUTPUT SELECT)
Combo Return
Select the type of output device connected to the OUTPUT
jack or GUITAR AMP OUT jack.
Stack Return
To derive the maximum performance from the GS-10, be
sure to make the correct setting for OUTPUT SELECT,
the one that’s most suitable for your setup.
fig.01-061
2
Use this setting when connecting to RETURN with a
combo amp.
Use this setting when connecting to RETURN of a stack
amp or rack mounted power amp.
3. Press [EXIT] to return to the Play screen.
* Set OUTPUT SELECT as shown below, when the PREAMP/
SPEAKER type (p. 29) is set to CONCERT 810, SESSION,
BASS 360, T.E., B-MAN, FLIP TOP, Bass Clean, Bass
Crunch, Bass HiGain, or Mic Preamp.
When connecting to an audio amp or similar equipment:
Line/Phones
When connecting to a guitar amp:
Combo Amp or Combo Return
When connecting to a bass amp:
Stack Amp or Stack Return
Guitar Tuning
3
1
1. Press [SYSTEM], causing the indicator to light.
The Output Select settings screen appears.
fig.01-070d
2. Turn the PATCH/VALUE dial to select the type of
device connected to the OUTPUT jack or GUITAR
AMP OUT jack.
Line/Phones
Set this when connecting the OUTPUT jack to an audio
set or when connecting a recorder for recording.
Use this setting also when using the GS-10’s speakers or
headphones.
Combo AMP
Use this setting when connecting to the guitar input of a
combo amp (where the amp and speaker or speakers are
combined in a single unit).
Stack AMP
Use this setting when connecting to the guitar input of a
stack-type guitar amp (where the amp and speaker or
speakers are separated).
16
You can use the GS-10’s built-in “tuner function” to tune
your guitar.
For instructions on using this function, refer to “Tuning
the Guitar” (p. 64).
Chapter 1 Playing Sounds
When using a CD or MD player, rhythm machine, or similar
device for practice, connect these device to the AUX INPUT
jack on the rear panel.
Using the Digital Output
Digital signals are output from the DIGITAL OUT connector
on the rear panel. You can connect this directly to the digital
in connector of a digital recorder or other device and record
with no degradation in sound quality.
fig.01-100
fig.01-080
DIGITAL IN
CD/MD Player
Rhythm Machine
Digital Recorder
Use the AUX INPUT knob on the front panel to adjust the
input volume level for AUX INPUT.
* Setting the input level too high may result in oscillation.
fig.01-090
The input sounds from the AUX INPUT jack are mixed with
the guitar sounds within the GS-10, making this a convenient
feature when using the GS-10’s speakers or headphones.
* The mixed sound is not output from DIGITAL OUT.
AUX INPUT
You can set INPUT SELECT and use USB to record the
input sounds from the AUX INPUT jack to your
computer, and record to a recorder using DIGITAL OUT.
You can also add effects to the sounds input from the
AUX INPUT jack.
For instructions on setting INPUT SELECT, refer to
“Selecting the Input (INPUT SELECT)” (p. 19).
17
Section 1
Connecting Audio Devices to
the AUX INPUT Jack
Chapter 2 Creating Your Own Favorite Tones (Patches)
What is a Patch?
The GS-10 can store 200 combinations (or “sets”) of effects
and parameter settings. Each of these sets is called a “patch.”
Patches include both User patches and Preset patches.
fig.02-010
U100
P200
● Patch Name
● Input Select
U003
● Effects
U002
● Assign 1–8
U001● Master
● Noise
● Patch
NameSuppressor
● Effect
● Input
SelectChain
● Patch Name
● Input Select
P103
● Effects
P102
● Assign 1–8
P101● Master
● Noise
● Patch
NameSuppressor
● Effect
● Input
SelectChain
● Effects
● Assign 1–8
● Master
● Noise Suppressor
● Effect Chain
● Effects
● Assign 1–8
● Master
● Noise Suppressor
● Effect Chain
User Patches
Preset Patches
User Patches (U001–U100)
Newly created effects settings are saved in the User patches.
How to Select Patches
(Patch Change)
When the Play screen is showing in the display, you can
switch patches using the PATCH/VALUE dial or DIRECT
PATCH [1]–[4] (p. 27).
fig.02-040
* If you want to set a limit to the number of patches that can be
selected with the PATCH/VALUE dial, change the system
function settings (p. 65).
* Settings currently being edited are cleared when you switch
patches. If you want to save the setting changes you’ve made,
use the Write procedure (p. 25).
* A “U” appears in the display when a User patch is being used.
fig.02-020d
About the Display Indication
The following information appears in the Play screen.
fig.02-050d
Patch Name
Preset Patches (P101–P200)
The Preset patches contain effect settings that really help
bring out the special characteristics of the GS-10.
Although you cannot overwrite the Preset patches with your
own settings, you can change (edit) a Preset patch’s settings,
then save the result as a User patch. (p. 25)
* A “p” appears in the display when a Preset patch is being
used.
fig.02-030d
18
User/Preset
Number
If the Patch Does Not Switch
On the GS-10, you cannot switch patches in any screen other
than the Play screen. Press [EXIT] to return to the Play screen
(p. 15).
Chapter 2 Creating Your Own Favorite Tones (Patches)
Selecting the Input (INPUT SELECT)
This selects the input signal to which the effects are added.
This is also used for setting the type of device connected to
the input connector.
Bass:
You can add effects to the signals input from the
GUITAR/BASS jack (when a bass is connected). Signals
from MIC INPUT are disregarded, and the signals input
to the GS-10 from the USB or AUX INPUT connectors are
mixed with the effect output.
You may not be able to achieve the expected effect if this
is not set correctly.
DIGITAL
OUT
USB
L
GUITAR/
BASS
MIC
INPUT
OUTPUT
MULTI
EFFECTS
A/D
R
D/A
GUITAR
AMP OUT
PHONES
AUX
INPUT
fig.02-051
* Depending on the type of bass guitar you are using, you may
not be able to achieve the intended effect if the input level to the
GS-10 is excessively high.
In such cases, lower the volume or tone of your bass guitar.
2
Microphone:
You can add effects to the signals input from the MIC
INPUT connector. Signals from GUITAR/BASS jack are
disregarded, and the signals input to the GS-10 from the
USB or AUX INPUT connectors are mixed with the effect
output.
fig.02-090
DIGITAL
OUT
1
USB
L
GUITAR/
BASS
1. Press [INPUT SELECT].
MIC
INPUT
The Input Select settings screen appears.
OUTPUT
A/D
MULTI
EFFECTS
R
D/A
fig.02-060d
GUITAR
AMP OUT
PHONES
AUX
INPUT
* After setting INPUT SELECT to Microphone, you can press
PARAMETER [
] to set the mic gain (p. 20).
2. Turn the PATCH/VALUE dial to change the settings.
Guitar:
You can add effects to the signals input from the
GUITAR/BASS INPUT connector (when a guitar is
connected). Signals from MIC INPUT are disregarded,
and the signals input to the GS-10 from the USB or AUX
INPUT connectors are mixed with the effect output.
USB (Gtr/Mic):
You can add effects to the signals input from the USB
connector (for sounds in the guitar and vocal registers).
Signals from GUITAR/BASS and MIC INPUT are
disregarded, and the signals input to the GS-10 from the
AUX INPUT connector are mixed with the effect output.
fig.02-100
fig.02-070
USB
DIGITAL
OUT
USB
L
AUX
INPUT
OUTPUT
L
GUITAR/
BASS
MIC
INPUT
DIGITAL
OUT
OUTPUT
A/D
MULTI
EFFECTS
R
D/A
GUITAR
AMP OUT
PHONES
MULTI
EFFECTS
AUX
INPUT
R
D/A
GUITAR
AMP OUT
PHONES
* After setting INPUT SELECT to USB (Gtr/Mic), you can
press PARAMETER [
] to set the USB input level (p. 78).
19
Section 2
fig.02-080
To derive the maximum performance from the GS-10, be
sure to make the correct setting for INPUT SELECT, the
one that’s most suitable for your setup.
Chapter 2 Creating Your Own Favorite Tones (Patches)
USB (Bass):
You can add effects to the signals input from the USB
connector (for sounds in the bass and similar registers).
Signals from GUITAR/BASS INPUT and MIC INPUT
are disregarded, and the signals input to the GS-10 from
the AUX INPUT connector are mixed with the effect
output.
Setting the Mic Input Level
(MIC GAIN)
This sets the mic input level when INPUT SELECT is set to
Microphone.
* The mic gain setting is a global setting used by all patches.
1. Press PARAMETER [
fig.02-110
DIGITAL
USB OUT
].
The MIC GAIN settings screen appears in the display.
fig.02-130d
L
OUTPUT
MULTI
EFFECTS
R
D/A
GUITAR
AMP OUT
PHONES
AUX
INPUT
* After setting INPUT SELECT to USB (Bass), you can press
PARAMETER [
] to set the USB input level (p. 78).
This setting is used when selecting the input signal from
the AUX INPUT connector. Signals input from the
GUITAR/BASS INPUT and MIC INPUT are
disregarded, and the signals input to the GS-10 via USB
are mixed with the effect output.
fig.02-120
DIGITAL
OUT
* Setting the mic gain too high may result in oscillation.
20
3. Press [EXIT] to return to the Play screen.
L
OUTPUT
A/D
* Set the volume for the sound being miked (acoustic guitar,
vocals, etc.) to the level to be used in performance.
USB
GUITAR/
BASS
AUX
INPUT
Adjust the level so that the level meter does not fluctuate
beyond the maximum allowable level.
fig.02-140d
AUX:
MIC
INPUT
2. Adjust the gain by turning the PATCH/VALUE dial
while picking up sounds with the mic.
MULTI
EFFECTS
R
D/A
GUITAR
AMP OUT
PHONES
Chapter 2 Creating Your Own Favorite Tones (Patches)
Adjusting the Tones with the
Knobs
OD/DS (Overdrive/Distortion) DRIVE
The GS-10 panel features 13 knobs for adjusting effect tones.
You can use these knobs to make slight adjustments to tones
in the selected patch quickly and easily.
OD/DS (Overdrive/Distortion) LEVEL:
Adjusts the overdrive/distortion volume level. The volume
increases as the knob is turned to the right.
DELAY FEEDBACK:
Adjusts the number of times the delay is repeated. The
number of repeats increases as the knob is turned to the
right.
DELAY LEVEL:
Adjusts the volume level of the delay sound. The delay
sound increases as the knob is turned to the right.
CHORUS LEVEL:
Adjusts the volume level of the chorus sound. The chorus
sound increases as the knob is turned to the right.
REVERB LEVEL:
PREAMP GAIN:
Adjusts the degree of preamp distortion. The distortion gets
stronger as the knob is turned to the right.
Adjusts the volume level of the reverb sound. The reverb
sound increases as the knob is turned to the right.
PREAMP BASS:
Adjusts the sound quality of the preamp’s low-frequency
range. The low frequencies are boosted as the knob is turned
to the right.
PREAMP MIDDLE:
Adjusts the sound quality of the preamp’s midrange. The
midrange frequencies are boosted as the knob is turned to
the right.
PREAMP TREBLE:
Adjusts the sound quality of the preamp’s high-frequency
range. The high frequencies are boosted as the knob is turned
to the right.
PREAMP PRESENCE:
Adjusts the sound quality in the preamp’s ultra-highfrequency range. The ultra-high frequencies are boosted as
the knob is turned to the right.
PREAMP LEVEL:
Adjusts the preamp volume level. The volume increases as
the knob is turned to the right.
COMP (Compressor) SUSTAIN:
Adjusts the compressor’s sustain effect (an effect that keeps
the sound playing). The effect is strengthened as the knob is
turned to the right.
21
Section 2
fig.02-150
Adjusts the degree of overdrive or distortion. The distortion
appears stronger as the knob is turned to the right.
Chapter 2 Creating Your Own Favorite Tones (Patches)
Turning the Effect On and Off
The GS-10’s internal effects are switched on and off with
button controls. The indicator for an effect’s ON/OFF button
lights up when the effect is enabled.
fig.02-160
Setting the Effects Simply
(QUICK FX)
Each effect includes prepared sample settings called “Quick
Settings.” You can easily create new effect sounds just by
selecting and combining these Quick Settings.
fig.02-171
3
1,2,3
4
1. Press the ON/OFF button for the effect you want to be
able to switch on and off.
The settings for the selected effect appear in the display.
* With FX-1 and FX-2, the settings for the currently selected
effect are shown.
2
1 5
1. Press [QUICK FX].
The effects selection screen appears in the display.
fig.02-180d
fig.02-170d
* Performing Step 1 while editing an effect takes you to the
status following Step 2.
2. Press the ON/OFF button again to switch the effect on
or off.
* The effect name flashes in the display when that effect is
disabled.
3. To select another effect to be switched on and off,
repeat Steps 1 and 2.
4. Press [EXIT] to return to the Play screen.
2. Press the ON/OFF button for the effect you want to
select for Quick Settings.
The name of the effect being set with Quick Settings
appears in the upper row of the display, and the “Quick
Settings Name” currently selected for that effect appears
in the lower row of the display.
fig.02-190d
* If you want to save a tone with the settings you’ve made, use
the Write procedure (p. 25) to save the tone to a User patch.
* The following appears in the display immediately after patches
are changed or when the settings in Quick settings are
changed by editing the parameters.
fig.02-200d
* The upper row of the display flashes when the selected effect is
switched off. Even when using the Quick Settings, you can
switch effects on and off with the effect ON/OFF buttons.
22
Chapter 2 Creating Your Own Favorite Tones (Patches)
3. Rotate the VALUE dial to select the Quick Setting you
want.
The tone switches to that of the selected sample settings.
* You can select “—: User Setting” to return the settings to
their condition prior to selecting the Quick Settings.
Each effect comprises several different kinds of parameters.
You can more precisely create the sounds you want by
editing each of these parameters individually.
fig.02-210
3
* Even after performing this procedure, the settings selected in
Step 3 are maintained as is and carried over to the Quick
Settings for the next effect.
2
5. Press [EXIT] to return to the Play screen.
* If you want to save a tone with the settings you’ve made, use
the Write procedure (p. 25) to save the tone to a User patch.
1
1 6
1. Press the on/off button for the effect with the settings
you want to change.
The parameters for the selected effect appear in the
display.
2. Press PARAMETER [
][
] to select the
parameter whose settings are to be changed.
When more than one parameter is shown in the display,
press PARAMETER [
the parameter to be set.
][
] to move the cursor to
You can jump to the core parameters by pressing
PARAMETER [
] (or [
]) while holding down
PARAMETER [
] (or [
]). With items for which
there aren’t that many parameters, the GS-10 jumps to
the last (or first) parameter.
3. Rotate the VALUE dial to change the value of a setting.
4. Repeat Steps 2 and 3 for any other parameter settings
you want to change.
5. If you further want to change parameter settings in any
other effects, repeat Steps 1 through 4.
6. Press [EXIT] to return to the Play screen.
* If you want to save a tone with the settings you’ve made, use
the Write procedure (p. 25) to save the tone to a User patch.
23
Section 2
4. To select Quick Settings for another effect, repeat Steps
2 and 3.
Making More Precise Effect
Settings
Chapter 2 Creating Your Own Favorite Tones (Patches)
Naming Patches
Each patch can be given a name (Patch Name) consisting of
up to sixteen characters. You’ll probably want to take
advantage of this feature by assigning names that suggest the
sound you’ll obtain, or the song in which it’ll be used.
Changing the Connection
Order of Effects (Effect Chain)
Here’s how you can change the order in which the effects are
connected.
fig.02-240
fig.02-220
3
3
3
1
1. Press [NAME/NS/MASTER] so that the Name edit
screen appears in the display.
* With each press of [NAME/NS/MASTER], you move to the
next item that can be set, in this order:
Name → Noise Suppressor → Master → Foot Volume →
Effect Chain.
2
1
1. Press [NAME/NS/MASTER] until “Effect Chain”
appears in the display.
* With each press of [NAME/NS/MASTER], you move to the
next item that can be set, in this order:
Name → Noise Suppressor → Master → Foot Volume →
Effect Chain.
fig.02-250d
fig.02-230d
2. Press PARAMETER [
][
the text area you want to edit.
] to move the cursor to
3. Rotate the PATCH/VALUE dial to change the
characters.
* You can use the following functions when changing text
characters.
CAPS:
Switches the character at the cursor position
between upper and lower case.
INS:
Inserts a blank space at the cursor position.
DEL:
Deletes the character at the cursor position and
shifts the characters following it to the left.
4. If you want to edit names further, repeat Steps 2 and 3.
5. If you want to save the sequence you’ve set up, use the
Write procedure (p. 25) to save it to a User patch.
Press [EXIT] to return to the Play screen.
24
2
2
* Effects are shown in lowercase letters when turned off.
2. Use the PATCH/VALUE dial or PARAMETER [
]
[
] to move the cursor to the point where you want
to have an effect inserted.
3. Press the On/Off button for the effect you want to
insert.
The selected effect is inserted at the cursor position.
* Use [ASSIGN] to assign Foot Volume.
4. If you want to change the sequence further, repeat
Steps 2 and 3.
5. If you want to save the sequence you’ve set up, use the
Write procedure (p. 25) to save it to a User patch.
Press [EXIT] to return to the Play screen.
Effects can be switched on and off even while making
the settings for the connection order (excluding FV, NS,
and USB).
With effects appearing to the left and right of the cursor,
the ON/OFF button corresponding to the effect can be
pressed to turn them on/off.
Chapter 3 Saving the Tones You Have Created
Storing Patches (PATCH WRITE)
Copying Patches
When you want to keep a tone created with the Quick
Settings or a tone with altered parameter values, use the
“Write procedure” to save it to a User patch.
You can copy a Preset or User patch to another User patch.
fig.03-030
3
* If the power is turned off, or if the tone is switched (Patch
Change; p. 18) before you’ve carried out the Write procedure,
the newly created tone will be discarded.
fig.03-010
2
Section 3
2,4
1. Select the copy-source patch (refer to “How to Switch
Patches”; p. 18).
1,3
2. Press [WRITE].
The screen for specifying the copy-destination patch
number appears in the display.
1. Press [WRITE].
fig.03-040d
Copy-destination patch
The screen for specifying the save-destination User patch
appears in the display.
fig.03-020d
Save-destination patch
3. Rotate the PATCH/VALUE dial to select the copydestination User patch.
2. Rotate the VALUE dial to select the save-destination
User patch.
* This step is unnecessary if the current User patch is
acceptable.
* To cancel the Write procedure, press [EXIT]. The Play screen
returns to the display.
3. Press [WRITE].
* To cancel the copy, press [EXIT]. The Play screen returns to
the display.
4. Press [WRITE].
The GS-10 switches to the copy-destination patch, and
you’re returned to the Play screen.
* The sound of the patch previously stored at the copy
destination will be lost once the copy is executed.
The GS-10 switches to the write-destination patch, and
you’re returned to the Play screen.
* The sound of the patch previously stored at the write
destination will be lost once the write is executed.
25
Chapter 3 Saving the Tones You Have Created
Exchanging Patches
Initializing Patches
On the GS-10, you can “swap” or exchange the positions of
two User patches. The following explains how this is done.
You can return (initialize) the User patches to their original
standard settings.
fig.03-050
fig.03-061
4 3
3
2,5
1. Select the exchange source patch.
* Refer to “Patch Change” (p. 18).
1. Select the User patch you want to initialize.
* Refer to “Patch Change” (p. 18).
2. Press [WRITE].
2. Press [WRITE].
3. Press PARAMETER [
2,4
].
The screen for specifying the exchange-destination patch
number appears in the display.
3. Press PARAMETER [
] twice.
The screen for specifying the initialize-destination patch
number appears in the display.
fig.03-062d
fig.03-060d
Exchange-destination patch
User patch to be initialized
4. Rotate the PATCH/VALUE dial to select the exchange
destination User patch.
* You can use the PATCH/VALUE dial to change the selection
of the User patch to be initialized.
* To cancel the exchange, press [EXIT]. The Play screen returns
to the display.
5. Press [WRITE].
The patch stored in the exchange source memory
location and the patch stored in the exchange destination
memory location are exchanged, and you’re returned to
the Play screen.
26
* To cancel the initialization, press [EXIT]. The Play screen
returns to the display.
4. Press [WRITE].
The GS-10 switches to the initialized patch, and the Play
screen returns to the display.
* The tones stored in patches are lost once the initialization is
executed.
Chapter 3 Saving the Tones You Have Created
Registering Your Favorite
Patches (DIRECT PATCH)
Copying the PREAMP/SPEAKER
Settings to Another Channel
You can register preferred patches to DIRECT PATCH [1]–[4]
and then press these buttons to call up the corresponding
patches directly.
You can take the PREAMP/SPEAKER settings for one
channel and copy them to another channel.
fig.03-090
1,3
fig.03-070
3
2
Section 3
2,4
4
1
1. Select the copy-source channel.
1. Press [SYSTEM] a number of times until “DIRECT
PATCH” is displayed.
fig.03-080d
2. Press [WRITE].
3. Press CHANNEL SELECT [A]–[C] to select the copydestination channel.
The channel copy screen appears in the display.
2. Press PARAMETER [
][
] to select the number
of the DIRECT PATCH button to which you want to
register the patch.
* If you press the button for the same channel as the copy source,
a channel other than the copy-source channel is selected for the
copy destination.
fig.03-100d
3. Use the PATCH/VALUE dial to select the patch you
want to register.
4. Press [EXIT] to return to the Play screen.
You can also register patches by selecting the patch in
the Play screen, then pressing one of the DIRECT PATCH
[1]–[4] buttons after pressing the [WRITE] button. In this
case, the patch appearing in the display is registered.
* When a patch is registered using this method, the current
settings are also saved along with the patch when it’s
registered. If you want to register only the patch, use the
regular registration method.
Copy-source channel
Copy-destination channel
* To change the copy-source or copy-destination channel, press
PARAMETER [
][
] to move the cursor to the copysource or copy-destination channel, then press CHANNEL
SELECT [A]–[C].
You can alternatively rotate the PATCH/VALUE dial to
change the channel at the cursor position.
* When the copy-source channel is changed, the tone is changed
as well.
* To cancel the copy, press [EXIT]. The Play screen returns to
the display.
4. Press [WRITE].
The settings are copied.
* If you want to keep a tone for which you have made settings,
use the “Write procedure” (p. 25) to save it to a User patch.
27
Chapter 4 Introduction to Effects and Parameters
In this chapter you will find detailed descriptions for each of
the GS-10’s onboard effects, and the parameters used to
control them.
PREAMP/SPEAKER (Preamp/
Speaker Simulator)
The sound being input to each effect is called the “direct
sound,” and the sound modified by the effect is called the
“effect sound.”
COSM technology plays an indispensable role in simulating
the distinguishing characteristics of various guitar amps in
the “Preamp” section, and is also used to simulate various
speaker sizes and cabinet constructions in the “Speaker
Simulator.”
* Setting values for gain– and volume–related parameters in the
effects too high may result in oscillation.
To derive the maximum performance from the GS-10,
be sure to make the correct setting for INPUT SELECT
(p. 19), the one that’s most suitable for your setup.
You may not be able to achieve the expected effect if
this is not set correctly.
* Depending on the type of bass guitar you are using, you
may not be able to achieve the intended effect if the input
level to the GS-10 is excessively high. In such cases, lower
the volume or tone of your bass guitar.
The trademarks listed in this document are trademarks
of their respective owners, which are separate companies
from BOSS. Those companies are not affiliated with
BOSS and have not licensed or authorized BOSS’s GS-10.
Their marks are used solely to identify the equipment
whose sound is simulated by BOSS’s GS-10.
Parameter
Value
On/Off
CH Select
Type
Gain
Bass
Middle
Treble
Presence
Level
Bright
Gain SW
SP Type (*)
Off, On
A, B, C
refer to p. 29
0–120
0–100
0–100
0–100
0–100
0–100
Off, On
Low, Middle, High
Off, Original, 1x8”, 1x10”, 1X12”,
1X15”, 1X18”, 2X12”, 2X15”,
4X10”, 4X12”, 8X10”, 8X12”,
Custom 1, Custom 2
DYN57, DYN421, CND451,
CND87, FLAT
Off Mic, On Mic
Center, 1–10
0–100
0–100
Mic Type (*)
Mic Dis. (*)
Mic Pos. (*)
Mic Level (*)
Direct Level (*)
(*) No effect when OUTPUT Select is set to “Line/Phones.”
On/Off (Effect On/Off)
Turns the PREAMP/SPEAKER effect on/off.
CH Select (Channel Select)
Selects the preamp channel whose settings are to be changed.
28
Chapter 4 Introduction to Effects and Parameters
Type
This sets the type of the guitar preamp.
* When the type is set to CONCERT 810, SESSION, BASS
360, T.E., B-MAN, FLIP TOP, Bass Clean, Bass Crunch,
Bass HiGain, or Mic Preamp set OUTPUT SELECT (p. 16)
as shown below to match the GS-10 to the type of amp to be
connected.
When connecting to an audio amp or similar equipment:
Line/Phones
When connecting to a guitar amp:
Combo Amp or Combo Return
When connecting to a bass amp:
Stack Amp or Stack Return
29
Section 4
This is the sound of the Roland JC-120.
This is a sound suited to jazz.
This is a sound with flat response. Good for
Full Range
acoustic guitar
Warm Clean
This gives a mellow, clean sound.
Clean TWIN
This models a Fender Twin Reverb.
Pro Crunch
This models a Fender Pro Reverb.
This models a Fender Bassman 4 x 10”
Tweed
Combo.
This is a crunch sound that can produce
Crunch
natural distortion.
Blues
This is a sound suited to blues.
This is a crunch sound with wild distorWild Crunch
tion.
This models the drive sound of a VOX ACVO Drive
30TB.
This models the lead sound of the VOX
VO Lead
AC-30TB.
This models the sound input to left input
MATCH Drive
on a Matchless D/C-30.
This models the sound of a MATCHLESS
Fat MATCH
with a modified high gain.
This models the lead sound of the MESA/
BG Lead
Boogie combo amp.
This models a MESA/Boogie with TREBLE
BG Drive
SHIFT SW on.
This models the rhythm channel of a
BG Rhythm
MESA/Boogie.
Smooth Drive This is a smooth drive sound.
This models the sound input to Input I on a
MS1959 (I)
Marshall 1959.
This models the sound input to Input II on
MS1959 (II)
a Marshall 1959.
This models the sound of a Marshall 1959
MS1959 (I+II)
with Inputs I and II connected in parallel.
This models the sound of a Marshall with a
MS HiGain
modified midrange boost.
This provides the sound of a stack amp
Power Stack
with active type tone circuitry.
This models the lead channel of a MESA/
R-FIER Red
Boogie Dual Rectifier.
This models the rhythm channel of a
R-FIER Orng
MESA/Boogie Dual Rectifier.
This models a MESA/Boogie Rectifier with
R-FIER Vint
VINTAGE SW on.
This models a Hughes & Kettner Triamp
T-AMP Clean
AMP1.
This models a Hughes & Kettner Triamp
T-AMP Crunch
AMP2.
This models a Hughes & Kettner Triamp
T-AMP Lead
AMP3.
SLDN
This models a Soldano SLO-100.
Drive Stack
This is a drive sound with high gain.
JC-120
Jazz Combo
This is a lead sound with high gain.
This models the lead channel of a Peavey
5150 Drive
EVH 5150.
Metal Stack
This is a drive sound suited to metal.
Metal Lead
This is a lead sound suited to metal.
CONCERT 810 This models a Ampeg SVT.
SESSION
This models a SWR SM-400.
BASS 360
This models a acoustic 360.
T.E.
This models a Trace Elliot AH600SMX.
B-MAN
This models a Fender Bassman100.
FLIP TOP
This models a Ampeg B-15.
This clean sound is great for use with bass
Bass Clean
guitars.
This is a crunch sound with natural distorBass Crunch
tion that sounds great with bass guitars.
This is a high-gain sound suitable for use
Bass HiGain
with bass guitars.
Mic Preamp
Preamp suitable for vocals.
Custom 1
Custom amp 1
Custom 2
Custom amp 2
Custom 3
Custom amp 3
Lead Stack
Chapter 4 Introduction to Effects and Parameters
When CUSTOM 1–3 is selected for Type
Gain SW
You can set the following parameters when Type is set to
CUSTOM.
Provides for selection from three levels of distortion: Low,
Middle, and High. Distortion will successively increase for
settings of “Low,” “Middle” and “High.”
“Customizing the COSM Amps” (p. 55)
EDIT CUSTOM PRE 1–3
Parameter
Value
Type
JC Clean, TW Clean, Crunch,
VO Lead, BG Lead,
MS1959 Stk, Modern Stk
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
Bottom
Edge
Bass Freq
Treble Freq
Preamp Low
Preamp High
* The sound of each Type is created on the basis that the Gain is
set to “Middle.” So, normally set it to “Middle.”
SP Type (Speaker Type)
Off
Original
1x8”
1x10”
1x12”
1x15”
Gain
Adjusts the distortion of the amp.
Bass
Adjusts the tone for the low frequency range.
1x18”
2x12”
2x15”
Middle
Adjusts the tone for the middle frequency range.
Treble
Adjusts the tone for the high frequency range.
Presence
Adjusts the tone for the ultra high frequency range.
Level
Adjusts the volume of the entire preamp.
* Be careful not to raise the Level setting too high.
Bright
Turns the bright setting on/off.
Off:
Bright is not used.
On:
Bright is switched on to create a lighter and crisper tone.
* Depending on the “Type” setting, this may not be displayed.
30
4x10”
4x12”
8x10”
8x12”
Custom 1
Custom 2
This turns off the speaker simulation.
This is the built-in speaker of the amp you
selected with “Type.”
This is a compact open-back speaker cabinet with one 8-inch speaker.
This is a compact open-back speaker cabinet with one 10-inch speaker.
This is a compact open-back speaker cabinet with one 12-inch speaker.
This is a compact open-back speaker cabinet with one 15-inch speaker.
This is a compact open-back speaker cabinet with one 18-inch speaker.
This is a general open-back speaker cabinet
with two 12-inch speakers.
This is a general open-back speaker cabinet
with two 15-inch speakers.
This is an optimal speaker cabinet for a
large enclosed amp with four 10-inch
speakers.
This is an optimal speaker cabinet for a
large enclosed amp with four 12-inch
speakers.
This is a double stack of two cabinets, each
with four 10-inch speakers.
This is a double stack of two cabinets, each
with four 12-inch speakers.
Custom speaker 1
Custom speaker 2
When Custom 1–2 is selected for SP
Type
You can set the following parameters when SP Type is set to
Custom 1–2.
“Customizing the Speakers” (p. 56)
Chapter 4 Introduction to Effects and Parameters
COMP (Compressor)
EDIT CUSTOM SP 1 –2
Parameter
Value
Speaker Size
Color Low
Color High
Speaker Num
Cabinet
5”–15”
-10–+10
-10–+10
x1, x2, x4, x8
Open, Close
Mic Type
This setting selects the simulated mic type.
DYN57
DYN421
CND451
FLAT
Parameter
Value
On/Off
Sustain
Level
Off, On
0–100
0–100
On/Off (Effect On/Off)
Turns the COMP effect on/off.
Sustain
Adjusts the range (time) over which low-level signals are
boosted. Larger values will result in longer sustain.
Section 4
CND87
General dynamic mic used for instruments
and vocals. Optimal for use in miking guitar amps.
Dynamic mic with extended low end.
Small condenser mic for use with instruments.
Condenser mic with flat response.
Simulates a mic with perfectly flat response. Produces a sonic image close to
that of listening to the sound directly from
the speakers (on site).
This is an effect that produces a long sustain by evening out
the volume level of the input signal. You can also use it as a
“limiter” to suppress only the sound peaks and prevent
distortion.
Level
Adjusts the volume.
Mic Dis. (Mic Distance)
Simulates the distance between the mic and speaker.
Off Mic:
This setting points the mic away from the speaker.
On Mic:
Provides conditions whereby the mic is directed more
towards the speaker.
Mic Pos. (Mic Position)
This simulates the microphone position. “Center” simulates
the condition that the microphone is set in the middle of the
speaker cone. “1-10” means that the microphone is moved
away from the center of the speaker cone.
Mic Level
Adjusts the volume of the microphone.
Direct Level
Adjusts the volume of the direct sound.
31
Chapter 4 Introduction to Effects and Parameters
OD/DS (Overdrive/Distortion)
This effect distorts the sound to create long sustain.
It provides 22 types of distortion and three different custom
settings.
Parameter
Value
On/Off
Type
Drive
Bass
Treble
Effect Level
Direct Level
Off, On
refer to below
0–100
-50–+50
-50–+50
0–100
0–100
Custom 1
Custom 2
Custom 3
Custom OD/DS 1
Custom OD/DS 2
Custom OD/DS 3
When CUSTOM 1–3 is selected for Type
You can set the following parameters when TYPE is set to
Custom 1–3.
“Customizing Overdrive and Distortion” (p. 56)
EDIT CUSTOM DS 1–3
Parameter
Value
Type
OD-1, OD-2, CRUNCH, DS-1,
DS-2, METAL-1, METAL-2,
FUZZ
-50–+50
-50–+50
-50–+50
-50–+50
On/Off (Effect On/Off)
Turns the OD/DS effect on/off.
Type
Selects the type of distortion.
Blues OD
Turbo OD
Booster
OD-1
T-Scream
Natural OD
Bass OD
Distortion
RAT
GUV DS
Mild DS
Solid DS
DST+
Metal Zone
R-MAN
Heavy Metal
Loud
Sharp
Mechanical
‘60s FUZZ
Oct FUZZ
MUFF FUZZ
32
This is a crunch sound of the BOSS BD-2.
This is the high-gain overdrive sound of
the BOSS OD-2.
This is a booster that works very well with
COSM amps.
This is the sound of the BOSS OD-1.
This models an Ibanez TS-808.
This is an overdrive sound that provides a
natural-sounding distortion.
This is an overdrive sound that works well
with bass guitars.
This gives a basic, traditional distortion
sound.
This models a Proco RAT.
This models an Marshall GUV’ NOR.
This is a distortion sound that provides a
mild distortion.
This is a distortion sound featuring an edge
effect.
This models an MXR DISTORTION+.
This is the sound of the BOSS MT-2.
This models a ROCKMAN.
This creates a heavier distortion sound.
This is a distortion sound with a boosted
low end.
This is a distortion sound with a boosted
high end.
This distortion sound boosts the low and
high ends, yielding a mechanical-sounding
distortion.
This models a FUZZFACE.
This models an ACETONE FUZZ.
This models an
Electro-Harmonix Big Muff π.
Bottom
Top
Low
High
Drive
Adjusts the depth of distortion.
Bass
Adjusts the tone for the low frequency range.
Treble
Adjusts the tone for the high frequency range.
Effect Level
Adjusts the volume of the overdrive/distortion sound.
Direct Level
Adjusts the volume of the direct sound.
Chapter 4 Introduction to Effects and Parameters
DELAY
Tap Time
This effect adds delayed sound to the direct sound, giving
more body to the sound or creating special effects.
Adjusts the delay time of the right channel delay. This setting
adjusts the R channel delay time relative to the L channel
delay time (considered as 100%).
Parameter
Value
Feedback
On/Off
Type
DlyTime
Off, On
Single, Pan, Stereo
0 ms–1800 ms,
“Feedback” is returning a delay signal to the input. This
parameter determines the amount of feedback. A higher
value will increase the number of the delay repeats.
Delay Time.F
Tap Time
Feedback
High Cut
Effect Level
BPM –BPM
0 msec–20 msec
0%–100% (Type = Pan)
0–100
700 Hz–11.0 kHz, Flat
0–120
High Cut (High Cut Filter)
When it is set to “Flat,” the high cut filter is off or has no
effect.
Effect Level
Turns the DELAY Effect on/off.
This adjusts the volume of the delay sound.
Type
This selects which type of delay.
Single:
After [TAP] is pressed several times, the interval between
presses of the button is then used as the delay time setting.
By adjusting the delay time and feedback, you can obtain a
normal delay effect.
You can change the Master BPM by setting the delay time to
the BPM and pressing [TAP] several times.
Pan:
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.
fig.04-010
Feedback
INPUT
DELAY
Delay Time
Tap Time
Effect Level
OUTPUT L
Effect Level
OUTPUT R
Stereo:
The direct sound is output from the left channel, and the
effect sound is output from the right channel.
DlyTime (Delay Time)
This determines the delay time.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
DlyTime.F (Delay Time Fine)
Make fine adjustments to the delay time.
33
Section 4
On/Off (Effect On/Off)
This sets the frequency at which the high cut filter begins to
take effect. This allows you to get a mild effect sound by
cutting the high-end component above the set frequency.
Chapter 4 Introduction to Effects and Parameters
CHORUS
Low Cut (Low Cut Filter)
In this effect, a slightly detuned sound is added to the
original sound to add depth and breadth.
This sets the frequency at which the low cut filter begins to
take effect. This lets you cut the low-end component below
the set frequency to create a clear, distinct low end, thereby
bringing out the high end of the effect.
Parameter
Value
On/Off
Mode
Off, On
Mono, Stereo1, Stereo2
Rate
Depth
Pre Delay
Low Cut
High Cut
Effect Level
0–100, BPM –BPM
0–100
0.0 msec–40.0 msec
Flat, 55 Hz –800 Hz
700 Hz –11.0 kHz, Flat
0–100
When “Flat” is selected, the low cut filter will have no effect.
High Cut (High Cut Filter)
This sets the frequency at which the high cut filter begins to
take effect. This allows you to get a mild effect sound by
cutting the high-end component above the set frequency.
When “Flat” is selected, the high cut filter will have no effect.
Effect Level
Adjusts the volume of the effect sound.
On/Off (Effect On/Off)
Turns the CHORUS effect on/off.
Mode
Selection for the chorus mode.
REVERB
This effect adds reverberation to the sound.
Mono:
Parameter
Value
This chorus effect outputs the same sound from both L and R.
On/Off
Type
Off, On
Ambience, Room, Hall 1, Hall 2,
Plate
0.1 sec–10.0 sec
0 msec–100 msec
Flat, 55.0 Hz–800 Hz
700 Hz–11.0 kHz, Flat
0–10
0–100
Stereo1:
This is a stereo chorus effect that adds different chorus
sounds to L and R.
This is a stereo chorus effect produced by synthesizing the
spatial characteristics of the direct sound and the effect
sound.
Rev Time
Pre Delay
Low Cut
High Cut
Density
Effect Level
Rate
On/Off (Effect On/Off)
Adjusts the rate of the chorus effect.
Turns the REVERB effect on/off.
Stereo2:
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
Adjusts the depth of the chorus effect. To use it for doubling
effect, set the value to “0.”
Type
This selects the reverb type. Various different simulations of
space are offered.
Ambience
Room
Hall 1
Pre Delay
Adjusts the time needed for the effect sound to be output
after the direct sound has been output. By setting a longer
pre delay time, you can obtain an effect that sounds like
more than one sound is being played at the same time
(doubling effect).
34
Hall 2
Plate
Simulates an ambience mic (off-mic, placed
at a distance from the sound source) used
in recording and other applications. Rather
than emphasizing the reverberation, this
reverb is used to produce a sense of openness and depth.
Simulates the reverberation in a small
room. Provides warm reverberations.
Simulates the reverberation in a concert
hall. Provides clear and spacious reverberations.
Simulates the reverberation in a concert
hall. Provides warm reverberations.
Simulates plate reverberation (a reverb
unit that uses the vibration of a metallic
plate). Provides a metallic sound with a
distinct upper range.
Chapter 4 Introduction to Effects and Parameters
Rev Time (Reverb Time)
EQ (Equalizer)
Adjusts the length (time) of reverberation.
Pre Delay
Adjusts the tone. Parametric control is provided for the highmid range and low-mid range.
Adjusts the time until the reverb sound appears.
Low Cut (Low Cut Filter)
This sets the frequency at which the low cut filter begins to
take effect. This lets you cut the low-end component below
the set frequency to create a clear, distinct low end, thereby
bringing out the high end of the effect.
When “Flat” is selected, the low cut filter will have no effect.
High Cut (High Cut Filter)
Value
On/Off
Low EQ
Lo-Mid f
Lo-Mid Q
Lo-Mid EQ
Hi-Mid f
Hi-Mid Q
Hi-Mid EQ
High EQ
Level
Off, On
-20 dB–+20 dB
20.0 Hz–10.0 kHz
0.5–16
-20 dB–+20 dB
20.0 Hz–10.0 kHz
0.5–16
-20 dB–+20 dB
-20 dB–+20 dB
-20 dB–+20 dB
When “Flat” is selected, the high cut filter will have no effect.
On/Off (Effect On/Off)
Density
Switches the EQ effect on/off.
This adjusts the density of the reverb sound.
Low EQ (Low Equalizer)
Effect Level
Adjusts the low frequency range tone.
Adjusts the volume of the reverb sound.
Lo-Mid f (Low-Middle Frequency)
Section 4
This sets the frequency at which the high cut filter begins to
take effect. This allows you to get a mild effect sound by
cutting the high-end component above the set frequency.
Parameter
Specify the center of the frequency range that will be
adjusted by the “Lo-Mid EQ.”
Lo-Mid Q (Low-Middle Q)
Adjusts the width of the area affected by the EQ centered at
the “Lo-Mid f.” Higher values will narrow the area.
Lo-Mid EQ (Low-Middle Equalizer)
Adjusts the low-middle frequency range tone.
Hi-Mid f (High-Middle Frequency)
Specify the center of the frequency range that will be
adjusted by the “Hi-Mid EQ.”
Hi-Mid Q (High-Middle Q)
Adjusts the width of the area affected by the EQ centered at
the “Hi-Mid f.” Higher values will narrow the area.
Hi-Mid EQ (High-Middle Equalizer)
Adjusts the high-middle frequency range tone.
High EQ (High Equalizer)
Adjusts the high frequency range tone.
Level
Adjusts the volume after the equalizer.
35
Chapter 4 Introduction to Effects and Parameters
FX-1
Type
This selects the wah type.
With FX-1, you can select the effect to be used from the
following.
CRY Wah
VO Wah
Fat Wah
• PEDAL WAH
• AUTO WAH
Light Wah
• TONE MODIFY
• ADV. COMP (Advanced Compressor)
7String Wah
• LIMITER
Reso Wah
• ENHANCER
• SLOW GEAR
Bass Wah
Custom 1
Custom 2
Custom 3
• TREMOLO
• DEFRETTER
This models the sound of the CRY BABY
wah pedal popular in the `70s.
This models the sound of the VOX V846.
This is a wah sound featuring a bold tone.
This wah has a refined sound with no unusual characteristics.
Wah featuring a broader range of variations
for the seven-string guitar.
This completely original effect offers enhancements on the characteristic resonances
produced by analog synth filters.
This is a wah suitable for use with bass guitars.
Custom wah 1
Custom wah 2
Custom wah 3
• RING MOD (Ring Modulator)
When Type Is Set to Custom1–3
• FEEDBACKER
Parameter
Value
On/Off
FX Select
Off, On
PW, AW, TM, ACS, LM, ENH,
SG, TR, DF, RM, FB
On/Off (Effect On/Off)
Switches the FX-1 effect on/off.
FX Select (Effect Select)
This selects the effect to be used.
PW (Pedal Wah)
You can select the following parameters when type is set to
Custom1–3.
“Customizing Pedal Wah” (p. 57)
EDIT CUSTOM WAH1–3
Parameter
Value
Type
CRY WAH, VO WAH, Fat WAH,
Light WAH, 7String WAH
-50–+50
-50–+50
-50–+50
-50–+50
Q
Range Low
Range High
Presence
This provides an effect that works like a wah pedal.
Pdl Position (Pedal Position)
With PW selected, the expression pedal connected to the GS10 can be automatically set to function as a wah pedal.
This adjusts the position of the wah pedal.
Level
Adjusts the volume.
“Setting the External Expression Pedal Functions (Expression
Pedal Function)” (p. 58)
Parameter
Value
Type
CRY Wah, VO Wah, Fat Wah,
Light Wah, 7String Wah, Reso
Wah, Bass Wah, Custom 1,
Custom 2, Custom 3
0–100
0–100
Pdl Position
Level
36
AW (Auto Wah)
This changes the filtering over a periodic cycle, providing an
automatic wah effect.
Parameter
Value
Mode
Polarity
Sens
Freq
Peak
LPF, BPF
Down, Up
0–100
0–100
0–100
Rate
Depth
Level
0–100, BPM
0–100
0–100
–BPM
Chapter 4 Introduction to Effects and Parameters
Mode
TM (Tone Modify)
Selection for the wah mode.
LPF (Low Pass Filter):
This changes the characteristics of the connected guitar.
This creates a wah effect over a wide frequency range.
Parameter
Value
BPF (Band Pass Filter):
Type
Fat, Presence, Mild, Tight,
Enhance, ‘S’ → ’H’, ‘H’ → ’S’,
‘H’ → ’HF’, ‘S’ → Hollow,
‘H’ → Hollow, ‘S’ → AC,
‘H’ → AC, ‘P’ → AC
-50–+50
-50–+50
0–100
This creates a wah effect in a narrow frequency range.
Polarity
Selection for the direction in which the filter will change in
response to the input.
Up:
Low
High
Level
The frequency of the filter will rise.
Down:
The frequency of the filter will fall.
This adjusts the sensitivity at which the filter will change in
the direction determined by the polarity setting. Higher
values will result in a stronger response. With a setting of
“0,” the strength of picking will have no effect.
Frequency
This selects the type of tone modification.
Fat
Presence
Mild
Tight
Enhance
‘S’ → ’H’
This adjusts the center frequency of the Wah effect.
‘H’ → ’S’
Peak
‘H’ → ’HF’
Adjusts the way in which the wah effect applies to the area
around the center frequency. Lower values will produce a
wah effect over a wide area around the center frequency.
Higher values will produce a wah effect in a narrow area
around the center frequency.
* With a value of “50” a standard wah sound will be produced.
Rate
Adjusts the frequency of the auto wah.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
Adjusts the depth of the auto wah effect.
‘S’ → Hollow
‘H’ → Hollow
‘S’ → AC
‘H’ → AC
‘P’ → AC
Fat tone with boosted mid range.
Bright tone with boosted high-mid range.
Mild tone with the high end cut back.
Tone with the low frequencies cut.
Tone with the high frequencies boosted.
Changes from a single-coil pickup tone to a
humbucking pickup tone.
Changes from a humbucking pickup tone
to a mixed tone of two single-coil pickups.
Changes from a humbucking pickup tone
to a single-coil pickup half tone.
Changes a single-coil pickup tone to a fullacoustic tone with the body resonance added.
Changes a humbucking pickup tone to a
full-acoustic tone with the body resonance
added.
Changes a single-coil pickup tone to an
acoustic guitar tone.
Changes a humbucking pickup tone to an
acoustic guitar tone.
Changes a piezo pickup tone to an acoustic
guitar tone.
Low
Adjusts the tone for the low frequency range.
High
Adjusts the tone for the High frequency range
Level
Adjusts the volume.
Level
Adjusts the volume.
37
Section 4
Sens (Sensitivity)
Type
Chapter 4 Introduction to Effects and Parameters
ACS (Advanced Compressor)
LM (Limiter)
This is an effect that produces a long sustain by evening out
the volume level of the input signal. You can also use it as a
“limiter” to suppress only the sound peaks and prevent
distortion.
The limiter attenuates loud input levels to prevent distortion.
Parameter
Value
Type
Stereo Comp, BOSS Comp,
D-Comp
0–100
0–100
-50–+50
0–100
Attack
Threshold
Ratio
Release
Level
Sustain
Attack
Tone
Level
Value
Type
Stereo LM, Rack 160D, Vtg
Rack U
0–100
0–100
1:1 –∞:1
0–100
0–100
Type
Selects the limiter type.
Type
Selects the compressor type.
Stereo Comp
BOSS Comp
D-Comp
Parameter
This selects a stereo compressor.
This models a BOSS CS-3.
This models a MXR DynaComp.
Sustain
Adjusts the range (time) over which low-level signals are
boosted. Larger values will result in longer sustain.
Attack
Adjusts the strength of the picking attack. Larger values will
result in a sharper attack, creating a more clearly defined
sound.
Tone
Stereo LM
Rack 160D
Vtg Rack U
This selects a stereo limiter.
This models a dbx 160X.
This models a UREI 1178.
Attack
Adjusts the strength of the picking attack when the strings
are played. Higher values result in s sharper attack, creating
a more clearly defined sound.
Threshold
Adjust this as appropriate for the input signal from your
guitar. When the input signal level exceeds this threshold
level, limiting will be applied.
Ratio
Adjusts the tone.
This selects the compression ratio used with signals in excess
of the threshold level.
Level
Release
Adjusts the volume.
This adjusts the time from when the signal level drops below
the threshold until when limiting is removed.
Tone
Adjusts the tone.
Level
Adjusts the volume.
38
Chapter 4 Introduction to Effects and Parameters
ENH (Enhancer)
TR (Tremolo)
By adding sounds which are out-of-phase with the direct
sound, this effect enhances the definition of the sound, and
pushes it to the forefront.
Tremolo is an effect that creates a cyclic change in volume.
Parameter
Value
Sens
Freq
Mix Level
0–100
800 Hz–10.0 kHz
0–100
Parameter
Value
Wave Shape
0–100
Rate
Depth
0–100, BPM
0–100
–BPM
Wave Shape
This adjusts changes in volume level.
Sens (Sensitivity)
Adjusts the manner in which the enhancer will be applied
relative to the input signals.
Freq (Frequency)
Mix Level
Adjusts the amount of phase-shifted sound of the range set
by “Frequency” that is to be mixed with the input.
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
Adjusts the depth of the effect.
SG (Slow Gear)
This produces a volume-swell effect (“violin-like” sound).
Parameter
Value
Sens
Rise Time
0–100
0–100
Sens (Sensitivity)
This adjusts the sensitivity of the slow gear. When it is set to
a lower value, the effect of the slow gear can be obtained only
with a stronger picking, while no effect is obtained with a
weaker picking. When the value is set higher, the effect is
obtained even with a weak picking.
Rise Time
This adjusts the time needed for the volume to reach its
maximum from the moment you begin picking.
39
Section 4
Adjusts the frequency at which the enhancer effect will begin
to be applied. The effect will be made apparent in the
frequencies above the frequency set here.
Rate
Chapter 4 Introduction to Effects and Parameters
DF (Defretter)
Intelligent:
This simulates a fretless guitar.
Parameter
Value
Tone
Sens
Attack
Depth
Resonance
Effect Level
Direct Level
-50–+50
0–100
0–100
0–100
0–100
0–100
0–100
By ring-modulating the input signal, a bell like sound is
created. The intelligent ring modulator changes the
oscillation frequency according to the pitch of the input
sound and therefore produces a sound with the sense of
pitch, which is quite different from “Normal.” This effect
does not give a satisfactory result if the pitch of the guitar
sound is not correctly detected. So, you must use single
notes, not chords.
Freq (Frequency)
This adjusts the frequency of the internal oscillator.
Effect Level
Tone
Adjusts the amount of blurring between the notes.
This adjusts the volume of the effect sound.
Direct Level
Sens (Sensitivity)
This controls the input sensitivity of the defretter.
Attack
Adjusts the attack of the picking sound.
This adjusts the volume of the direct sound.
FB (Feedbacker)
This allows you to use feedback playing techniques.
Depth
This controls the rate of the harmonics.
Resonance
Adds a characteristically resonant quality to the sound.
Effect Level
* Note that the notes you want to apply feedback to must be
played singly and cleanly.
* You can use the foot switch to switch the effect on and off. For
more details, refer to “Setting the External Pedal Function for
Individual Patches (Assign)” (p. 60).
Parameter
Value
Adjust the volume of the direct sound.
Mode
Rise Time
Rise Time (▲)
F.B.Level
F.B.Level (▲)
OSC, Natural
0–100
Mode= OSC
0–100
Mode= OSC
0–100
0–100
Mode= OSC
RM (Ring Modulator)
Vib Rate
0–100, BPM
This creates a bell-like sound by ring-modulating the guitar
sound with the signal from the internal oscillator. The sound
will be unmusical and lack distinctive pitches.
Vib Depth
0–100
Adjust the volume of the defretter sound.
Direct Level
–BPM
Mode= OSC
Mode= OSC
Mode
Select either oscillator “OSC” or natural “Natural.”
Parameter
Value
Mode
Freq
Effect Level
Direct Level
Normal, Intelligent
0–100
0–100
0–100
Mode
OSC (Oscillator):
An artificial feedback sound will be created internally.
* When OSC is selected, the effect is activated after a single note
is played and the note stabilizes. A feedback effect is created
when the effect switches on; the feedback disappears when the
OSC effect switches off.
This selects the mode for the ring modulator.
Natural:
Normal:
Analyzes the pitch of the guitar sound being input, and then
creates a feedback sound.
This is a normal ring modulator.
40
Chapter 4 Introduction to Effects and Parameters
Rise Time
FX-2
This determines the time needed for the volume of the
feedback sound to reach its maximum from the moment the
effect is turned on.
With FX-2, you can select the effect to be used from the
following.
Rise Time (▲)
• PHASER
This determines the time needed for the volume of the one
octave higher feedback sound to reach its maximum from the
moment the effect is turned on.
• FLANGER
F.B.Level (Feedback Level)
• OCTAVE
Adjusts the volume of the feedback sound.
• PEDAL BEND
F.B.Level (▲)
• 2x2 CHORUS
This adjusts the volume of the one octave higher feedback
sound.
• PAN
Vib Rate (Vibrato Rate)
• UNI-V
This adjusts the rate of the vibrato when the feedbacker is on.
• ROTARY
Vib Depth (Vibrato Depth)
This adjusts the depth of the vibrato when the feedbacker is
on.
• PITCH SHIFT (Pitch Shifter)
• VIBRATO
Section 4
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
• HARMONIST
• SHORT DELAY
• HUMANIZER
• SLICER
• AUTO RIFF
• GUITAR SYNTH
• BASS SIM. (Bass Simulator)
• STEREO EQ (Stereo Equalizer)
Parameter
Value
On/Off
FX Select
Off, On
PH, FL, HR, PS, OC, PB, 2CE,
PAN, VB, UV, RT, SDD, HU, SL,
AR, SYN, BS, SEQ
On/Off (Effect On/Off)
Switches the FX-2 effect on/off.
FX Select (Effect select)
This selects the effect to be used.
41
Chapter 4 Introduction to Effects and Parameters
PH (Phaser)
Step Rate
By adding varied-phase portions to the direct sound, the
phaser effect gives a whooshing, swirling character to the
sound.
Parameter
Value
Type
4 Stage, 8 Stage, 12 Stage,
Bi-Phase
Rate
Depth
Manual
Resonance
0–100, BPM
0–100
0–100
0–100
Step Rate
Effect Level
Direct Level
Off, 0–100, BPM
0–100
0–100
–BPM
–BPM
Selects the number of stages that the phaser effect will use.
8 Stage
12 Stage
Bi-Phase
Set this to “Off” when not using the Step function.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Effect Level
This adjusts the volume of the phaser.
Direct Level
Type
4 Stage
This sets the cycle of the step function that changes the rate
and depth. When it is set to a higher value, the change will be
finer.
This is a four-phase effect. A light phaser
effect is obtained.
This is an eight-phase effect. It is a popular
phaser effect.
This is a twelve-phase effect. A deep phase
effect is obtained.
This is the phaser with two phase shift circuits connected in series.
Rate
This sets the rate of the phaser effect.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
Determines the depth of the phaser effect.
Manual
Adjusts the center frequency of the phaser effect.
Resonance
Determines the amount of resonance (feedback). Increasing
the value will emphasize the effect, creating a more unusual
sound.
This adjusts the volume of the direct sound.
FL (Flanger)
The flanging effect gives a twisting, jet-airplane-like
character to the sound.
Parameter
Value
Rate
Depth
Manual
Resonance
Separation
Low Cut
Effect Level
Direct Level
0–100, BPM –BPM
0–100
0–100
0–100
0–100
Flat, 55.0 Hz–800 Hz
0–100
0–100
Rate
This sets the rate of the flanging effect.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
Determines the depth of the flanging effect.
Manual
Adjusts the center frequency at which to apply the effect.
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Chapter 4 Introduction to Effects and Parameters
Resonance
2-Stereo:
Determines the amount of resonance (feedback). Increasing
the value will emphasize the effect, creating a more unusual
sound.
Two-voice pitch-shifted sound (HR1, HR2) output through
left and right channels.
Separation
This determines the pitch of the sound added to the input
sound, when you are making a harmony. It allows you to set
it by up to 2 octaves higher or lower than the input sound.
When the scale is set to “Scale 1–Scale29,” this parameter sets
the user scale number to be used.
Adjusts the diffusion. The diffusion increases as the value
increases.
Low Cut (Low Cut Filter)
This sets the frequency at which the low cut filter begins to
take effect. This lets you cut the low-end component below
the set frequency to create a clear, distinct low end, thereby
bringing out the high end of the effect.
When “Flat” is selected, the low cut filter will have no effect.
Harm (Harmony)
PreDly (Pre Delay)
Adjusts the time from when the direct sound is heard until
the harmonist sounds are heard. Normally you can leave this
set at “0ms.”
This adjusts the volume of the flanger.
Direct Level
This adjusts the volume of the direct sound.
HR (Harmonist)
“Harmonist” is an effect where the amount of shifting is
adjusted according to an analysis of the guitar input,
allowing you to create harmonics based on diatonic scales.
* Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
Parameter
Value
Voice
Harm
1-Voice, 2-Mono, 2-Stereo
-2oct–+2oct, Scale1–Scale29
PreDly
Feedback
Level
Key
Direct Level
0 ms–300 ms, BPM
0–100
0–100
C (Am)–B (G#m)
0–100
(User Scale)
User
DIR
EFF
1–29
C–B
C–B (±2 octave)
–BPM
Feedback
This adjusts the feedback amount of the harmonist sound.
Level
This adjusts the volume.
Key
Specify the key of the song you are playing. By specifying the
key, you can create harmonies that fit the key of the song.
The key setting corresponds to the key of the song (#, b) as
follows.
fig.04-020
Voice
This selects the number of voices for the pitch shift sound
(harmony).
1-Voice:
One-voice pitch-shifted sound output in monaural.
Direct Level
This adjusts the volume of the direct sound.
2-Mono:
Two-voice pitch-shifted sound (HR1, HR2) output in
monaural.
43
Section 4
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Effect Level
Chapter 4 Introduction to Effects and Parameters
Creating Harmonist Scales (User Scale)
PS (Pitch Shifter)
When “Harmony” is set to any value from -2oct to +2oct, and
the harmony does not sound the way you intend, use a “User
scale.”
This effect changes the pitch of the original sound (up or
down) within a range of two octaves.
You can set any of 29 different “User scales.”
1. Press [FX-2], then press PARAMETER [
that “FX Select” is displayed.
][
] so
2. Rotate the PATCH/VALUE dial to select “HR.”
3. Press PARAMETER [
][
] to select “HR1
Harm” (or “HR2 Harm”), then rotate the PATCH/
VALUE dial to select a setting from “Scale 1–29.”
4. Press PARAMETER [
] a number of times so that
the User scale settings screen is displayed.
fig.04-030d
Parameter
Value
Voice
Mode
Pitch
Fine
1-Voice, 2-Mono, 2-Stereo
Fast, Medium, Slow, Mono
-24 –+24
-50–+50
PreDly
Feedback
Level
Direct Level
0 ms–300 ms, BPM
0–100
0–100
0–100
–BPM
Voice
This selects the number of voices for the pitch shift sound.
1-Voice:
5. Press PARAMETER [
][
] to move the cursor,
then rotate the PATCH/VALUE dial to set the User
scale.
User:
You can change the number of the user scale.
DIR (Direct):
Sets the note name of the input sound. You can also play
individual notes on the guitar and let the GS-10 interpret
the note name.
EFF (Effect):
Sets the note name of the output sound.
The triangle next to the note name indicates the octave.
One downward-pointing triangle indicates a note one
octave below the note displayed; two triangles indicates
a two-octave drop.
One upward-pointing triangle indicates a note one
octave above the note displayed; two triangles indicates
a two-octave rise.
One-voice pitch-shifted sound output in monaural.
2-Mono:
Two-voice pitch-shifted sound (PS1, PS2) output in
monaural.
2-Stereo:
Two-voice pitch-shifted sound (PS1, PS2) output through left
and right channels.
Mode
Selection for the pitch shifter mode.
Fast, Medium, Slow:
A chord can be input with a normal pitch shifter. The
response is slower in the order of Fast, Medium and Slow,
but the modulation is lessened in the same order.
Mono:
This mode is used for inputting single notes.
Use this setting when you want to achieve a pedal bend
effect with an external expression pedal.
Pitch
Adjusts the amount of pitch shift (the amount of pitch
change) in semitone steps.
Fine
Make fine adjustments to the pitch shift.
* The amount of the change in the Fine “100” is equivalent to
that of the Pitch “1.”
PreDly (Pre Delay)
Adjusts the time from when the direct sound is heard until
the pitch shifted sounds are heard. Normally you can leave
this set at “0ms.”
44
Chapter 4 Introduction to Effects and Parameters
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Feedback
This adjusts the feedback amount of the pitch shift sound.
Level
Adjusts the volume.
Direct Level
PB (Pedal Bend)
This lets you use the pedal to get a pitch bend effect.
The expression pedal automatically switches to the pedal
bend function when PB is selected.
“Setting the External Expression Pedal Functions (Expression
Pedal Function)” (p. 58).
Parameter
Value
Pitch Min
Pitch Max
Pdl Position
Effect Level
Direct Level
-24–+24
-24–+24
0–100
0–100
0–100
This adjusts the volume of the direct sound.
OC (Octave)
This sets the pitch at the point where the expression pedal is
fully lifted.
This adds a note one octave lower, creating a richer sound.
Parameter
Value
Range
Octave Level
Direct Level
Range 1–Range 4
0–100
0–100
Pitch Max
This sets the pitch at the point where the expression pedal is
all the way down.
Pdl Position (Pedal Position)
This adjusts the pedal position for pedal bend.
Range
This selects the pitch range for the input sound to which you
want to add the effects.
The range to which the affect is applied changes with the
Input Select (p. 19) value.
Input
Select
Range 1
Range 2
Range 3
Range 4
Guitar
Microphone
USB (Gtr/Mic)
AUX
7th string, open (B) to
1st string, 24th fret (E)
7th string, open (B) to
1st string, 12th fret (E)
7th string, open (B) to
1st string, open (E)
7th string, open (B) to
4th string, 2nd fret (E)
Bass
USB
Low B, open (B) to
High C, 24th fret (C)
Low B, open (B) to 1st
string, 19th fret (C)
Low B, open (B) to 1st
string, 9th fret (E)
Low B, open (B) to 2nd
string, 2nd fret (E)
Octave Level
This adjusts the volume of the sound one octave below.
Direct Level
Adjusts the volume of the direct sound.
Effect Level
This adjusts the volume of the pitch bend sound.
Direct Level
Adjusts the volume of the direct sound.
2CE (2x2 Chorus)
Two separate stereo chorus units are used for the lowfrequency and high-frequency ranges in order to create a
more natural chorus sound.
Parameter
Value
Xover f
100 Hz–4.00 kHz
Lo Rate
Lo Depth
Lo PreDly
Lo Level
0–100, BPM –BPM
0–100
0.0 msec–40.0 msec
0–100
Hi Rate
Hi Depth
Hi PreDly
Hi Level
0–100, BPM –BPM
0–100
0.0 msec–40.0 msec
0–100
45
Section 4
Pitch Min
Chapter 4 Introduction to Effects and Parameters
Xover f (Crossover Frequency)
Hi Level (High Level)
This parameter sets the frequency at which the frequency
components of the direct sound are divided into bass and
treble bands.
Adjust the volume of the high frequency range.
Lo Rate (Low Rate)
Adjust the speed of the chorus effect for the low frequency
range.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
PAN
With the volume level of the left and right sides alternately
changing, when playing sound in stereo, you can get an
effect that makes the guitar sound appear to fly back and
forth between the speakers.
Parameter
Value
Wave Shape
0–100
Rate
Depth
0–100, BPM
0–100
Wave Shape
Lo Depth (Low Depth)
This adjusts changes in volume level.
Adjust the depth of the chorus effect for the low frequency
range. If you wish to use this as a doubling effect, use a
setting of “0.”
Rate
Lo PreDly (Low Pre Delay)
Adjust the time from when the low frequency range direct
sound is output until the effect sound is output. Extending
the pre-delay will produce the sensation of multiple sounds
(doubling effect).
Lo Level (Low Level)
Adjust the volume of the low frequency range.
Hi Rate (High Rate)
Adjust the speed of the chorus effect for the high frequency
range.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Hi Depth (High Depth)
Adjust the depth of the chorus effect for the high frequency
range. If you wish to use this as a doubling effect, use a
setting of “0.”
Hi PreDly (High Pre Delay)
Adjust the time from when the high frequency range direct
sound is output until the effect sound is output. Extending
the pre-delay will produce the sensation of multiple sounds
(doubling effect).
46
–BPM
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
Adjusts the depth of the effect.
VB (Vibrato)
This effect creates vibrato by slightly modulating the pitch.
Parameter
Value
Rate
Depth
Trigger
Rise Time
0–100, BPM
0–100
Off, On
0–100
–BPM
Rate
This adjusts the rate of the vibrato.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Chapter 4 Introduction to Effects and Parameters
RT (Rotary)
Depth
This adjusts the depth of the vibrato.
This produces an effect like the sound of a rotary speaker.
Trigger
Parameter
Value
Speed Sel
Slow, Fast
Rate (Slow)
0–100, BPM
–BPM
0–100, BPM
0–100
0–100
0–100
–BPM
This sets the time passing from the moment the trigger is
turned on until the set vibrato is obtained.
Rate (Fast)
Rise Time
Fall Time
Depth
UV (Uni-V)
Speed Sel (Speed Select)
This selects on/off of the vibrato.
* It is assumed that this parameter will be assigned (p. 60) to the
foot switch.
Rise Time
Although this resembles a phaser effect, it also provides a
unique undulation that you can’t get with a regular phaser.
Value
Rate
Depth
Level
0–100, BPM
0–100
0–100
–BPM
Rate
Adjusts the rate of the Uni-V effect.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
Adjusts the depth of the Uni-V effect.
Level
Adjusts the volume.
Rate (Slow)
Section 4
Parameter
This parameter changes the simulated speaker’s rotating
speed (Slow or Fast).
This parameter adjusts the speed of rotation when set to
“Slow.”
Rate (Fast)
This parameter adjusts the speed of rotation when set to
“Fast.”
* When the Rate (Slow) or Rate (Fast) set to BPM, the value of
each parameter will be set according to the value of the Master
BPM (p. 54) specified for each patch. This makes it easier to
achieve effect sound settings that match the tempo of the song
(synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Rise Time
This parameter adjusts the time it takes for the rotation speed
to change when switched from “Slow” to “Fast.”
Fall Time
This parameter adjusts the time it takes for the rotation speed
to change when switched from “Fast” to “Slow.”
Depth
This parameter adjusts the amount of depth in the rotary
effect.
47
Chapter 4 Introduction to Effects and Parameters
SDD (Short Delay)
Auto:
This is a delay with the maximum delay time of 400 ms.
This effect is useful for making the sound fatter.
Parameter
Value
DlyTime
Feedback
Effect Level
0 ms–400 ms, BPM
0–100
0–120
By adjusting the rate and depth, two vowels (Vowel 1 and
Vowel 2) can be switched automatically.
Random:
Five vowels (a, e, i, o, u) are called out at random by
adjusting the rate and depth.
–BPM
Vowel 1
This selects the first vowel.
fig.04-040d
DlyTime (Delay Time)
Adjusts the delay time.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the time to
twice or four times the time length of the BPM when the set
time is increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Feedback
Feedback refers to returning the delayed signal back into the
input of the delay. This parameter adjusts the volume that is
returned to the input. Higher settings will result in more
delay repeats.
Effect Level
Adjusts the volume of delay sound.
HU (Humanizer)
This can create human vowel-like sounds.
Parameter
Value
Mode
Vowel 1
Sens
Picking, Auto, Random
a, e, i, o, u
Mode= Picking,
Auto
a, e, i, o, u
Mode= Picking,
Auto
0–100
Mode= Picking
Rate
Depth
Manual
Level
0–100, BPM –BPM
0–100
0–100
Mode= Auto
0–100
Vowel 2
Mode
This sets the mode that switches the vowels.
Picking:
It changes from vowel 1 to vowel 2 along with the picking.
The time spent for the change is adjusted with the rate.
48
Vowel 1
Vowel 2
Vowel 2
This selects the second vowel.
Sens (Sensitivity)
This adjusts the sensitivity of the humanizer. When it is set to
a lower value, no effect of the humanizer is obtained with
weaker picking, while stronger picking produces the effect.
When it is set to a higher value, the effect of the humanizer
can be obtained whether the picking is weak or strong.
Rate
This adjusts the cycle for changing the two vowels.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Depth
This adjusts the depth of the effect.
Manual
This determines the point where the two vowels are
switched. When it is set to “50,” vowel 1 and vowel 2 are
switched in the same length of time. When it is set to lower
than “50,” the time for vowel 1 is shorter. When it is set to
higher than “50,” the time for vowel 1 is longer.
Level
Adjusts the volume.
Chapter 4 Introduction to Effects and Parameters
SL (Slicer)
AR (Auto Riff)
This consecutively interrupts the sound to create the
impression that a rhythm backing phrase is being played.
This allows you to automatically produce a phrase simply by
picking a single note. This can be used to easily play
extremely rapid phrases.
Parameter
Value
Pattern
P1–P20
Rate
Trigger Sens
0–100, BPM
0–100
* Reception of large amounts of MIDI data while Auto Riff is
playing may result in disturbances in the sound.
–BPM
Pattern
Select the slice pattern that will be used to cut the sound.
Rate
Adjust the rate at which the sound will be cut.
Trigger Sens (Trigger Sensitivity)
Adjust the sensitivity of triggering. With low settings of this
parameter, softly picked notes will not retrigger the phrase
(i.e., the phrase will continue playing), but strongly picked
notes will retrigger the phrase so that it will playback from
the beginning. With high settings of this parameter, the
phrase will be retriggered even by softly picked notes.
Value
Phrase
Preset1–Preset30,
User1–User10
Off, On
Loop
Tempo
Sens
Key
Attack
Hold
Effect Level
Direct Level
0–100, BPM –BPM
0–100
C (Am)–B (G#m)
Phrase = Preset
0–100
Off, On
0–100
0–100
(User Phrase)
User
IN
STEP
OUT
1–10
C–B
1–16
C–B (±2 octave), -, end
Phrase
Select the phrase. User-programmed phrases are used when
User 1–10 is selected.
Loop
If “Loop” is turned “On,” the phrase will be played back
continuously.
Tempo
Adjust the speed of the phrase.
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased). When setting to BPM, press PARAMETER
[
] to display the Master BPM settings screen.
Sens (Sensitivity)
Adjust the sensitivity of triggering. With low settings of this
parameter, softly picked notes will not retrigger the phrase
(i.e., the phrase will continue playing), but strongly picked
notes will retrigger the phrase so that it will playback from
the beginning. With high settings of this parameter, the
phrase will be retriggered even by softly picked notes.
No retriggering occurs when the value is set to “0.”
49
Section 4
* When set to BPM, the value of each parameter will be set
according to the value of the Master BPM (p. 54) specified for
each patch. This makes it easier to achieve effect sound settings
that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is
increased).
When setting to BPM, press PARAMETER [
] to display
the Master BPM settings screen.
Parameter
Chapter 4 Introduction to Effects and Parameters
Key
OUT:
Select the key of the song that you wish to play.
Specify the note name of the output sound.
The triangle next to the note name indicates the octave.
Attack
Adjust the strength of the attack. By adding an attack to each
note of the phrase you can produce a sensation as though the
notes were being picked.
Hold
If you turn hold “On” after you pick a note, the effect sound
will continue even after there is no input signal.
Adjust the volume of the phrase.
This detects the pitch of an electric guitar and outputs a
synthesizer sound.
Direct Level
* When you use a guitar synthesizer, observe the following
points.
Adjust the volume of the direct sound.
Creating Original Phrases (User Phrase)
In addition to the 30 different prepared phrases, you can also
create up to ten of your own original phrases (User phrases).
][
] so
2. Rotate the PATCH/VALUE dial to select “AR.”
3. Press [FX-2] a number of times to select “Phrase,” then
rotate the PATCH/VALUE dial to select “User 1–10.”
4. Press PARAMETER [
] a number of times until you
have the User Phrase settings screen displayed.
fig.04-050d
5. Press PARAMETER [
][
] to move the cursor,
then rotate the PATCH/VALUE dial to set the User
phrase.
User:
specify the user phrase number.
IN:
Sets the note name of the input sound. You can also play
individual notes on the guitar and let the GS-10 judge
the note name.
STEP:
50
One upward-pointing triangle indicates a note one
octave above the note displayed; two triangles indicates
a two-octave rise.
SYN (Guitar Synth)
Effect Level
1. Press [FX-2], then press PARAMETER [
that “FX Select” is displayed.
One downward-pointing triangle indicates a note one
octave below the note displayed; two triangles indicates
a two-octave drop.
• It does not work properly when a chord is played. Be
sure to mute all the other strings and play in a single
note.
• When you are to play the next string while a certain
sound is still playing, perfectly mute the previous sound
then play the next one with a clear attack.
• If the unit cannot detect the attack, it may not sound
correctly.
Parameter
Value
Sens
Wave
Chromatic
Octave Shift
PWM Rate
PWM Depth
Cutoff Freq
Resonance
FLT.Sens
FLT.Decay
FLT.Depth
Attack
Release
Velocity
Hold
Synth Level
Direct Level
0–100
Square, Saw, Brass, Bow
Off, On
Wave= Square, Saw
0, -1, -2
Wave= Square, Saw
0–100
Wave= Square
0–100
Wave= Square
0–100
0–100
0–100
0–100
-100 –100
Decay, 0–100
0–100
0–100
Off, On
Wave= Square, Saw
0–100
0–100
Sets the step of the phrase.
Sens (Sensitivity)
You can also play on the guitar and put the step forward.
This adjusts the input sensitivity. The response of the internal
sound source is better with a higher sensitivity value, but the
malfunctions will be increased on the other hand. So, try to
set it as high as possible without causing malfunction.
Chapter 4 Introduction to Effects and Parameters
Wave
Cutoff Freq (Cutoff Frequency)
This selects a wave type that is the source of the guitar
synthesizer.
This adjusts the frequency where the harmonics contents of
the sound are cut off.
Square:
Resonance
The unit detects the pitch and attack information from the
input guitar sound, then send the square waveform
(
This adjusts how much of the harmonics contents around the
cutoff frequency should be emphasized.
) from the internal sound generator.
FLT.Sens (Filter Sensitivity)
Saw:
The unit detects the pitch and attack information from the
input guitar sound, then send the saw waveform (
from the internal sound generator.
)
Brass:
Bow:
The unit directly processes the input guitar sound and
creates a guitar synthesizer sound. It outputs a soft sound
without attack.
Chromatic
This switches on or off the chromatic function. When it is on,
the pitch change of the synthesizer sound is in semitone
steps. This does not respond to pitch changes less than a
semitone, such as what might be obtained with bending or
vibrato. Thus, this is effectively used for realistically playing
musical instruments whose pitch will change in steps greater
than a semitone, such as a keyboard.
* Use this parameter when “Square” or “Saw” is selected for
wave.
Octave Shift
This allows you to shift the pitch of the internal sound
module in an octave step from the guitar sound.
* This parameter should be set when “Square” or “Saw” is
selected for the wave.
PWM Rate (Pulse Wise Modulation Rate)
This gives breadth or fatness to the sound by applying
modulation to the waveform (only to Square) in the internal
sound module. A higher value will quicken the rate of the
modulation.
FLT.Decay (Filter Decay)
This sets the time needed for the filter to finish its sweep.
FLT.Depth (Filter Depth)
This adjusts the depth of the filter. When the value is higher,
the filter will change more drastically. The polarity of the
filter will be opposite with “+” and “-.”
Attack
This adjusts the time needed for a synthesizer sound to reach
its maximum. When it is set to a lower value, the sound will
rise quickly. When it is set higher, the sound will rise slowly.
When it is set to “Decay,” the sound will rise quickly and
turn to a Release status regardless of the input of the guitar
sound.
* When “Brass” or “Bow” is selected for the wave, the attack
time will not be quicker from a certain level even if the attack is
set to “Decay” or “0.”
Release
This determines the time needed for the synthesizer sound to
reach zero from the moment the input of the guitar sound is
completed.
* When “Brass” or “Bow” is selected for the wave, the guitar
signal itself is processed. That is, the synthesizer sound will go
down when the guitar signal goes down no matter how long
the release may be set.
* This parameter should be set only when “Square” is selected
for the wave.
PWM Depth (Pulse Wise Modulation Depth)
This adjusts the depth of the PWM. When it is set to “0,” no
PWM effect is obtained.
* This parameter should be set only when “Square” is selected
for the wave.
51
Section 4
The unit directly processes the input guitar sound and
creates a guitar synthesizer sound. It gives a quick sound rise
and send the sound with a sharp edge.
This adjusts the sensitivity of the filter. When it is set to a
lower value, the filter is affected only with stronger picking.
When it is set higher, the filter changes even with weaker
picking. When it is set to “0,” the depth of the filter will be
the same no matter how the picking strength may be.
Chapter 4 Introduction to Effects and Parameters
SEQ (Stereo Equalizer)
Velocity
This adjusts the amount of the volume change of the
synthesizer sound. When it is set to high, the volume change
will be greater depending on the picking strength. When it is
set to “0,” no volume change is caused even by changing the
picking manner.
Hold
The hold function can sustain the output of the synthesizer
sound. If you turn on the hold while a synthesizer sound is
being output, the synthesizer sound will be held until you
turn it off.
* It is assumed that this parameter will be assigned (p. 60) to the
foot switch.
* This parameter is used when “Square” or “Saw” is selected for
the wave.
Synth Level
This adjusts the tone as a stereo equalizer. A parametric type
is adopted for the high-middle and low-middle range.
Parameter
Value
Low EQ
Lo-Mid f
Lo-Mid Q
Lo-Mid EQ
Hi-Mid f
Hi-Mid Q
Hi-Mid EQ
Hi EQ
Level
-20 dB–+20 dB
20.0 Hz–10.0 kHz
0.5–16
-20 dB–+20 dB
20.0 Hz–10.0 kHz
0.5–16
-20 dB–+20 dB
-20 dB–+20 dB
-20 dB–+20 dB
Low EQ (Low Equalizer)
Adjusts the low frequency range tone.
Adjusts the volume of the synthesizer sound.
Direct Level
Adjusts the volume of the direct sound.
BS (Bass Simulator)
Simulates the sound of a bass guitar. Obtain the sound of a
bass guitar while playing an electric guitar.
* You should avoid playing chords when using the Bass
Simulator.
Parameter
Value
Character
Level
Loose, Tight
0–100
Character
Bass tone characteristic is set. When “Loose” is selected, the
sound becomes as if the string gauge was getting thicker.
Lo-Mid f (Low-Middle Frequency)
Specify the center of the frequency range that will be
adjusted by the “Lo-Mid EQ.”
Lo-Mid Q (Low-Middle Q)
Adjusts the width of the area affected by the EQ centered at
the “Lo-Mid f.” Higher values will narrow the area.
Lo-Mid EQ (Low-Middle Equalizer)
Adjusts the “Lo-Mid f” range tone.
Hi-Mid f (High-Middle Frequency)
Specify the center of the frequency range that will be
adjusted by the “Hi-Mid EQ.”
Hi-Mid Q (High-Middle Q)
Adjusts the width of the area affected by the EQ centered at
the “Hi-Mid f.” Higher values will narrow the area.
Hi-Mid EQ (High-Middle Equalizer)
Level
Adjusts the “Hi-Mid f” range tone.
This adjusts the volume of the bass simulator.
High EQ (High Equalizer)
Adjusts the high frequency range tone.
Level
Adjusts the volume after the equalizer.
52
Chapter 4 Introduction to Effects and Parameters
NAME/NS/MASTER
Noise Suppressor
You can select the following items in NAME/NS/MASTER.
This effect reduces the noise and hum picked up by guitar
pickups. Since it suppresses the noise in synchronization
with the envelope of the guitar sound (the way in which the
guitar sound decays over time), it has very little effect on the
guitar sound, and does not harm the natural character of the
sound.
• Name (Patch Name)
• Noise Suppressor
• Master
• Foot Volume
• Effect Chain
* With each press of [NAME/NS/MASTER], you move to the
next item that can be set, in this order:
Name → Noise Suppressor → Master → Foot Volume →
Effect Chain.
Name (Patch Name)
1. Press [NAME/NS/MASTER] so that the Name edit
screen appears in the display.
Parameter
Value
On/Off
Threshold
Release
Off, On
0–100
0–100
On/Off (Effect On/Off)
Turns the noise suppressor effect on/off.
This parameter can be set with the PATCH/VALUE dial.
* Even if [NAME/NS/MASTER] is pressed, you cannot switch
the noise suppressor on and off.
Threshold
fig.04-060d
2. Press PARAMETER [
][
the text area you want to edit.
] to move the cursor to
3. Rotate the PATCH/VALUE dial to change the
characters.
* You can use the following functions when changing text
characters.
CAPS:
Switches the character at the cursor position
between upper and lower case.
INS:
Inserts a blank space at the cursor position.
DEL:
Deletes the character at the cursor position and
shifts the characters following it to the left.
Adjust this parameter as appropriate for the volume of the
noise. If the noise level is high, a higher setting is
appropriate. If the noise level is low, a lower setting is
appropriate. Adjust this value until the decay of the guitar
sound is as natural as possible.
* High settings for the threshold parameter may result in there
being no sound when you play with your guitar volume
turned down.
Release
Adjusts the time from when the noise suppressor begins to
function until the noise level reaches “0.”
4. If you want to edit names further, repeat Steps 2 and 3.
5. If you want to save the sequence you’ve set up, use the
Write procedure (p. 25) to save it to a User patch.
Press [EXIT] to return to the Play screen.
53
Section 4
Each patch can be given a name (Patch Name) consisting of
up to sixteen characters. You’ll probably want to take
advantage of this feature by assigning names that suggest the
sound you’ll obtain, or the song in which it’ll be used.
* Please connect the noise suppressor in the signal path prior to
the reverberation type effect. This setup will prevent an
natural break of the reverberation type effect.
Chapter 4 Introduction to Effects and Parameters
Master
Foot Volume
Parameter
Value
Patch Level
Master BPM
0–200
40–250
This is a volume control effect.
Usually, this is controlled to the expression pedal.
Parameter
Value
Patch Level
Level
0–100
This adjusts the output volume of the GS-10.
Level
Master BPM
Adjusts the volume.
Adjust the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note
beats that occur each minute.
* When you have an external MIDI device connected, the
Master BPM synchronizes to the external MIDI device’s
tempo, making it impossible to set the Master BPM. To enable
setting of the Master BPM, set “MIDI Sync Clock” (p. 69) to
Internal.
Control with the Master BPM
To input the Master BPM with the foot switch, set
“Assign” as follows.
Effect Chain
Here’s how you can change the order in which the effects are
connected.
1. Press [NAME/NS/MASTER] until “Effect Chain”
appears in the display.
* With each press of [NAME/NS/MASTER], you move to the
next item that can be set, in this order:
Name → Noise Suppressor → Master → Foot Volume →
Effect Chain.
fig.04-070d
Quick Setting (p. 60)
P11: MSTR BPM TAP
Manual Settings (p. 61)
Set ASSIGN to ON and set the following as shown.
Target:
Master BPM (Tap)
Target Min:
Off
Target Max:
On
Source:
CTL 1 (or CTL 2)
Source Mode:
Normal
Act.Range Lo:
0
Act.Range Hi:
127
* When controlling the Assigns with the foot switch, the
system parameter CTL 1 Func (or CTL 2 Func) must be
set to “Assign 1-8” (p. 58, p. 59).
* Effects are shown in lowercase letters when turned off.
2. Use the PATCH/VALUE dial or PARAMETER [
]
[
] to move the cursor to the point where you want
to have an effect inserted.
3. Press the On/Off button for the effect you want to
insert.
The selected effect is inserted at the cursor position.
* Use [ASSIGN] to assign Foot Volume.
4. If you want to change the sequence further, repeat
Steps 2 and 3.
5. If you want to save the sequence you’ve set up, use the
Write procedure (p. 25) to save it to a User patch.
Press [EXIT] to return to the Play screen.
Effects can be switched on and off even while making
the settings for the connection order. With effects
appearing to the left and right of the cursor, the ON/
OFF button corresponding to the effect can be pressed to
turn them on/off.
54
Chapter 5 Creating Original Effects Types (Customize)
With the GS-10’s Customize function, you can rely on your
own sensibilities and create a totally new effect by tweaking
the settings for the “Preamp/Speaker Simulator,”
“Overdrive/Distortion,” and “Pedal Wah.” The result can
then be saved on the GS-10 as “Custom” settings.
You can also use these custom settings in other patches.
The trademarks listed in this document are trademarks
of their respective owners, which are separate companies
from BOSS. Those companies are not affiliated with
BOSS and have not licensed or authorized BOSS’s GS-10.
Their marks are used solely to identify the equipment
whose sound is simulated by BOSS’s GS-10.
Parameter
Value
Type
JC Clean, TW Clean, Crunch,
VO Lead, BG Lead,
MS1959 Stk, Modern Stk
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
-50–+50
Bottom
Edge
Bass Freq
Treble Freq
Preamp Low
Preamp High
Type
Selects the basic type of preamp.
JC Clean
TW Clean
Customizing the COSM Amps
You can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
1. Press the PREAMP/SPEAKER On/Off switch to display
the PREAMP/SPEAKER effect screen.
2. Press PARAMETER [
parameter.
][
VO Lead
BG Lead
MS1959 Stk
Modern Stk
] to call up the Type
Bottom
3. Rotate the PATCH/VALUE dial to call up “Custom 1,”
“Custom 2,” or “Custom 3.”
fig.05-010d
Adjusts the amount of distortion in the low frequencies.
Edge
Adjusts the amount of distortion in the high frequencies.
Bass Freq (Bass Frequency)
Adjusts the frequency affected by the BASS knob.
4. Press PARAMETER [
parameters.
][
] to show the custom
fig.05-020d
Treble Freq (Treble Frequency)
Adjusts the frequency affected by the TREBLE knob.
Preamp Low
Adjusts the preamp section’s low-frequency tone.
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
Preamp High
Adjusts the preamp section’s high-frequency tone.
6. Repeat Steps 4 and 5 as needed.
7. Press [EXIT] to return to the Play screen.
55
Section 5
* The sound of any patch that uses Custom 1, 2, or 3 will be
altered if the custom settings are edited.
Crunch
This is the sound of the Roland JC-120.
This models a Fender Twin Reverb.
This is a crunch sound that can produce
natural distortion.
This models the drive sound of a
VOX AC-30TB.
This models the lead sound of the
MESA/Boogie combo amp.
This models the sound input to Input I on a
Marshall 1959.
This models the rhythm channel of a
MESA/Boogie Dual Rectifier.
Chapter 5 Creating Original Effects Types (Customize)
Customizing the Speakers
You can make three different sets of settings, Custom 1 and
Custom 2.
* The sound of any patch that uses Custom 1 or 2 will be altered
if the custom settings are edited.
1. Press the PREAMP/SPEAKER On/Off switch to display
the PREAMP/SPEAKER effect screen.
2. Press PARAMETER [
Type parameter.
][
] to call up the SP
3. Rotate the PATCH/VALUE dial to call up “Custom 1”
or “Custom 2.”
fig.05-030d
Close:
This type of cabinet features an enclosed rear panel.
Customizing Overdrive and
Distortion
You can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
* The sound of any patch that uses Custom 1, 2, or 3 will be
altered if the custom settings are edited.
1. Press the OD/DS On/Off switch to display the OD/DS
effect screen.
2. Press PARAMETER [
parameter.
4. Press PARAMETER [
parameters.
][
] to show the custom
][
] to call up the Type
3. Rotate the PATCH/VALUE dial to call up “Custom 1,”
“Custom 2,” or “Custom 3.”
fig.05-050d
fig.05-040d
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
4. Press PARAMETER [
parameters.
][
] to show the custom
fig.05-060d
6. Repeat Steps 4 and 5 as needed.
7. Press [EXIT] to return to the Play screen.
Parameter
Value
Speaker Size
Color Low
Color High
Speaker Num
Cabinet
5”–15”
-10–+10
-10–+10
x1, x2, x4, x8
Open, Close
Speaker Size
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
6. Repeat Steps 4 and 5 as needed.
7. Press [EXIT] to return to the Play screen.
Parameter
Value
Type
OD-1, OD-2, CRUNCH, DS-1,
DS-2, METAL-1, METAL-2,
FUZZ
-50–+50
-50–+50
-50–+50
-50–+50
Selects the size of speaker.
Color Low
Adjusts the speaker section’s low-frequency tone.
Color High
Adjusts the speaker section’s high-frequency tone.
Speaker Num (Speaker Number)
Sets the number of speakers.
Cabinet
Selects the speaker cabinet type.
Open:
This is an open-backed cabinet.
56
Bottom
Top
Low
High
Chapter 5 Creating Original Effects Types (Customize)
Type
Selects the basic type of overdrive/distortion.
5. Press PARAMETER [
parameters.
][
] to show the custom
fig.05-080d
OD-1
OD-2
CRUNCH
DS-1
DS-2
METAL-1
METAL-2
FUZZ
This is the sound of the BOSS OD-1.
This is the sound of the BOSS OD-2.
This is a crunch sound of the BOSS BD-2.
This gives a basic, traditional distortion
sound.
This creates a heavier distortion sound.
This is the sound of the BOSS MT-2.
This gives a heavy metal sound.
This models a FUZZFACE.
Bottom
Adjusts the amount of distortion in the low frequencies.
Top
Adjusts the amount of distortion in the high frequencies.
Low
6. Rotate the PATCH/VALUE dial to change the setting’s
value.
7. Repeat Steps 4 and 5 as needed.
8. Press [EXIT] to return to the Play screen.
Parameter
value
Type
CRY WAH, VO WAH, Fat WAH,
Light WAH, 7String WAH
-50–+50
-50–+50
-50–+50
-50–+50
Q
Range Low
Range High
Presence
Type
Adjusts low-frequency tone.
Selects the basic type of wah.
Adjusts the high-frequency tone.
CRY WAH
Customizing Pedal Wah
VO WAH
Fat WAH
Light WAH
You can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
* The sound of any patch that uses Custom 1, 2, or 3 will be
altered if the custom settings are edited.
1. Press the FX-1 On/Off switch to display the FX-1 effect
screen.
2. Press PARAMETER [
][
] to call up the “FX
Select” parameter, then select “PW” with the PATCH/
VALUE dial.
3. Press PARAMETER [
parameter.
][
] to call up the “Type”
4. Rotate the PATCH/VALUE dial to call up “Custom 1,”
“Custom 2,” or “Custom 3.”
7String WAH
This models the sound of the CRY BABY
wah pedal popular in the `70s.
This models the sound of the VOX V846.
This a wah sound featuring a bold tone.
This wah has a refined smooth sound.
Wah featuring a broader range of variations for the seven-string guitar.
Q
Adjusts the amount of characteristic effect applied to the wah
tone.
Range Low
Selects the tone produced when the pedal is back.
Range High
Selects the tone produced when the pedal is forward.
Presence
Adjusts the tonal quality of the wah effect.
fig.05-070d
57
Section 5
High
Chapter 6 Setting the External Pedal Functions
This section describes the settings required to use an
expression pedal or foot switch connected to the
EXP PEDAL/CTL1,2 jack on the rear panel.
Setting the External Expression Pedal
Functions (Expression Pedal Function)
fig.06-001
If you want the external pedal to have
the same function at all times
2
1
In situations such as when you want to use the expression
pedal only as a volume pedal, you can set the external pedal
function as a global setting common to the GS-10 overall.
“Expression Pedal Function” (refer to right)
“Control 1, 2 Function” (p. 59)
If you want the external pedal
function to change with the patch
If you want the external pedal to function differently
depending on the patch, perhaps using the expression pedal
to change the volume in one patch, but using it to adjust the
amount of overdrive distortion in another patch, then use the
“Assign” settings.
In each patch you can set up to eight different types (Assign
numbers) determining which parameter is to be controlled
by a particular controller.
In addition, you can use the “Assign” function to set
controllers using Control Change messages from external
MIDI devices.
“Assign” (p. 60)
When using an expression pedal or foot switch with the
“Assign” settings, set the Expression pedal Function or
Control 1 or 2 Function setting to “Assign 1-8.”
3
1
1. Press [SYSTEM], then press PARAMETER [
[
] so that “EXP PDL Func” is displayed.
]
fig.07-110d
2. Rotate the PATCH/VALUE dial to set the expression
pedal function.
Auto:
Normally used as a “foot volume” pedal. When Pedal
Wah (p. 36) or Pedal Bend (p. 45) is switched on, the
expression pedal automatically switches to the “pedal
wah” or “pedal bend” function.
When Pedal Wah and Pedal Bend are switched off, the
pedal automatically operates as a “foot volume” pedal.
Assign 1-8:
Used as the controller set in the Assign (p. 60) for each
patch.
Foot Volume:
Used as a “foot volume” pedal.
Patch Level:
Used as a patch level controller.
Pedal Wah:
Used as a “pedal wah” when Pedal Wah is on.
Pedal Bend:
Used as a “pedal bend” when Pedal Bend is on.
3. Press [EXIT] to return to the Play screen.
58
Chapter 6 Setting the External Pedal Functions
Setting the External Foot Switch
Functions (Control 1, 2 Function)
* When connecting two foot switches using the special optional
Roland PCS-31 connector cord, the foot switch connected with
the white-banded plug functions according to the Control 1
function settings, and the foot switch connected with the redbanded plug functions according to the Control 2 function
settings.
* When you have only one foot switch connected, the Control 1
function settings are used.
The direct patch (p. 18) number increases by 1 each time
the foot switch is pressed.
Direct Patch Down:
The direct patch (p. 18) number decreases by 1 each time
the foot switch is pressed.
Patch Up:
The patch (p. 18) number increases by 1 each time the
foot switch is pressed.
Patch Down:
The patch (p. 18) number decreases by 1 each time the
foot switch is pressed.
fig.06-002
2
Direct Patch Up:
1
Patch Level Inc1:
The patch level (p. 54) value increases by 10 each time
the foot switch is pressed.
Patch Level Inc2:
The patch level (p. 54) value increases by 20 each time
the foot switch is pressed.
Patch Level Dec1:
The patch level (p. 54) value decreases by 10 each time
the foot switch is pressed.
3
1
The patch level (p. 54) value decreases by 20 each time
the foot switch is pressed.
Section 6
1. Press [SYSTEM], then press PARAMETER [
]
[
] so that “CTL 1 Func” or “CTL 2 Func” is
displayed.
Patch Level Dec2:
3. Press [EXIT] to return to the Play screen.
fig.07-120d
2. Rotate the PATCH/VALUE dial to set the foot switch
function.
Assign 1-8:
The controller set in each patch’s Assign (p. 60) is used.
Tuner On/Off:
The foot switch is used as a tuner On/Off switch.
Use a momentary-type foot switch (such as the optional
FS-5U).
Remote Strt/Stop:
Used as a foot switch for use in starting and stopping a
computer or a recorder, sequencer, or other MIDIconnected device.
For more on the settings for the device being run, refer to
“Controlling Recorders and Sequencers Remotely from
the GS-10 (Remote Control)” (p. 75).
59
Chapter 6 Setting the External Pedal Functions
Setting the External Pedal Function
for Individual Patches (Assign)
There are two ways to set the assignments, “Quick
Settings,” which allows you to use [QUICK FX] to complete
the settings quickly and easily, and “Manual Settings,”
where each parameter is set one at a time.
5. Turn the PATCH/VALUE dial to select the Preset
settings.
6. To use the Quick Settings with other Assigns, repeat
Steps 2–5.
Even when using this procedure, the settings selected in
Step 5 are maintained as is and carried over to the Quick
Settings for the next effect.
7. To save the settings, use the Write procedure (p. 25).
Quick Settings
Press [EXIT] to return to the Play screen.
When you use [QUICK FX] to select prepared settings (Preset
settings), the relevant parameters are then instantly set to
their optimal values. This lets you finish making the settings
simply, instead of setting each individual parameter
separately.
fig.06-010
Preset Settings
P01 PEDAL WAH
P02 PEDAL BEND
5
2
P03 FOOT VOLUME
P04 COMP ON/OFF
P05 OD/DS ON/OFF
P06 DELAY ON/OFF
P07 CHRUS ON/OFF
1,3
4
P08 FX-1 ON/OFF
P09 FX-2 ON/OFF
1. Press [ASSIGN].
2. Press PARAMETER [
][
Assigns from Assign 1–8.
] to select one of the
3. Press [ASSIGN] to set the selected Assign to “On.”
Each time [ASSIGN] is pressed it alternately switches
this on and off. “ASSIGN” flashes in the display when
the Assign is switched off.
* Always set any Assign to “Off” when it is not being used.
4. Press [QUICK FX].
The Preset settings selection screen appears in the
display.
fig.06-011d
* The following appears when the Quick Settings are changed
through editing of parameters immediately after the patches
are changed.
fig.06-012d
60
P10 DLY TIME TAP
P11 MSTR BPM TAP
P12 CH SEL INC
The expression pedal functions as
a wah pedal.
The expression pedal is used for
pedal bend.
The expression pedal functions as
a volume pedal.
The compressor is switched on
and off with the foot switch.
The overdrive/distortion is
switched on and off with the foot
switch.
The delay is switched on and off
with the foot switch.
The chorus is switched on and off
with the foot switch.
FX-1 is switched on and off with
the foot switch.
FX-2 is switched on and off with
the foot switch.
The foot switch is used for tap input of the delay time.
The foot switch is used for tap input of the Master BPM.
The foot switch is used for switching the preamp/speaker channel
select (A → B → C → A → ...).
* The foot switch function is enabled for the foot switch
connected to CTL 1.
Chapter 6 Setting the External Pedal Functions
Manual Settings
7. To use other Assigns, repeat Steps 2–6.
Here, you can individually determine which controller is to
control which parameter.
fig.06-013
5 2,4
Even when using this procedure, the settings selected in
Step 6 are maintained as is and carried over to the Quick
Settings for the next effect.
8. To save the settings, use the Write procedure (p. 25).
Press [EXIT] to return to the Play screen.
Target
fig.06-040d
This sets the parameter to be affected. The parameters that
you can select as the target are shown below.
Effect On/Off
Effect’s Parameters
1,3
Switches on/off the effect indicated in the screen and
controls the effect’s parameters.
1. Press [ASSIGN].
2. Press PARAMETER [
][
Assigns from Assign 1–8.
] to select one of the
Controls the patch volume.
3. Press [ASSIGN] to set the selected Assign to “On.”
Each time [ASSIGN] is pressed it alternately switches
this on and off. “ASSIGN” flashes in the display when
the Assign is switched on.
* Always set any Assign that is not going to be used to “Off.”
][
] to display the
MST: Master BPM
Controls the Master BPM.
TUNER On/Off
Turns the tuner on and off.
Section 6
4. Press PARAMETER [
following screens.
MST: Patch Level
Master BPM(Tap)
Controls the Master BPM using tap input.
fig.06-020d
Target
Delay Time(Tap)
Controls the delay time using tap input.
Target value range: Min
Target value range: Max
Remote Strt/Stop
Starts and stops the recorder, sequencer, or other such device
connected to the GS-10.
Patch Level Inc1
Source
Source Mode
Increases the patch volume level in increments of 10 units.
Patch Level Inc2
Increases the patch volume level in increments of 20 units.
Active Range Low
Patch Level Dec1
Decreases the patch volume level in increments of 10 units.
Active Range High
Patch Level Dec2
Decreases the patch volume level in increments of 20 units.
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
6. Repeat Steps 4 and 5 as needed.
CH Select Inc
Switches the preamp channel in the following order: A → B
→ C → A...
CH Select Dec
Switches the preamp channel in the following order: C → B
→ A → C...
61
Chapter 6 Setting the External Pedal Functions
* Although you can set this so that the same target is controlled
by more than one controller, in such cases, make sure not to
have different sources changing the parameter at the same
time. Changing the parameter simultaneously using different
sources may result in noise being generated.
When using the expression pedal:
fig.06-070
maximum value
Target Max
Target Range
fig.06-050d
minimum value
Target Min
When the pedal
is fully raised
When the pedal
is fully advanced
Expression Pedal
The value of the parameter selected as the target changes
within the range defined by “Min” and “Max,” as set on the
GS-10.
When using an external foot switch, or other controller that
acts as an on/off switch, “Min” is selected with Off
(CLOSED), and “Max” is selected with On (OPEN).
When using an external expression pedal or other controller
that generates a consecutive change in the value, the value of
the setting changes accordingly, within the range set by the
minimum and maximum values.
Also, when the target is of an on/off type, the median value
of the received data is used as the dividing line in
determining whether to switch it on or off.
When using the foot switch:
fig.06-060
Amount of change in
parameter value
fig.06-080
On
Target Max
On
Off
Target Min
Off
When the pedal
When the pedal
When the pedal
is fully raised is advanced halfway is fully advanced
Expression Pedal
* 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.
maximum value
Target Max
minimum value
Target Min
Off
On
Release
Depress
Foot Switch
62
When controlling the On/Off target with the
expression pedal:
Chapter 6 Setting the External Pedal Functions
Source
Active Range
fig.06-090d
fig.06-110d
This sets the controller (source) that affects the target
parameter.
Controllers that can be selected as the source are shown
below.
EXP PEDAL
Expression pedal connected to the EXP PEDAL/CTL 1, 2
jack.
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.”
CTL 1, CTL 2
Foot switch connected to the EXP PEDAL/CTL 1, 2 jack.
MIDI CC# 1–31, 64–95
(Example)
With Act. Range Lo: 40, Act. Range Hi: 80
fig.06-120
Control Change messages from an external MIDI device (1–
31, 64–95)
maximum value
Target
Max
Source Mode
fig.06-100d
minimum value
Target
Min
0
Normal
40
80
127
Act.Range Act.Range
Lo
Hi
Section 6
This determines whether the control pedal will function as a
momentary type switch (such as the optional FS-5U).
fig.06-130
On
The normal state is Off (minimum value), with the switch On
(maximum value) only while the foot switch is depressed.
On
Toggle
The setting is toggled On (maximum value) or Off (minimum
value) with each press of the foot switch.
* Set this to “Normal” when a latch-type foot switch (such as
the optional FS-5L) is connected, or when selecting something
other than a foot switch as the controller.
Off
Off
0
40
Act.Range
Lo
60 80
127
Center Act.Range
Hi
value
* When using a foot switch or other on/off switching controller
as the source, leave these at “Lo: 0” and “Hi: 127.” With
certain settings, the value may not change.
63
Chapter 7 Convenient Functions and System Settings
Tuning the Guitar
How to Tune
When the Tuner is turned on, sounds input to the GS-10 are
output directly as is (bypassed), and the tuner is activated.
Under these conditions you can then tune your guitar.
1. Play a single open note on the string being tuned.
The name of the note closest to the pitch of the string that
was played appears in the display.
* Only play a single note on the one string being tuned.
Turning the Tuner Function On
2. Tune the string until the string name appears in the
display.
fig.07-010
Regular
1/2 Step
Down
1 Step
Down
7th
B
6th
E
5th
A
4th
D
3rd
G
2nd
B
1st
E
A#
D#
G#
C#
F#
A#
D#
A
D
G
C
F
A
D
3. As you watch the Tuning Guide, adjust the guitar’s
tuning until “■” appears in the center.
4. Repeat Steps 1–3 until all of the strings are tuned.
Each time [TUNER] is pressed, the Tuner is switched on or
off.
The [TUNER] button’s indicator lights when the function is
on.
About the Display During Tuning
With the GS-10’s internal tuner, the note name is indicated in
the upper row of the display and the Tuning Guide is shown
in the lower row, indicating the difference between the input
sound and the sound in the display.
fig.07-020d
* When tuning guitars equipped with a tremolo bar, when one
string is tuned, the others may end up being out of tune. In
this case, tune to the pitch indicated by the initial note name,
then tune the other strings again, repeatedly fine-tuning each
string.
Changing the Tuner Settings
You can change the following tuner-related settings.
Changing the Reference Pitch (435–445 Hz)
fig.07-040d
Note Name
Tuning Guide
When the difference from the correct pitch falls within 50
cents, the Tuning Guide then indicates the size of that
difference. As you watch the Tuning Guide, tune the guitar
so that the “■” appears in the center.
fig.07-030
Too High
The frequency of A4 (the middle A on a piano keyboard)
played by an instrument (such as a piano) that provides the
pitch to which the other instruments refer in tuning before a
performance begins is called the reference pitch. You can set
the reference pitch on the GS-10 from 435 to 445 Hz.
* This is set to 440 Hz when shipped from the factory.
Setting the Output Used During Tuning
fig.07-050d
Tuned
Too Low
This selects the output while Tuner is on.
Mute:
Sounds are muted, and no sound is output.
64
Chapter 7 Convenient Functions and System Settings
Bypass:
Sounds input to the GS-10 bypass the processing and are
output directly as is.
* This is set to “Bypass” when shipped from the factory.
fig.07-060
3
2
Adjusting the Display
Contrast (LCD Contrast)
Depending on where the GS-10 is placed, the display may
become difficult to read. If this occurs, adjust the display
contrast.
1. Press [SYSTEM] a number of times until “LCD
Contrast” is displayed.
* You can also select this by pressing [SYSTEM], and then
pressing PARAMETER [
][
].
fig.07-070d
5 1,5
2. Rotate the PATCH/VALUE dial to adjust the contrast.
Valid Settings: 1–16
1. Press [TUNER], causing the indicator to light.
2. Press PARAMETER [
][
] until you have either
“Tuner Pitch” or “Tuner Output” displayed.
3. Rotate the VALUE dial to change the settings.
4. Repeat Steps 2 and 3 to change each parameter’s
settings.
5. Press [TUNER] or [EXIT] to return to the Play screen.
Switching Tuner On and Off with the External Pedal
Use the Assign (p. 60) settings to set the following to one
of the Assigns in ASSIGN 1–8.
Target:
TUNER On/Off
Target Min:
On
Target Max:
Off
Source:
CTL1 (or CTL2)
Mode:
Toggle
Act. Range Lo:
0
Act. Range Hi:
1–127
Limiting the Patches That Can Be
Switched (Patch Extent)
By setting an upper limit to the patches, thus limiting the
range of patches that can be switched, you can set the GS-10
so that only the patches you need can be selected.
1. Press [SYSTEM], then press PARAMETER [
[
] so that “Patch Extent” is displayed.
]
fig.07-080d
2. Rotate the PATCH/VALUE dial to set the upper limit
for the patches.
Valid Settings: U001–U100, P101–P200
3. Press [EXIT] to return to the Play screen.
65
Section 7
You can use an external pedal (such as the FS-5U)
connected to the EXP PEDAL CTL 1,2 jack to switch the
tuner on and off.
3. Press [EXIT] to return to the Play screen.
Chapter 7 Convenient Functions and System Settings
Keeping the Same Pedal Operations
When Switching Patches (Assign Hold)
Setting the Knob Functions
(Knob Mode)
This setting determines whether or not the Assign’s (p. 60)
operational status is carried over to the next patch when
patches are switched.
This sets the way the values of settings are changed when the
control knobs are turned.
* Assign Hold does not function if the Assign Source mode is set
to Toggle (whereby the value is toggled between Min and Max
each time the pedal is pressed).
1. Press [SYSTEM], then press PARAMETER [
[
] so that “Assign Hold” is displayed.
1. Press [SYSTEM], then press PARAMETER [
[
] so that “Knob Mode” is displayed.
]
fig.07-100d
]
fig.07-090d
2. Rotate the PATCH/VALUE dial to set the Knob mode.
Immediate:
Turning the knobs immediately changes the values.
2. Rotate the PATCH/VALUE dial to set Expression Pedal
Hold.
On: The Assign status is carried over.
(Example)
If a patch is switched while the volume is being
controlled with the expression pedal, the volume of the
subsequent patch will take on the value determined by
the current pedal position (angle).
If the patch switched to has the expression pedal
controlling the wah effect, then the volume assumes the
value set in the patch, and the patch’s wah effect is given
the value derived from the current pedal position
(angle).
Off: The Assign status is not carried over.
(Example)
If a patch is switched while the volume is being
controlled with an expression pedal, the volume of the
subsequent patch is set to the value set in that patch.
If the expression pedal is operated, and that information
is transmitted to the GS-10, the volume will change in
accord with the pedal’s movement.
3. Press [EXIT] to return to the Play screen.
66
Current Setting:
Values begin to change only once the knob position
reaches the values set in the patch.
3. Press [EXIT] to return to the Play screen.
Chapter 7 Convenient Functions and System Settings
Checking the Effect Output
Level with the Level Meter
You can meter the output level of each effect. This is handy
for checking the effects’ output levels.
fig.07-130
2
3
1
1. Press [METER].
fig.07-140d
2. Rotate the PATCH/VALUE dial to select the effect
whose level you want to check.
* Effects are shown in lowercase letters when turned off.
* You can check the level of signals being input to the INPUT
jack by selecting “Input.” Selecting “Output” allows you to
check the level of signals output from the GS-10.
Section 7
* You may not be able to achieve the effects you envision if your
output levels are set too high. Adjust the output level of each of
your effects to the optimum value while checking the meter
and making sure the needle doesn’t swing too far to the right.
3. Press [EXIT] to return to the Play screen.
67
Chapter 8 Using the GS-10 with External MIDI Devices Connected
The GS-10’s MIDI operations are altered when the
GS-10 and the computer are connected via USB.
Also refer to “Chapter 9 Using USB to Connect a
Computer” (p. 78) when making these connections.
Remotely Controlling the GS-10
Using an External MIDI Device
Switching Patch Numbers
When the GS-10 receive Program Change messages from the
external MIDI device, its patches are simultaneously
switched.
Operations Using MIDI
You can perform the following operations using MIDI with
the GS-10.
* The use of MIDI requires that the MIDI channels of the
connected devices match. If the MIDI channel settings are not
correct, the GS-10 will be unable to exchange data with other
MIDI devices.
Operating From the GS-10
Outputting Program Change Messages
You can set up the correspondence between MIDI Program
Change messages and the GS-10’s patches using the Program
Change Map (p. 73). You may need to work on these
correspondences when you want to line up some effects in
combination with other MIDI devices.
The connections shown in the figure below are for a
sequencer automatically performing the backing as a guitar
is being played. The patches are switched automatically
when the program numbers corresponding to the patches are
input along with the performance data at the points where
you have determined the GS-10 patches are to be switched.
fig.08-020
When a patch is selected on the GS-10, a Program Change
message corresponding to the patch number is transmitted
simultaneously. The external MIDI device then switches its
settings according to the Program Change message it
receives.
fig.08-010
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
Outputting Control Change Messages
Data describing the actions of the external devices connected
to the EXP PEDAL/CTL 1,2 jack are output as Control
Change messages. Such messages can be used to (among
other things) manipulate the parameters of an external MIDI
device.
Transmitting Data
You can use Exclusive messages to transmit the settings for
effect sounds and other content stored in the GS-10 to other
MIDI devices. For example, you can provide another GS-10
with the same settings, and save effect sound settings to a
sequencer or other device.
68
Receiving Control Change Messages
You can control specified parameters during a performance
by having the GS-10 receive Control Change messages.
Parameters to be controlled are set with Assign (p. 60).
Receiving Data
The GS-10 can receive data transmitted from another GS-10,
as well as data that’s been stored on a sequencer.
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Making the Settings for MIDI
Functions
TX Channel (Transmit Channel)
Valid Settings: 1–16, Rx
fig.08-060d
Here is a description of the GS-10’s MIDI functions. Set them
as needed, depending on the intended use.
1. Press [SYSTEM] a number of times until the following
screen appears.
fig.08-030d
This sets the MIDI Transmit channel used for transmitting
MIDI messages. When set to “Rx,” this MIDI channel is same
as the MIDI Receive channel.
* This is set to “Rx” when shipped from the factory.
Device ID
2. Press PARAMETER [
][
] so that the
parameter that you want to set appears in the display.
Valid Settings: 1–32
fig.08-070d
3. Rotate the PATCH/VALUE dial to change the setting’s
value.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
This sets the Device ID used for transmitting and receiving
Exclusive messages.
* This is set to “17” when shipped from the factory.
RX Channel (Receive Channel)
Valid Settings: 1–16
fig.08-040d
Sync Clock
Valid Settings: Auto, Internal
fig.08-080d
This sets the MIDI channel used for receiving MIDI
messages.
* This is set to “1” when shipped from the factory.
You can synchronize the performance of a sequencer or other
external MIDI device.
Omni Mode
Auto:
Valid Settings: Omni Off, Omni On
When the MIDI Clock of the external MIDI device is not
being received, the performance is synchronized to the
tempo set in MASTER BPM; when the external MIDI device’s
MIDI Clock is being received, the performance is
synchronized to that.
fig.08-050d
* Even when Omni Mode is set to ON, the only Exclusive
messages received are for Device ID data set with “Device
ID.”
* This is set to “Omni On” when shipped from the factory.
Internal:
The performance is synchronized to the tempo set in Master
BPM.
* This is set to “Auto” when shipped from the factory.
* When you have an external MIDI device connected, the
Master BPM is then synchronized to the external MIDI
device’s tempo, thus disabling the Master BPM setting. To
enable setting of the Master BPM, set to “Internal.”
* When synchronizing performances to the MIDI Clock signal
from an external MIDI device, timing problems in the
performance may occur due to errors in the MIDI Clock.
69
Section 8
When set to “Omni On,” messages are received on all
channels, regardless of the MIDI channel settings.
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Remote Ctrl (Remote Control)
Off:
Valid Settings: Standard, Advanced, MMC
Program Change messages are not output, even when
patches are switched.
This setting determines the MIDI messages transmitted when
a MIDI sequencer or other external MIDI device is controlled
with a foot switch or other controller connected to the GS-10.
fig.08-090d
On:
Program Change messages are simultaneously output when
patches are switched.
* This is set to “On” when shipped from the factory.
Standard:
System Realtime messages are transmitted.
EXP PDL Out (Expression Pedal Out)
Valid Settings: Off, 1–31, 33–95
fig.08-120d
Advanced:
System Realtime messages and Note messages are
transmitted.
MMC:
MIDI Machine Control is transmitted.
* For more details, refer to “Controlling Recorders and
Sequencers Remotely from the GS-10 (Remote Control)”
(p. 75).
* This is set to “Advanced” when shipped from the factory.
This sets the controller number when expression pedal
operation data is output as Control Change messages. When
set to “Off, “Control Change messages are not output.
* This is set to “CC# 7” when shipped from the factory.
CTL1 Out (Control 1 Out)
Valid Settings: Off, 1–31, 33–95
fig.08-130d
KnobCtl Out (Knob Control Out)
Valid Settings: Off, On
fig.08-100d
This setting determines whether or not the information
describing the knob adjustments is output as System
Exclusive messages.
This sets the controller number when operation data from
the external pedal connected to the CTL 1 jack is output as
Control Change messages. When set to “Off, “Control
Change messages are not output.
* This is set to “Off” when shipped from the factory.
Off:
CTL2 Out (Control 2 Out)
Knob operations are not output as System Exclusive
messages.
Valid Settings: Off, 1–31, 33–95
fig.08-140d
On:
Knob operations are output as System Exclusive messages.
* This is set to “On” when shipped from the factory.
PC Out (Program Change Out)
Valid Settings: Off, On
This sets the controller number when operation data from
the external pedal connected to the CTL 2 jack is output as
Control Change messages. When set to “Off, “Control
Change messages are not output.
fig.08-110d
* This is set to “Off” when shipped from the factory.
This setting determines whether or not Program Change
messages are output when patches are switched on the GS10.
70
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Transmitting and Receiving
Settings Data
When Transmitting Data to Another GS-10
Connect as shown in the figure below, and match the Device
ID for the transmitting and receiving devices.
fig.08-160
On the GS-10, you can use Exclusive messages to provide
another GS-10 with identical settings, and save effect settings
on a sequencer or other device.
Transmitting data this way is called “Bulk Dump,” while
receiving such data is referred to as “Bulk Load.”
Transmitting Data to an External
MIDI Device (Bulk Dump)
MIDI IN
The following types of data can be transmitted. You can
transmit data by specifying the range from the start to the
end of transmission.
Displayed
System
U001–U100
Temp
Data Transmitted
System Parameters, Harmonist scales,
Auto Riff phrases, and Preamp, Overdrive/Distortion, and Wah Custom Edit
parameter settings
Settings for Patch Number U001 through
U100
Settings for the patch the is currently called
up
MIDI OUT
Transmitting
fig.08-170
2
Making the Connections
1,2
When Saving to a MIDI Sequencer
Connect as shown in the figure below, and put the sequencer
in the state where it is ready to receive Exclusive messages.
fig.08-150
4 3
MIDI OUT
Section 8
MIDI IN
1
1. Press [SYSTEM], then press PARAMETER [
]
[
] so that “MIDI:Bulk Dump” is displayed.
fig.08-170d
2. Press PARAMETER [
][
] to move the cursor,
and rotate the PATCH/VALUE dial to select the start
and end of the data to be transmitted.
* For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using.
3. When the data to be sent has been determined, press
[WRITE].
The data is transmitted.
71
Chapter 8 Using the GS-10 with External MIDI Devices Connected
fig.08-180d
fig.08-210d
When the transmission is completed, the screen prior to
transmission returns to the display.
The following appears in the display when the GS-10
finishes receiving the data.
fig.08-220d
4. Press [EXIT] to return to the Play screen.
Receiving Data from an External
MIDI Device (Bulk Load)
At this stage, even more data can be received.
3. Press [EXIT] to quit Bulk Load.
After you press [EXIT], the Play screen returns to the
display.
Making the Connections
When Receiving Data Saved on a MIDI Sequencer
Connect as shown below. Set the GS-10’s Device ID to the
same number that was used when the data was transmitted
to the MIDI sequencer.
fig.08-190
MIDI OUT
MIDI IN
* For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using.
Receiving
1. Press [SYSTEM], then press PARAMETER [
[
] so that “MIDI:Bulk Load” is displayed.
]
fig.08-200d
2. Transmit the data from the external MIDI device.
The following appears in the display when the GS-10
receives the data.
72
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Setting the Program Change Map
fig.08-230
2
3 1,4
When switching patches using Program Change messages
transmitted by an external MIDI device, you can freely set
the correspondence between Program Change messages
received by the GS-10 and the patches to be switched to in
the “Program Change Map.”
Initial Program Change Map Settings
The Program Change Map set at the factory is shown below.
Program Change
Bank
Program
Select
Number
1
2
3
:
:
98
0
99
100
101
102
:
128
1
2
3
:
:
98
1
99
100
101
102
:
128
6
Patch Number
U001
U002
U003
:
:
U098
U099
U100
U100
U100
:
U100
P101
P102
P103
:
:
P198
P199
P200
P200
P200
:
P200
1
1. Press [SYSTEM], then press PARAMETER [
]
[
] so that “MIDI:Map Select” is displayed.
fig.08-240d
2. Rotate the PATCH/VALUE dial to select “Program.”
* You cannot set the Program Change Map when “Fix” is
selected (it is not displayed).
* See below for more on “MID Map Select.”
3. Press PARAMETER [
appears in the display.
] until “MIDI:Program Map”
fig.08-250d
Bank Select
Number
Program
Number
Patch
Number
4. Press PARAMETER [
][
] to move the cursor,
and rotate the PATCH/VALUE dial to set the received
Program number and the corresponding patch number.
* When using only Program Change messages to make program
changes, without using Bank Select messages, set the Program
number (1-128) when the Bank Select number is “0.”
5. Repeat Step 4 as needed, setting patch numbers to their
corresponding Program numbers, until the Program
Change Map is completed.
6. Press [EXIT] to return to the Play screen.
73
Section 8
* Use this same procedure to select Bank Select Numbers.
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Enabling/Disabling the Program
Change Map Settings (MIDI Map Select)
This setting determines whether patches are switched
according to the Program Change Map settings, or to the
default settings.
1. Press [SYSTEM], then press PARAMETER [
]
[
] so that “MIDI:Map Select” is displayed.
Changing Patch Numbers on an
External MIDI Device From the GS-10
When patches are switched with the GS-10, a Program
Change message is transmitted. The correspondence
between the GS-10’s initial bank and patch numbers and the
transmitted Program Change messages is shown in the table
below.
fig.08-260d
Patch Number
2. Rotate the PATCH/VALUE dial to select “Fix” or
“Prog.”
Fix:
Switches to the patches according to the default settings.
For more on the default settings, refer to “Initial Program
Change Map settings” (p. 73).
Prog:
Switches to the patches according to the Program
Change Map.
3. Press [EXIT] to return to the Play screen.
74
U001
U002
U003
:
:
U098
U099
U100
P101
P102
P103
:
:
P198
P199
P200
Program Change
Bank
Program
Select
Number
1
2
3
:
0
:
98
99
100
1
2
3
:
1
:
98
99
100
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Controlling Recorders and Sequencers
Remotely from the GS-10 (Remote Control)
If you have a MIDI-controllable recorder, sequencer, or other
such external MIDI device connected to the GS-10, you can
connect a foot switch to the EXP PEDAL CTL 1,2 jack and use
it for remote control of the external MIDI device.
Setting the Messages Used for
Controlling Devices
The GS-10 features three kinds of messages (MIDI messages)
that are used for controlling external MIDI devices, and you
can select messages in accordance with the connected device.
Use the software to set the operations to be performed by
means of these Note messages.
* Settings examples are given on p. 76 and p. 77. Please refer to
these examples.
STOP
START
90 00 00 90 02 01 90 02 00 90 00 00 FC
90 00 00 90 04 01 90 04 00 90 00 00 FA
About Note Messages
When START is activated, the following messages are
output.
fig.08-281
Note# 00 On
Note# 04 On
Note# 04 Off
Note# 00 Off
fig.08-270
2
1
Note Messages for Assigning Functions: Note#04 (E -1)
Note Messages for Remote Control: Note#00 (C -1)
Messages are similarly output for Reset/Stop/Play/Rec.
The following shows the correspondence between the
functions and the Note messages used in assigning them.
3
1
1. Press [SYSTEM] a number of times, then press
PARAMETER [
][
] so that “MIDI:Remote
Ctrl” is displayed.
Reset
Stop
Play
Rec
Note#
05
02
04
07
Note Name (Key)
F -1
D -1
E -1
G -1
* The note name (Key) may differ depending on the
application used and the settings; you may wish to refer to
the relevant manual for details.
fig.08-280d
* Note messages are transmitted over the selected transmission
channel (p. 69).
2. Use the PATCH/VALUE dial to select the message
according to the connected external MIDI device.
MIDI System messages are transmitted.
STOP
START
FC
FA
MIDI Machine Control is transmitted.
STOP
START
Section 8
When set to Standard
When set to MMC
F0 7F 7F 06 01 F7
F0 7F 7F 06 02 F7
3. Press [EXIT] to return to the Play screen.
When set to Advanced
Some computer applications allow recording and
playback functions such as Start and Stop to be assigned
to specified MIDI messages.
When this setting is selected, Note messages used in
sending commands for remote control to the application
and Note messages for assigning various functions are
transmitted together with the Standard messages.
75
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Controlling the Device Remotely
Making the Connections
Make the connections as shown below.
With the GS-10, you can control external MIDI devices
by combining [EXIT] and DIRECT PATCH [1]–[4].
fig.08-300
fig.08-280
Reset
Play
Rec
The Reset, Stop, Play, and Rec functions are assigned to
DIRECT PATCH [1]–[4]. When you press these buttons
while holding down [EXIT], the messages corresponding
to the MIDI: Remote Ctrl setting are transmitted.
MIDI IN
MIDI OUT
Stop
EXP PEDAL
/ CTL 1,2
When MIDI: Remote Ctrl is set to Standard
MIDI System messages are transmitted.
Reset
Stop
Play
Rec
No function
FC
FA
No function
* Neither FA nor FC can be transmitted consecutively.
* For more on the operation of the connected device, refer to the
owner’s manual for the device you are using.
When MIDI: Remote Ctrl is set to Advanced
Setting
Some computer applications allow recording and
playback functions such as Start and Stop to be assigned
to specified MIDI messages.
1. Follow the instructions in “Setting the Messages Used
for Controlling Devices” (p. 75) to set the messages that
are to be used for remote control.
When set to this setting, Note messages used in
assigning functions are transmitted in addition to the
Standard messages.
2. Press [SYSTEM] a number of times, then press
PARAMETER [
][
] so that “SYS:CTL1 Func”
(or “SYS:CTL2 Func”) is displayed.
fig.08-290d
Use the software to set the operations to be performed by
means of these Note messages.
Reset
Stop
Play
Rec
90 00 01
90 00 01
90 00 01
90 00 01
90 05 01
90 02 01
90 04 01
90 07 01
90 05 00
90 02 00
90 04 00
90 07 00
90 00 00
90 00 00 FC
90 00 00 FA
90 00 00
* Neither FA nor FC can be transmitted consecutively.
* Note messages are transmitted over the selected
transmission channel (p. 69).
* If connecting only one foot switch, set the GS-10 so that
“SYS:CTL1 Func” is indicated; if connecting two foot
switches, set the GS-10 so that “SYS:CTL1 Func” or
“SYS:CTL2 Func” is indicated for the corresponding foot
switch.
3. Rotate the PATCH/VALUE dial to select “Remote Strt/
Stop.”
* For more on “SYS:CTL1 Func” (or “SYS:CTL2 Func”), refer
to p. 59.
4. Press [EXIT] to return to the Play screen.
Each time the foot switch is pressed, it alternately sends
Start and Stop.
76
When set to MMC
MIDI Machine Control is transmitted.
Reset
Stop
Play
Rec
F0 7F 7F 06 44 06 01 00 00 00 00 00 F7
F0 7F 7F 06 01 F7
F0 7F 7F 06 02 F7
F0 7F 7F 06 06 F7
Chapter 8 Using the GS-10 with External MIDI Devices Connected
Settings Example: When Using SONAR 2.0
The following settings allow you to control the sequencer Play/Stop, Reset, and Record functions from the GS-10.
(With SONAR 2.0, these are set according to note names (Keys) rather than Note messages.)
1. From the Options menu, choose “MIDI Devices.”
14. In the [Bindings] area, set [Key] to [G -1].
2. In the “MIDI Devices” dialog box, select [BOSS GS10 Control] as both the Inputs and Outputs.
15. In the [Function] area, select [Transport | Record].
3. From the Options menu, choose “Key Bindings.”
4. Make the following settings in the “Key Bindings”
dialog box.
[Type of Keys]
16. Click the [Bind] button.
The [Key] [G -1] will be connected to the [Function]
area [Transport | Record].
Repeat Steps 5–16 so that the following settings are
created.
Check “MIDI” and “Enable”
[MIDI ‘Shift’ Options]
Check “Key”, and input “C -1”
5. In the [Bindings] area, set [Key] to [D -1].
6. In the [Function] area, select [Transport | Stop].
7. Click the [Bind] button.
The [Key] [D -1] will be connected to the [Function]
area [Transport | Stop].
Reset
Stop
Play
Rec
Note #
05
02
04
07
Key
F-1
D-1
E-1
G-1
Function
Transport | Reset
Transport | Stop
Transport | Play
Transport | Record
17. Click the [OK] button to finish making settings.
The “Key Bindings” dialog box will close, and the
settings will be completed.
8. In the [Bindings] area, set [Key] to [E -1].
9. In the [Function] area, select [Transport | Play].
10. Click the [Bind] button.
The [Key] [E -1] will be connected to the [Function]
area [Transport | Play].
11. In the [Bindings] area, set [Key] to [F -1].
12. In the [Function] area, select [Transport | Reset].
13. Click the [Bind] button.
The [Key] [F -1] will be connected to the [Function]
area [Transport | Reset].
Section 8
77
Chapter 9 Using the GS-10 Connected to a Computer Via USB
Before Connecting with USB
Setting USB-Related Functions
With the GS-10, you can use USB to transmit both digital
audio signals and MIDI messages between the GS-10 and
your computer.
Adjusting the Recording Level
(Output Level)
This requires installation of a USB driver on your computer
so that it can work with the GS-10’s driver mode settings.
This adjusts the volume level of the digital audio output to
the USB and DIGITAL OUT connectors.
For instructions on installing the driver, please read
“Installing & Setup the USB Driver” (p. 125).
1. Press [USB].
fig.09-009
2. Press PARAMETER [
displayed.
][
] so that “Out Levl” is
fig.09-010d
Computer
3. Rotate the PATCH/VALUE dial to set the output level.
4. Press [EXIT] to return to the Play screen.
Adjusting the Playback Volume
Level (Input Level)
This adjusts the volume level of the digital audio input from
the USB connector.
Driver Mode
The GS-10 features two operational modes, one mode that
uses the special driver on the CD-ROM included with the
GS-10 and another mode that uses the operating system’s
(Windows/Mac OS) standard drivers.
1. Press [USB].
2. Press PARAMETER [
Level” is displayed.
][
] so that “Input
fig.09-020d
The special driver provides high-quality sound and stable
timing for audio recording, playback, and editing.
In addition, the driver enables you to control the GS-10 with
MIDI messages and connect external MIDI devices to your
computer.
78
3. Rotate the PATCH/VALUE dial to set the input level.
4. Press [EXIT] to return to the Play screen.
Chapter 9 Using the GS-10 Connected to a Computer Via USB
Enabling and Disabling the Direct
Monitor Command
This setting determines whether or not the command (the
Direct Monitor command) controlling the Direct Monitor
(described later) setting is enabled.
1. Press [USB].
2. Press PARAMETER [
displayed.fig.
][
] “Monitor Cmd” is
Off:
Set this to Off if transmitting audio data internally
through a computer (Thru).
* This is set to “On” when shipped from the factory.
* If you are using the special driver, you can control Direct
Monitor On/Off from ASIO 2.0-compatible application such
as Cubase.
4. Press [EXIT] to return to the Play screen.
09-021d
Setting the Output Mode
This selects whether the output is in stereo or if the effect
sound and direct sound are output separately.
3. Use the PATCH/VALUE dial to enable or disable the
command.
Disable:
The Direct Monitor command is disabled, maintaining
the Direct Monitor mode set by the GS-10.
1. Press [USB].
2. Press PARAMETER [
Mode” is displayed.
][
] so that “Output
fig.09-031d
Enable:
The Direct Monitor command is enabled, allowing the
Direct Monitor mode to be switched from an external
device.
* This is set to “Disable” when shipped from the factory.
3. Rotate the PATCH/VALUE dial to set the output mode.
Stereo (L/R):
Sounds are output in stereo.
4. Press [EXIT] to return to the Play screen.
Switching the Output Signals
(Direct Monitor)
This setting determines whether or not the effect sound is
output by the GS-10’s speakers or at the PHONES, OUTPUT
L/R, or GUITAR AMP OUT jacks.
Effect/Direct:
The effect sound and direct sound are output separately
and independently.
* This is set to “Stereo (L/R)” when shipped from the factory.
4. Press [EXIT] to return to the Play screen.
1. Press [USB].
2. Press PARAMETER [
Monitor” is displayed.
][
] so that “Dir
fig.09-030d
Section 9
3. Rotate the PATCH/VALUE dial to set On or Off.
On:
The effect sound is output. Set this to On when using the
GS-10 as a standalone device, without connecting to a
computer (no sound will be output if this is set to Off).
79
Chapter 9 Using the GS-10 Connected to a Computer Via USB
Switching the Driver Mode
After first installing both the special and standard drivers
and then switching the GS-10’s driver mode, you can switch
between the special driver and the standard driver to use the
one you need.
For more on installing the drivers, refer to “Installing &
Setup the USB Driver” (p. 125).
1. Press [USB].
2. Press PARAMETER [
Mode” is displayed.
][
] so that “Driver
fig.09-040d
MIDI in Standard Driver Mode
Normally, it’s better to use MIDI in the Advanced driver
mode.
* With the factory settings, the Standard driver mode is
compatible only with audio.
If “Standard” is selected as the driver mode with an OS
standard driver that is compatible with both audio and MIDI
data, you can use both audio and MIDI with the standard
driver by making the following settings.
* It has been confirmed that standard Windows XP/2000/Me/98
and Mac OS X/9/8 drivers are not supported or that problems
may occur due to their use.
1. Press [USB].
3. Rotate the PATCH/VALUE dial to set the driver mode.
2. Press PARAMETER [
Func” is displayed.
][
] so that “Std.Drv
fig.09-050d
Standard:
The standard OS USB driver is used in this mode.
Advanced:
The special driver on the included CD-ROM is used in
this mode.
* This is set to “Advanced” when shipped from the factory.
4. Press [EXIT] to return to the Play screen.
* If the driver for the set mode has not yet been installed, at this
point you need to turn off the power to the GS-10 and install
the driver.
5. Quit any sequencer software and any other computer
applications used by the GS-10.
6. Switch off the GS-10, then turn it on again.
The corresponding driver is installed on the computer.
3. Rotate the PATCH/VALUE dial to set the standard
driver function.
Audio:
Only audio is used.
Audio&MIDI:
Both audio and MIDI are used.
4. Press [EXIT] to return to the Play screen.
5. Quit any sequencer software and any other computer
applications used by the GS-10.
6. Turn off the power to the GS-10, and then turn the unit
on again.
* For more on installing the drivers, refer to “Installing & Setup
the USB Driver” (p. 125).
80
Chapter 9 Using the GS-10 Connected to a Computer Via USB
Recording the GS-10’s
Output with a Computer
Running the GS-10 from a
Computer
Set your application (such as a sequencer) so that the audio
input port it uses is the GS-10.
You can use USB MIDI to run the GS-10 from your computer.
You can freely set the point in the signal chain from which to
extract the signal to be sent to the computer with Effect
Chain (p. 24). For example, by setting this so that the
computer records the signals as they are at the beginning of
the chain, you can record the sounds without any effects
added while you listen to the performance with the effects
applied from the speakers.
If you are using the software to send the audio data through,
set Direct Monitor (p. 79) to Off.
Applying Effects with the GS-10
to a Computer’s Audio Playback
Set the audio output port used by applications to the GS-10.
You can use the GS-10 to add effects to audio data played
back from the computer, and then record these sounds back
to the computer.
When you set the GS-10 to the Advanced driver mode (p.
126, p. 146), the MIDI connectors used for operation of the
GS-10 switches from MIDI IN/OUT connectors to the USB
driver’s “GS-10 Control” MIDI ports. Set your editor and
sequencer MIDI input and output ports to GS-10 Control.
For more on MIDI-related settings, refer to “Chapter 8 Using
the GS-10 with External MIDI Devices Connected” (p. 68).
Using the GS-10 As a MIDI
Interface
When the GS-10 is set to the Advanced driver mode (p. 126,
p. 146) and connected via USB, you can use the GS-10’s MIDI
IN and OUT connectors to connect your computer to external
MIDI devices.
Set the input and output ports used for the computer’s MIDI
applications to GS-10 MIDI In/Out.
Use this feature when you want to add effects to existing
audio data.
1. Press [INPUT SELECT].
fig.09-060d
2. Use the PATCH/VALUE dial to select one of the
following settings.
USB (Gtr/Mic):
Effects are applied to guitar and vocal sounds from the
computer.
USB (Bass):
Effects are applied to bass sounds from the computer.
3. Press [EXIT] to return to the Play screen.
Section 9
The flow of audio signals at this point is shown in the
figure on p. 19, p. 20.
In this mode, set the software so that audio is not
transmitted through (not set to Thru).
81
Appendices
About MIDI
MIDI is an acronym for Musical Instrument Digital Interface,
and is a world-wide standard for allowing electronic musical
equipment to communicate by transmitting messages such as
performance information and sound selections. Any MIDI
equipped device is able to transmit applicable types of data
to another MIDI equipped device, even if the two devices are
different models or were made by different manufacturers.
In MIDI, performance information such as playing a key or
pressing a pedal are transmitted as MIDI Messages.
How MIDI messages are
transmitted and received
First, we will explain briefly how MIDI messages are
transmitted and received.
MIDI has sixteen channels 1–16, and MIDI messages will be
received by the instrument (the receiving device) whose
channel matches the channel of the transmitter.
* If omni mode is on, data of all MIDI channels will be received
regardless of the MIDI channel setting. If you do not need to
control a specific MIDI channel, you may set Omni On.
Main types of MIDI message
used by the GS-10
MIDI includes many types of MIDI messages that can convey
a variety of information. MIDI messages can be broadly
divided into two types; messages that are handled separately
by MIDI channel (channel messages), and messages that are
handled without reference to a MIDI channel (system
messages).
MIDI connectors
Channel messages
The following types of connector are used to convey MIDI
messages. MIDI cables are connected to these connectors as
needed.
These messages are used to convey performance
information. Normally these messages perform most of the
control. The way in which a receiving device will react to
each type of MIDI message will be determined by the
settings of the receiving device.
fig.10-010
Program change messages
MIDI IN
MIDI OUT
MIDI THRU
This connector receives messages from another MIDI device.
This connector transmits messages from this
device.
This connector re-transmits the messages
that were received at MIDI IN.
* The GS-10 features both “MIDI IN” and “MIDI OUT”
connectors.
These messages are generally used to select sounds, and
include a program change number from 1 to 128 which
specifies the desired sound. The GS-10 also allows you to
select any of the 200 different patch numbers in conjunction
with bank select messages; a type of control change message.
Control change messages
These messages are used to enhance the expressiveness of a
performance. Each message includes a controller number,
and the settings of the receiving device will determine what
aspect of the sound will be affected by control change
messages of a given controller number.
MIDI channels
The specified parameters can be controlled with the GS-10.
MIDI is able to independently control more than one MIDI
device over a single MIDI cable. This is possible because of
the concept of MIDI channels.
System messages
The idea of MIDI channels is somewhat similar to the idea of
television channels. By changing channels on a television set,
you can view a variety of programs. This is because the
information of a particular channel is received when the
channels of the transmitter and receiver match.
fig.10-020
Broadcasting
Station A
T.V. information from many different broadcasting station is
sent through an antena.
Broadcasting
Station B
Broadcasting
Station C
Select the channel of the broadcasting
station you wish to watch
82
System messages include exclusive messages, messages used
for synchronization, and messages used to keep a MIDI
system running correctly.
Exclusive messages
Exclusive messages handle information related to a unit’s
own unique sounds, or other device-specific information.
Generally, such messages can only be exchanged between
devices of the same model by the same manufacturer.
Exclusive messages can be employed to save the settings for
effects programs into a sequencer, or for transferring such
data to another GS-10.
The two instruments must be set to the same device ID
numbers when exchanging SysEx messages.
Appendices
About the MIDI implementation
MIDI allows a variety of messages to be exchanged between
instruments, but it is not necessarily the case that all types of
message can be exchanged between any two MIDI devices.
Two devices can communicate only if they both use the types
of messages that they have in common.
Thus, every owner’s manual for a MIDI device includes a
“MIDI Implementation Chart.” This chart shows the types of
message that the device is able to transmit and receive. By
comparing the MIDI implementation charts of two devices,
you can tell at a glance which messages they will be able to
exchange. Since the charts are always of a uniform size, you
can simply place the two charts side by side.
fig.10-030
Fold here
MIDI Device A
Function
Error Messages
If you attempt an incorrect operation or if an operation could
not be executed, the display will indicate an error message.
Refer to this list and take the appropriate action.
fig.10-060d
●
The memory backup battery inside the GS-10 has run
down. (This message will appear when the power is
turned on.)
❍
Replace the battery as soon as possible. For battery
replacement, please contact a nearby Roland service
center or your dealer.
MIDI Device B
Transmit
Recognized
Remarks
fig.10-070d
●
There is a problem with the MIDI cable connection.
❍
Check to make sure the cable has not been pulled out or
is not shorted.
fig.10-080d
About USB
USB, short for “Universal Serial Bus,” is an interface for
connecting peripheral equipment to computers. Using USB,
you can connect a variety of peripherals using a single USB
cable and transfer data rapidly. It also allows peripheral
devices to be connected or disconnected while the power is
left on, while the computer automatically recognizes when
this occurs (some devices may require settings or other
procedures).
With the GS-10, you can use MIDI to transfer MIDI messages
and audio data.
●
More MIDI messages were received in a short time than
could be processed correctly.
fig.10-081d
●
You are attempting to change the following PREAMP/
SPEAKER (p. 28) parameter settings with OUTPUT
SELECT (p. 16) set to something other than Line/
Phones:
SP Type, Mic Type, Mic Dis., Mic Pos., Mic Level,
Direct Level
❍
The settings may be changed, but they have no effect.
Appendices
83
Appendices
Patch List
No.
P101
P102
P103
P104
P105
P106
P107
P108
P109
P110
P111
P112
P113
P114
P115
P116
P117
P118
P119
P120
P121
P122
P123
P124
P125
P126
P127
P128
P129
P130
P131
P132
P133
P134
P135
P136
P137
P138
P139
P140
P141
P142
P143
P144
P145
P146
P147
P148
P149
P150
84
Patch Name
POWER LEAD
WARM CLEAN
BRIT VALVES
METAL MASTERS
ATTIC AMPS
WARM OVERDRIVE
1969 VIBE
CLASSICAL ROCK
5th TONE+SlwGEAR
CRYING
70's FUNK
ALMOST HUMAN
80's ROCKABILLY
H&K TRIPLE
TEXAS TREM
JAZZ CATS
DRIVIN' BG
BIGGEST MUFF
CLEAN + DRIVE
SOLID STACK
CRUNCH ROTARY
CLASSIC TRIO
OC + FUZZ
3 CHANNEL TWIN
CREAMED MS1959
CRUNCHY STRAT
FLANGE ME OUT!
DS-1 STANDARD
DOTTED 8th DELAY
FAT CRUNCH!!
FEEDBACK
FRETLESS SOLO
1968-80 for LP
GS-PAD
HARMONYMAN in Am
NATURAL CRUNCH
HUM->ACOUSTIC
HARD ROCK70s-90s
HEAVY RIFF
HiGAIN BG LEAD
HIT E5 CHORD
JAZZY CHORD LP
LOUD,LDR,LOUDEST
CLASSIC DUDE
LEGATO MASTER
MAGIC JC
MATCH ROCK
MELLOW HOLLOW
MELTDOWN
METALIZER
OD/DS
T-Scream
'60s FUZZ
T-Scream
GUV DS
Blues OD
MUFF FUZZ
Turbo OD
Booster
MUFF FUZZ
Blues OD
Distortion
Natural OD
Booster
T-Scream
-
Ch. Select
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
B
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
C
A
A
C
A
A
A
A
A
A
A
A
A
A
A
A
A
ch-A
MS1959(I)
Warm Clean
VO Drive
T-Amp Lead
Pro Crunch
Fat MATCH
MS1959(I)
Pro Crunch
Warm Clean
MS1959(I)
Clean TWIN
Clean TWIN
Warm Clean
T-Amp Clean
Warm Clean
Jazz Combo
BG Rhythm
JC-120
Warm Clean
Power Stack
Crunch
Clean TWIN
MS1959(I)
Clean TWIN
Wild Crunch
Warm Clean
Clean TWIN
MS1959(I)
Warm Clean
Wild Crunch
Crunch
Mic Preamp
VO Drive
Full Range
Warm Clean
Blues
Full Range
MS HiGain
R-FIER Vint
BG Rhythm
MS1959(I+II)
Warm Clean
MS1959(I)
JC-120
Clean TWIN
JC-120
MATCH Drive
Warm Clean
JC-120
Clean TWIN
ch-B
Drive Stack
Warm Clean
MS1959(I)
R-FIER Red
Clean TWIN
Crunch
MS1959(I)
MS1959(I)
JC-120
MS1959(II)
Clean TWIN
Crunch
Pro Crunch
T-Amp Crunch
Clean TWIN
Pro Crunch
BG Drive
Full Range
MATCH Drive
Power Stack
Crunch
MS1959(I+II)
BG Lead
Clean TWIN
MS1959(I+II)
Clean TWIN
Crunch
Drive Stack
Tweed
Fat MATCH
R-FIER Red
BASS 360
MS1959(I)
Clean TWIN
Wild Crunch
T-Amp Clean
Full Range
BG Lead
R-FIER Orng
BG Drive
SLDN
Jazz Combo
Power Stack
VO Drive
Smooth Drive
JC-120
Fat MATCH
Crunch
Fat MATCH
5150 Drive
ch-C
Metal Lead
JC-120
MS HiGain
5150 Drive
VO Lead
VO Drive
Power Stack
MS HiGain
SLDN
MS HiGain
Clean TWIN
BG Lead
Drive Stack
T-Amp Lead
Pro Crunch
SLDN
R-FIER Orng
Pro Crunch
Smooth Drive
Power Stack
Crunch
R-FIER Red
Power Stack
Clean TWIN
MS1959(II)
Pro Crunch
Smooth Drive
Drive Stack
Full Range
SLDN
R-FIER Red
Warm Clean
MS1959(I)
Warm Clean
MS1959(I+II)
Drive Stack
Full Range
5150 Drive
R-FIER Red
BG Lead
BG Drive
JC-120
R-FIER Orng
VO Lead
T-Amp Lead
MS HiGain
Fat MATCH
Smooth Drive
MS1959(I)
Metal Lead
Appendices
Patch Name
MORPHEOUS
MS TRI-CHANNEL
MODERN CRUNCH
MONO SYNTH
CLEAN&COMPRESSED
DRIVE1964-65-69
OCTAVE SYN LEAD
OLD MS w/JUMPER
SLICE IT UP!
OCTAVE T-WAH
RHODES GUITAR
PINK WALL
POWER CHORD
ORCHESTRAL DELAY
ROCK ON DOWN 2 D
TRIPLE CLEAN
R-FIRED UP
REAL TWEED
SINGLE->ACOUSTIC
SMOOTH LEAD
SNAPPY WAH
ST CRUNCH AMB
SUPER CLEAN
SCOOP!
SEMI-HOLLOW
SMOOTH SOLO
STRICTLY STRAT
OCTAVE FUZZ
SUPER NATURAL
AUSTIN + HOUSTON
MOVING IN SYNC
SWAMP for ST
TON O'METAL
TREM-VIBRATO
5th MONO DRONE
CLN,CRUNCH&TWEED
ROCK RHYTHM
BASSFACE
PLAY E.ACOUSTIC
PIEZO->Ac.GUITAR
VOCAL HARMO[Mic]
FINGERED [Bass]
PICK DRIVE[Bass]
FUNK SLAP [Bass]
ENHANCED [Bass]
FRETLESS [Bass]
TRIPLE 810[Bass]
OC HiGAIN [Bass]
B-MANIAC [Bass]
DI CLEAN [Bass]
OD/DS
Metal Zone
Blues OD
Turbo OD
Blues OD
Oct FUZZ
Oct FUZZ
-
Ch. Select
C
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
C
A
A
A
A
A
A
A
A
A
A
ch-A
Full Range
MS1959(I)
T-Amp Clean
JC-120
Clean TWIN
VO Drive
Mic Preamp
MS1959(I)
BG Rhythm
Clean TWIN
Warm Clean
MATCH Drive
Crunch
Clean TWIN
Warm Clean
Warm Clean
R-FIER Orng
Tweed
Mic Preamp
Smooth Drive
Warm Clean
Fat MATCH
Mic Preamp
Crunch
Clean TWIN
Smooth Drive
Warm Clean
Pro Crunch
Warm Clean
Warm Clean
Pro Crunch
Pro Crunch
R-FIER Red
Clean TWIN
Warm Clean
Clean TWIN
Warm Clean
CONCERT 810
Mic Preamp
Full Range
Mic Preamp
FLIP TOP
SESSION
Bass Clean
SESSION
BASS 360
CONCERT 810
T. E.
B-MAN
Mic Preamp
ch-B
MATCH Drive
MS1959(I)
T-Amp Clean
Blues
Clean TWIN
VO Lead
Mic Preamp
MS1959(II)
Clean TWIN
BG Lead
Warm Clean
MATCH Drive
MATCH Drive
Crunch
Pro Crunch
Pro Crunch
R-FIER Orng
Tweed
Full Range
Smooth Drive
Blues
Crunch
Mic Preamp
T-Amp Lead
Clean TWIN
Smooth Drive
Clean TWIN
Clean TWIN
Mic Preamp
Clean TWIN
Tweed
Tweed
Drive Stack
VO Drive
Clean TWIN
Pro Crunch
MS1959(I)
Bass Crunch
Full Range
Full Range
Clean TWIN
T. E.
BASS 360
T. E.
Bass Clean
Mic Preamp
CONCERT 810
B-MAN
B-MAN
Mic Preamp
ch-C
R-FIER Vint
MS HiGain
T-Amp Lead
SLDN
BG Lead
Clean TWIN
Mic Preamp
MS1959(I+II)
SLDN
5150 Drive
Warm Clean
MATCH Drive
Fat MATCH
VO Drive
MS HiGain
T-Amp Clean
R-FIER Red
Tweed
Warm Clean
Smooth Drive
T-Amp Lead
VO Drive
JC-120
5150 Drive
Clean TWIN
Smooth Drive
Pro Crunch
Pro Crunch
JC-120
BG Rhythm
BG Drive
MS1959(I)
MS HiGain
Power Stack
MS1959(I+II)
Tweed
MS1959(I)
Bass HiGain
JC-120
Full Range
MS HiGain
BASS 360
Bass Crunch
SESSION
T. E.
T. E.
CONCERT 810
Bass HiGain
B-MAN
Bass Clean
Appendices
No.
P151
P152
P153
P154
P155
P156
P157
P158
P159
P160
P161
P162
P163
P164
P165
P166
P167
P168
P169
P170
P171
P172
P173
P174
P175
P176
P177
P178
P179
P180
P181
P182
P183
P184
P185
P186
P187
P188
P189
P190
P191
P192
P193
P194
P195
P196
P197
P198
P199
P200
* With the factory settings, the content of the User patches is the same as that of the Preset patches.
* Patches with [Mic] appended to the name are for use with mics. Sound from the GUITAR/BASS jack won’t be heard.
* Patches with [Bass] appended to the name are for use with basses.
85
Appendices
Restoring the Factory
Settings (Factory Reset)
Factory Settings
Restoring the GS-10 to the settings made at the factory is
referred to as “Factory Reset.”
Tuner Pitch:
Tuner Output:
Output Select
OUTPUT Select:
Not only can you return all of the settings to the values in
effect when the GS-10 was shipped from the factory, you can
also specify the range of settings to be reset.
fig.10-040
2 + POWER
3
3
Tuner
A= 440 Hz
Bypass
Line/Phones
Direct Patch
Direct Patch 1/2/3/4:
U001/U002/U003/U004
System
LCD Contrast:
Patch Extent:
Assign Hold:
Knob Mode:
EXP PDL Func:
CTL1 Func:
CTL2 Func:
4
1. Turn off the power.
2. While holding down PREAMP/SPEAKER CHANNEL
SELECT [A] and [B], turn on the power.
The Factory Reset range setting screen appears in the
display.
fig.10-050d
Factory Reset range
* To cancel Factory Reset, press [EXIT].
3. Press PARAMETER [
][
] to move the cursor,
and rotate the PATCH/VALUE dial to specify the range
of settings you want to restore to factory settings.
System:
System parameters, Harmonist scales, Auto Riff phrases,
and Preamp/Speaker, Overdrive/Distortion, and Wah
Custom Edit parameter settings.
U001–U100:
16
P200
On
Immediate
Auto
Assign 1-8
Assign 1-8
MIDI
RX Channel:
Omni Mode:
TX Channel:
Device ID:
Sync Clock:
Remote Ctrl:
KnobCtrlOut:
PC Out:
EXP PDL Out:
CTL1 Out:
CTL2 Out:
Map Select:
1
Omni On
Rx
17
Auto
Advanced
On
On
CC#7
Off
Off
Fix
USB
Output Level:
Input Level:
Monitor Cmd:
Dir Monitor:
Output Mode:
Driver Mode:
Std.Drv Func:
100
100
Disable
On
Stereo (L/R)
Advanced
Audio
Settings for Patch Number U001 through U100.
4. If you want to proceed with the factory reset, press
[ENTER].
The specified range of data will be returned, and return
to the Play screen.
86
Others
Speaker ON/OFF:
Mic Gain:
ON
50
Appendices
Roland Exclusive Messages
1. Data Format for Exclusive Messages
Roland’s MIDI implementation uses the following data format for all
Exclusive messages (type IV):
Byte
Description
F0H
Exclusive Status
41H
Manufacturer ID (Roland)
DEV
Device ID
MDL
Model ID
CMD
Command ID
[BODY]
Main data
F7H
End of exclusive
•MIDI status: F0H, F7H
An Exclusive message must be flanked by a pair of status codes, starting
with a Manufacturer ID immediately after F0H (MIDI version 1.0).
•Manufacturer ID: 41H
The Manufacturer ID identifies the manufacturer of a MIDI instrument that
sends an Exclusive message. Value 41H represents Roland’s Manufacturer ID.
•One-way transfer procedure (See Section 3
for details.)
This procedure is suited to the transfer of a small amount of data. It sends out
an Exclusive message completely independent of the receiving device's status.
Connection Diagram
Device A
MIDI OUT
MIDI IN
Device B
MIDI IN
1
2
MIDI OUT
Connection at point 2 is essential for “Request data” procedures. (See Section 3.)
•Handshake-transfer procedure (This device
does not use this procedure)
This procedure initiates a predetermined transfer sequence (handshaking)
across the interface before data transfer takes place. Handshaking ensures that
reliability and transfer speed are high enough to handle a large amount of data.
Connection Diagram
Device A
MIDI OUT
MIDI IN
Device B
MIDI IN
1
2
MIDI OUT
•Device ID: DEV
Connection at points 1 and 2 is essential.
The Device ID contains a unique value that identifies individual devices in
the implementation of several MIDI instruments. It is usually set to
00H–0FH, a value smaller by one than that of a basic channel, but value
00H–1FH may be used for a device with several basic channels.
Notes on the above procedures
•Model ID: MDL
The Model ID contains a value that identifies one model from another.
Different models, however, may share an identical Model ID if they handle
similar data.
The Model ID format may contain 00H in one or more places to provide an
extended data field. The following are examples of valid Model IDs, each
representing a unique model:
01H
02H
03H
00H, 01H
00H, 02H
00H, 00H, 01H
•Command ID: CMD
The Command ID indicates the function of an Exclusive message. The
Command ID format may contain 00H in one or more places to provide an
extended data field. The following are examples of valid Command IDs,
each representing a unique function:
01H
02H
03H
00H, 01H
00H, 02H
00H, 00H, 01H
•Main data: BODY
This field contains a message to be exchanged across an interface. The exact
data size and content will vary with the Model ID and Command ID.
2. Address-mapped Data Transfer
* Devices A and B cannot exchange data unless they use the same transfer procedure,
share identical Device ID and Model ID, and are ready for communication.
3. One-way Transfer Procedure
This procedure sends out data until it has all been sent and is used when the
messages are so short that answerbacks need not be checked.
For longer messages, however, the receiving device must acquire each
message in time with the transfer sequence, which inserts 20 milliseconds
intervals.
Types of Messages
Message
Command ID
Request data 1
RQ1 (11H)
Data set 1
DT1 (12H)
•Request data #1: RQ1 (11H)
(This device does not use this procedure)
This message is sent out when there is a need to acquire data from a device
at the other end of the interface. It contains data for the address and size that
specify designation and length, respectively, of data required.
On receiving an RQ1 message, the remote device checks its memory for the
data address and size that satisfy the request.
If it finds them and is ready for communication, the device will transmit a
“Data set 1 (DT1)” message, which contains the requested data. Otherwise,
the device won't send out anything.
Byte
Description
F0H
Exclusive Status
41H
Manufacturer ID (Roland)
DEV
Device ID
MDL
Model ID
11H
Command ID
aaH
Address MSB
|
|
|
|
LSB
ssH
|
|
Size
MSB
Appendices
Address mapping is a technique for transferring messages conforming to the
data format given in Section 1. It assigns a series of memory-resident
records—waveform and tone data, switch status, and parameters, for
example, to specific locations in a machine-dependent address space, thereby
allowing access to data residing at the address a message specifies.
* There are separate Command IDs for different transfer procedures.
|
|
LSB
Address-mapped data transfer is therefore independent of models and data
categories. This technique allows use of two different transfer procedures:
one-way transfer and handshake transfer.
sum
Check sum
F7H
End of exclusive
87
Appendices
* The size of the requested data does not indicate the number of bytes that will make
up a DT1 message, but represents the address fields where the requested data
resides.
* Some models are subject to limitations in data format used for a single transaction.
Requested data, for example, may have a limit in length or must be divided into
predetermined address fields before it is exchanged across the interface.
* The same number of bytes comprises address and size data, which, however, vary
with the Model ID.
* The error-checking process uses a checksum that provides a bit pattern where the
last 7 bits are zero when values for an address, size, and that checksum are
summed.
•Data set 1: DT1 (12H)
This message corresponds to the actual data transfer process.
Because every byte in the data is assigned a unique address, a DT1 message
can convey the starting address of one or more bits of data as well as a series
of data formatted in an address-dependent order.
The MIDI standards inhibit non real-time messages from interrupting an
Exclusive one. This fact is inconvenient for devices that support a “soft-thru”
function. To maintain compatibility with such devices, Roland has limited
the DT1 to 256 bytes so that an excessively long message is sent out in
separate ‘segments’.
Byte
Description
F0H
Exclusive Status
41H
Manufacturer ID (Roland)
DEV
Device ID
MDL
Model ID
12H
Command ID
aaH
Address MSB
|
|
|
|
LSB
ddH
|
|
Data
MSB
|
|
LSB
sum
Check sum
F7H
End of exclusive
* A DT1 message is capable of providing only the valid data among those specified by
an RQ1 message.
* Some models are subject to limitations in data format used for a single transaction.
Requested data, for example, may have a limit in length or must be divided into
predetermined address fields before it is exchanged across the interface.
* The number of bytes comprising address data varies from one Model ID to another.
* The error-checking process uses a checksum that provides a bit pattern where the
last 7 bits are zero when values for an address, size, and that checksum are
summed.
•Example of Message Transactions
•Device A sending data to Device B
Transfer of a DT1 message is all that takes place.
Device A
Device B
[Data set 1]
* More than 20m sec time interval.
[Data set 1]
[Data set 1]
•Device B requesting data from Device A
Device B sends an RQ1 message to Device A.
Checking the message, Device A sends a DT1 message back to Device B.
Device A
Device B
[Request data]
[Data set 1]
* More than 20m sec time interval.
[Data set 1]
[Data set 1]
88
Appendices
MIDI Implementation
Model:
Date:
Version:
2. TRANSMITTED DATA
GS-10
Jul. 15, 2003
1.00
■CHANNEL VOICE MESSAGE
●Control Change
1. RECOGNIZED RECEIVE DATA
Status
BnH
Second
ccH
■CHANNEL VOICE MESSAGE
n = MIDI Channel Number:
cc = Controller Number:
●Control Change
Status
BnH
Second
ccH
n = MIDI Channel Number:
cc = Controller Number:
vv = Value:
*
0H - FH (ch.1 - ch.16)
00H, 20H (0, 32)
01H - 1FH (1 - 31)
40H - 5FH (64 - 95)
00H - 7FH (0 - 127)
Control numbers 00H and 20H are recognized as Bank Select messages.
00H:
20H:
*
Third
vvH
For values of 01H or lower, the Program Change Map will be switched
according to the value. For values of 02H or higher, the received data
will be ignored.
The received data will be ignored, regardless of the value.
By specifying this as a Source for “Assign” (p. 60) you can use these messages to control
a Target.
●Program Change
Status
CnH
*
*
0H - FH (ch.1 - ch.16)
00H - 7FH (No.1 - No.128)
Patches will be selected according to the program number that is received.
There are two Program Change Maps which are referenced when selecting programs,
and these are switched by Bank Select messages.
■SYSTEM REALTIME MESSAGE
0H - FH (ch.1 - ch.16)
00H, 20H (0, 32)
01H - 1FH (1 - 31)
21H - 5FH (33 - 95)
00H - 7FH (0 - 127)
*
If you set up a system parameter “MIDI PC Out” for “On,” Bank Select (00H, 20H) is
transmitted when switching patch.
*
If you set up a control change number at a system parameter “MIDI EXP Out,” control
change information is transmitted when operating an external EXP pedal.
*
If you set up a control change number at a system parameter “MIDI CTL 1 Out,” control
change information is transmitted when operating an external CTL pedal.
*
If you set up a control change number at a system parameter “MIDI CTL 2 Out,” control
change information is transmitted when operating an external CTL pedal.
●Program Change
Status
CnH
Second
ppH
n = MIDI Channel Number:
pp = Program Number:
*
Second
ppH
n = MIDI Channel Number:
pp = Program Number:
vv = Value:
Third
vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (No.1 - No.128)
If you set up a system parameter “MIDI PC Out” for “On,” program change information
is transmitted when switching patch.
■SYSTEM REALTIME MESSAGE
●Start
Status
FAH
●Stop
Status
FCH
●Timing Clock
Status
F8H
■SYSTEM EXCLUSIVE MESSAGE
●Active Sensing
Status
F0H
Data Byte
iiH ddH ... eeH
F0H =
ii =
dd ... ee =
F7H =
System Exclusive
Manufacturer ID:
41H (Roland)
Data:
00H - 7FH (0 -127)
EOX (End of Exclusive/System common)
Status
FEH
*
When an Active Sensing message is received, the interval of all subsequent messages
will begin to be monitored. If an interval greater than 400 msec. between messages, the
display will indicate “MIDI Off Line!”
*
Status
F7H
For more details, please refer to “Roland Exclusive Message.”
■SYSTEM EXCLUSIVE MESSAGE
Data Byte
iiH ddH ... eeH
F0H =
ii =
dd ... ee =
F7H =
System Exclusive
Manufacturer ID:
41H (Roland)
Data:
00H - 7FH (0 -127)
EOX (End of Exclusive/System common)
*
Status
F7H
Appendices
Status
F0H
For more details, please refer to “Roland Exclusive Message.”
89
Appendices
●MIDI Machine Control (MMC)
●Inquiry Message
❍Identity Request
F0H 7FH 7FH 06H com F7H
F0H 7EH 10H 06H 01H F7H
F0H =
7FH =
7FH =
06H =
com =
F7H =
*
System Exclusive
ID Number (Universal Realtime Message)
Device ID (Broadcast)
Sub ID#1(Machine Control Command)
Sub ID#2(MMC Command)
EOX (End of Exclusive/System common)
F0H =
7EH =
10H =
06H =
01H =
F7H =
Exclusive Status
ID Number
Device ID
Sub ID#1
Sub ID#2
EOX (End of System Exclusive)
“com” (MMC Command) that I transmit with GS-10 is following.
01H
02H
44H 06H 01H 00H 00H 00H 00H 00H
06H
Stop
Play
RESET
REC
*
The 7FH (Broadcast) device ID is also supported.
*
When an Identity Request is received, the GS-10 will transmitted the following Identity
Reply.
❍Identity Reply
F0H 7EH 10H 06H 02H 41H 63H 01H 00H 00H 00H 00H 00H 00H F7H
3. EXCLUSICE COMMUNICATION
On the GS-10, exclusive messages can be used as follows. - Transmit/receive GS-10 system/
patch data.
The model ID for GS-10 exclusive messages is 00H 63H, and you can set up the device ID at
00H–1FH.
■ONE WAY COMMUNICATION
●Request Data 1
RQ1(11H)
F0H 41H dev 00H 63H 11H aaH bbH ccH ddH ssH ttH uuH vvH sum F7H
F0H =
41H =
dev =
00H =
63H =
11H =
aaH =
bbH =
ccH =
ddH =
ssH =
ttH =
uuH =
vvH =
sum =
F7H =
Exclusive Status
Manufacturer ID
Device ID
Model ID
Model ID
Command ID
Address
Address
Address
Address
Size
Size
Size
Size
Checksum
EOX
(Roland)
(Dev=00H-1FH)
MSB (GS-10)
LSB (GS-10)
(RQ1)
MSB
:
:
LSB
MSB
:
:
LSB
(End of System Exclusive)
*
This message can only be received, and is not transmitted from the GS-10.
*
When transmitting large Size values spanning fragmented addresses, the data can be
transmitted only to those addresses that are contiguous.
●Data Set 1
DT1(12H)
F0H 41H dev 00H 63H 12H aaH bbH ccH ddH eeH ... ffH sum F7H
F0H =
41H =
dev =
00H =
63H =
12H =
aaH =
bbH =
ccH =
ddH =
eeH =
: =
ffH =
sum =
F7H =
*
Exclusive Status
Manufacturer ID
Device ID
Model ID
Model ID
Command ID
Address
Address
Address
Address
Data
:
Data
Checksum
EOX
(Roland)
(dev = 00H-1FH)
MSB (GS-10)
LSB (GS-10)
(DT1)
MSB
:
:
LSB
(End of System Exclusive)
When transmitting large amounts of data spanning fragmented addresses, the data can
be transmitted only to those addresses that are contiguous.
90
F0H=
7EH=
10H=
06H=
02H=
41H=
63H 01H=
00H 00H=
00H 00H 00H 00H=
F7H=
*
Exclusive Status
ID Number (Universal Non-realtime Message)
Device ID
Sub ID#1
Sub ID#2
ID Number
(Roland)
Device Family Code
Device Family Number Code
Software Revision Level
EOX (End of System Exclusive)
When an Identity Request is received, the GS-10 will transmitted the following Identity
Reply.
4. PARAMETER ADDRESS MAP
The address and size are displayed under 7-bit hexadecimal notation.
Address
Binary
7-bit Hexadecimal
MSB
0aaa aaaa
AA
0bbb bbbb
BB
0ccc cccc
CC
LSB
0ddd dddd
DD
Size
Binary
7-bit Hexadecimal
MSB
0sss ssss
SS
0ttt tttt
TT
0uuu uuuu
UU
LSB
0vvv vvvv
VV
Appendices
Address Block Map
Appendices
---------------------------------------------------------------------------------------Address
Block
Sub Block
Note
00 00 00 00
+---------------+ +-----------------------------+
| SYSTEM
| | TUNER
| ... Individual
|
| +-----------------------------+ *Refer to "Table TUNER"
01 00 00 00
|
| +-----------------------------+
|
| | OUTPUT
| ... Individual
|
| +-----------------------------+ *Refer to "Table OUTPUT"
01 01 00 00
|
| +-----------------------------+
|
| | DIRECT PATCH
| ... Individual
|
| +-----------------------------+ *Refer to "Table DIRECT PATCH"
01 02 00 00
|
| +-----------------------------+
|
| | MIC
| ... Individual
|
| +-----------------------------+ *Refer to "Table MIC"
01 03 00 00
|
| +-----------------------------+
|
| | SYSTEM
| ... Individual
|
| +-----------------------------+ *Refer to "Table SYSTEM"
01 04 00 00
|
| +-----------------------------+
|
| | MIDI
| ... Individual
|
| +-----------------------------+ *Refer to "Table MIDI"
01 05 00 00
|
| +-----------------------------+
|
| | METER
| ... Individual
|
| +-----------------------------+ *Refer to "Table METER"
02 00 00 00
|
| +-----------------------------+
|
| | USB Setting
| ... Individual
|
| +-----------------------------+ *Refer to "Table USB Setting"
03 00 00 00
|
| +-----------------------------+
|
| | HARMONIST User Scale
| ... Individual
|
| +-----------------------------+ *Refer to "Table HARMONIST"
03 01 00 00
|
| +-----------------------------+
|
| | AUTO RIFF User Phrase
| ... Individual
|
| +-----------------------------+ *Refer to "Table AUTO RIFF"
03 02 00 00
|
| +-----------------------------+
|
| | AMP Customize
| ... Individual
|
| +-----------------------------+ *Refer to "Table AMP"
03 03 00 00
|
| +-----------------------------+
|
| | SPEAKER Customize
| ... Individual
|
| +-----------------------------+ *Refer to "Table SPEAKER"
03 04 00 00
|
| +-----------------------------+
|
| | OD/DS Customize
| ... Individual
|
| +-----------------------------+ *Refer to "Table OD/DS"
03 05 00 00
|
| +-----------------------------+
|
| | WAH Customize
| ... Individual
+---------------+ +-----------------------------+ *Refer to "Table WAH"
04 00 00 00
+---------------+ +-----------------------------+
| Quick Fx
| | ROM Area (Data)
| ... Read Only, Individual
|
| +-----------------------------+ *Refer to "Table Quick Fx Data"
05 00 00 00
|
| +-----------------------------+
|
| | ROM Area (Name)
| ... Read Only, Individual
+---------------+ +-----------------------------+ *Refer to "Table Quick Fx Name"
06 00 00 00
+---------------+ +-----------------------------+
| User Patch
| | Patch 001
| ... Individual
|
| +-----------------------------+ *Refer to "Table Patch"
06 01 00 00
|
| +-----------------------------+
|
| | Patch 002
|
|
| +-----------------------------+
:
|
|
:
:
|
|
:
06 62 00 00
|
| +-----------------------------+
|
| | Patch 099
|
|
| +-----------------------------+
06 63 00 00
|
| +-----------------------------+
|
| | Patch 100
|
+---------------+ +-----------------------------+
07 00 00 00
+---------------+ +-----------------------------+
| ROM Patch
| | Patch 101
| ... Read Only, Individual
|
| +-----------------------------+ *Refer to "Table Patch"
07 01 00 00
|
| +-----------------------------+
|
| | Patch 102
|
|
| +-----------------------------+
:
|
|
:
:
|
|
:
07 62 00 00
|
| +-----------------------------+
|
| | Patch 199
|
|
| +-----------------------------+
07 63 00 00
|
| +-----------------------------+
|
| | Patch 200
|
+---------------+ +-----------------------------+
08 00 00 00
+-----------------------------------------------+
| Temporary Buffer
| ... Bulk
+-----------------------------------------------+ *Refer to "Table Patch"
09 00 00 00
+-----------------------------------------------+
| Temporary Buffer
| ... Individual
+-----------------------------------------------+ *Refer to "Table Patch"
0A 00 00 00
+-----------------------------------------------+
| Patch Change
| ... Individual
+-----------------------------------------------+ *Refer to "Table Patch Change"
0A 01 00 00
+-----------------------------------------------+
| Patch Write
| ... Individual
+-----------------------------------------------+ *Refer to "Table Patch Write"
0A 02 00 00
+-----------------------------------------------+
| Current Patch
| ... Read Only, Individual
+-----------------------------------------------+ *Refer to "Table Current Patch"
0A 03 00 00
+-----------------------------------------------+
| Patch Initialize
| ... Individual
+-----------------------------------------------+ *Refer to "Table Patch Initialize"
0A 04 00 00
+-----------------------------------------------+
| AMP Ch Copy
| ... Individual
+-----------------------------------------------+ *Refer to "Table AMP Ch Copy"
0B 00 00 00
+-----------------------------------------------+
| Quick Fx Number
| ... Individual
+-----------------------------------------------+ *Refer to "Table Quick Fx Number"
0B 01 00 00
+-----------------------------------------------+
| Quick Fx Count
| ... Read Only, Individual
+-----------------------------------------------+ *Refer to "Table Quick Fx Count"
0C 00 00 00
+-----------------------------------------------+
| TUNER/METER Mode
| ... Individual
+-----------------------------------------------+ *Refer to "Table TUNER/METER"
91
Appendices
Patch Change
When transmitted: Transmits the patch number.
When received: Changes the Patch.
Data size is fixed at 2 bytes.
DATA: Patch Number
DATA: Patch Number
Upon receiving RQ1, the GS-10 replies with the patch number.
Request size to the GS-10 at this time is fixed at 2 bytes (set at 00 00 00 02).
Patch Write
When received: After the patch is written, the patch is switched to the received patch number, and the Current Patch is output.
Current Patch
When received: Current patch number is transmitted (only when RQ1 is received).
Patch
Initialize
When transmitted: DATA: 01H is transmitted.
When received: Initial value is set if DATA: 01H is received.
Data size is fixed at 1 byte.
AMP Ch Copy
When transmitted: Copy-destination amp channel is transmitted.
When received: Copy-destination amp channel is received.
Data size is fixed at 1 byte.
Quick Fx Number
When transmitted: Quick Fx number is transmitted.
When received: Quick Fx number is changed.
Data size is fixed at 1 byte.
Quick Fx Count
Number of Quick Fx in each Effect block.
Request size is fixed at 1 byte (set at 00 00 00 01).
TUNER/METER
Mode
DATA: Quick Fx Number
DATA: Quick Fx Number
01H: TUNER Mode
02H: METER Mode
00H: exit (Play Mode)
* In TUNER mode: Pitch, Note data transmitted.
* In METER mode: METER POINT data transmitted.
During TAP operations: Delay Time, Delay Time (Fine) transmitted (when setting BPM: Master BPM transmitted).
*
The GS-10 can use two methods of communication; Individual Parameter and Bulk Dump.
*
Bulk data can be received when the Bulk Load Ready function is accessed in “MIDI:Bulk Load” screen (System mode).
*
Although individual data can be received at any time, be sure to appropriately describe the value for one parameter in one packet [F0...F7].
*
Do not use an address appended with “#” as the first address.
*
Do not specify an odd-number address for Quick Fx Data, SYSTEM:MIDI Program Map.
*
Parameters for which Size is 2 or higher should not be separated; make sure these are sent in the same packet.
*
Parameters with Size of 2 or higher transmitted from the specified addresses in sequence, from MSB to LSB.
*
Output of Quick Fx Name and EFFECT CHAIN is fixed as 12 bytes.
Table TUNER
<TUNER>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------00 00 00 00
00 00 00 01
00 - 0A
TUNER Pitch
00 : 435Hz
01 : 436Hz
:
0A : 445Hz
00 00 00 01
00 00 00 01
00 - 01
TUNER Out
00 : Mute
01 : Bypass
Table OUTPUT
<SYSTEM: OUTPUT SELECT>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------01 00 00 00
00 00 00 01
00 - 04
OUTPUT Select
00 : LINE/PHONES
01 : COMBO AMP
02 : STACK AMP
03 : COMBO Return
04 : STACK Return
92
Appendices
Table DIRECT PATCH
<SYSTEM: DIRECT PATCH>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------01 01 00 00
00 00 00 02
00 00 Direct Patch 1
00 00 : U001(User)
01 01 00 01#
- 01 47
:
00 63 : U100(User)
00 64 : P101(Preset)
:
00 7F : P128(Preset)
01 00 : P129(Preset)
:
01 47 : P200(Preset)
01 01 00 02
00 00 00 02
00 00 Direct Patch 2
00 00 : U001(User)
01 01 00 03#
- 01 47
:
00 63 : U100(User)
00 64 : P101(Preset)
:
00 7F : P128(Preset)
01 00 : P129(Preset)
:
01 47 : P200(Preset)
01 01 00 04
00 00 00 02
00 00 Direct Patch 3
00 00 : U001(User)
01 01 00 05#
- 01 47
:
00 63 : U100(User)
00 64 : P101(Preset)
:
00 7F : P128(Preset)
01 00 : P129(Preset)
:
01 47 : P200(Preset)
01 01 00 06
00 00 00 02
00 00 Direct Patch 4
00 00 : U001(User)
01 01 00 07#
- 01 47
:
00 63 : U100(User)
00 64 : P101(Preset)
:
00 7F : P128(Preset)
01 00 : P129(Preset)
:
01 47 : P200(Preset)
Table MIC
<SYSTEM: MIC>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------01 02 00 00
00 00 00 01
00 - 0A
Mic Gain
00 : 0
01 : 10
02 : 20
:
0A : 100
Table SYSTEM
<SYSTEM: SYSTEM>
Appendices
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------01 03 00 00
00 00 00 01
00 - 0F
LCD Contrast
1 - 16
01 03 00 01
00 00 00 01
00 - 01
Speaker Output
00 : OFF
01 : ON
01 03 00 02
00 00 00 02
00 00 - 01 47
Patch Extent
00 00 : 001(User)
01 03 00 03#
:
00 63 : 100(User)
00 64 : 101(Preset)
:
00 7F : 128(Preset)
01 00 : 129(Preset)
:
01 47 : 200(Preset)
01 03 00 04
00 00 00 01
00 - 01
Assign Hold
00 : OFF
01 : ON
01 03 00 05
00 00 00 01
00 - 01
Knob Mode
00 : Immediate
01 : Current Setting
01 03 00 06
00 00 00 01
00 - 05
Exp Pedal Function
00 : Auto
01 : Assign1-8
02 : Foot Volume
03 : Patch Level
04 : Pedal Wah
05 : Pedal Bend
01 03 00 07
00 00 00 01
00 - 0A
CTL1 Function
00 : Assign1-8
01 : TUNER On/Off
02 : Remote Start/Stop
03 : Direct Patch Up
04 : Direct Patch Down
05 : Patch Up
06 : Patch Down
07 : Patch Level Inc1
08 : Patch Level Inc2
09 : Patch Level Dec1
0A : Patch Level Dec2
01 03 00 08
00 00 00 01
00 - 0A
CTL2 Function
00 : Assign1-8
01 : TUNER On/Off
02 : Remote Start/Stop
03 : Direct Patch Up
04 : Direct Patch Down
05 : Patch Up
06 : Patch Down
07 : Patch Level Inc1
08 : Patch Level Inc2
09 : Patch Level Dec1
0A : Patch Level Dec2
93
Appendices
Table MIDI
<SYSTEM: MIDI>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------01 04 00 00
00 00 00 01
00 - 0F
MIDI Rx Channel
00 : 1
:
0F : 16
01 04 00 01
00 00 00 01
00 - 01
MIDI Omni Mode
00 : Omni Off
01 : Omni On
01 04 00 02
00 00 00 01
00 - 10
MIDI Tx Channel
00 : 1
:
0F : 16
10 : Rx
01 04 00 03
00 00 00 01
00 - 1F
MIDI Device ID
1 - 32
01 04 00 04
00 00 00 01
00 - 01
MIDI Sync Clock
00 : Auto
01 : Internal
01 04 00 05
00 00 00 01
00 - 02
MIDI Remote Control
00 : Standard
01 : Advanced
02 : MMC
01 04 00 06
00 00 00 01
00 - 01
MIDI Knob Control Out
00 : Off
01 : On
01 04 00 07
00 00 00 01
00 - 01
MIDI PC Out
00 : Off
01 : On
01 04 00 08
00 00 00 01
00 - 5E
MIDI EXP Out
00 : Off
01 : 1
:
1F : 31
20 : 33
:
5E : 95
01 04 00 09
00 00 00 01
00 - 5E
MIDI CTL1 Out
00 : Off
01 : 1
:
1F : 31
20 : 33
:
5E : 95
01 04 00 0A
00 00 00 01
00 - 5E
MIDI CTL2 Out
00 : Off
01 : 1
:
1F : 31
20 : 33
:
5E : 95
01 04 00 0B
00 00 00 01
00 - 01
MIDI Map Select
00 : Fix
01 : Program
--- MIDI Program Map --01 04 10 00
00 00 00 02
00 00
MIDI Program Map
MIDI Map Select = Program
01 04 10 01#
- 01 47
B#0 P#1
00 00 : U001(User)
:
00 63 : U100(User)
00 64 : P101(Preset)
:
00 7F : P128(Preset)
01 00 : P129(Preset)
:
01 47 : P200(Preset)
01 04 10 02
00 00 00 02
00 00
MIDI Program Map
01 04 10 03#
- 01 47
B#0 P#2
:
:
01 04 11 7E
00 00 00 02
00 00
MIDI Program Map
01 04 11 7F#
- 01 47
B#0 P#128
01 04 12 00
00 00 00 02
00 00
MIDI Program Map
01 04 12 01#
- 01 47
B#1 P#1
:
:
01 04 13 7E
00 00 00 02
00 00
MIDI Program Map
01 04 13 7F#
- 01 47
B#1 P#128
Table METER
<SYSTEM: METER>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------01 05 00 00
00 00 00 01
00 - 0D
METER Point
Input, Effects, USB, Output
*Refer to "Table METER Point"
Table USB Setting
<USB Setting>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------02 00 00 00
00 00 00 01
00 - 64
USB/Digital Out
00 : 0
01 : 2
:
64 : 200
02 00 00 01
00 00 00 01
00 - 64
Input Level
0 - 100
02 00 00 02
00 00 00 01
00 - 01
Direct Monitor
00 : Off
01 : On
02 00 00 03
00 00 00 01
00 - 01
Output Mode
00 : Stereo(L/R)
01 : Effect/Direct
02 00 00 04
00 00 00 01
00 - 01
Driver Mode
00 : Standard
01 : Advanced
02 00 00 05
00 00 00 01
00 - 01
Std.Drv Func
00 : Audio
01 : Audio & MIDI
02 00 00 06
00 00 00 01
00 - 01
Monitor Cmd
00 : Disable
01 : Enable
94
Appendices
Table HARMONIST
<HARMONIST User Scale>
Appendices
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- Scale 1 --03 00 00 00
00 00 00 01
00 - 30
Scale 1 C
*Refer to "Table HR Harmony Note"
03 00 00 01
00 00 00 01
00 - 30
Scale 1 Db
03 00 00 02
00 00 00 01
00 - 30
Scale 1 D
03 00 00 03
00 00 00 01
00 - 30
Scale 1 Eb
03 00 00 04
00 00 00 01
00 - 30
Scale 1 E
03 00 00 05
00 00 00 01
00 - 30
Scale 1 F
03 00 00 06
00 00 00 01
00 - 30
Scale 1 F#
03 00 00 07
00 00 00 01
00 - 30
Scale 1 G
03 00 00 08
00 00 00 01
00 - 30
Scale 1 Ab
03 00 00 09
00 00 00 01
00 - 30
Scale 1 A
03 00 00 0A
00 00 00 01
00 - 30
Scale 1 Bb
03 00 00 0B
00 00 00 01
00 - 30
Scale 1 B
--- Scale 2 --03 00 01 00
00 00 00 01
00 - 30
Scale 2 C
*Refer to "Table HR Harmony Note"
03 00 01 01
00 00 00 01
00 - 30
Scale 2 Db
03 00 01 02
00 00 00 01
00 - 30
Scale 2 D
03 00 01 03
00 00 00 01
00 - 30
Scale 2 Eb
03 00 01 04
00 00 00 01
00 - 30
Scale 2 E
03 00 01 05
00 00 00 01
00 - 30
Scale 2 F
03 00 01 06
00 00 00 01
00 - 30
Scale 2 F#
03 00 01 07
00 00 00 01
00 - 30
Scale 2 G
03 00 01 08
00 00 00 01
00 - 30
Scale 2 Ab
03 00 01 09
00 00 00 01
00 - 30
Scale 2 A
03 00 01 0A
00 00 00 01
00 - 30
Scale 2 Bb
03 00 01 0B
00 00 00 01
00 - 30
Scale 2 B
--- Scale 3 --03 00 02 00
00 00 00 01
00 - 30
Scale 3 C
*Refer to "Table HR Harmony Note"
03 00 02 01
00 00 00 01
00 - 30
Scale 3 Db
03 00 02 02
00 00 00 01
00 - 30
Scale 3 D
03 00 02 03
00 00 00 01
00 - 30
Scale 3 Eb
03 00 02 04
00 00 00 01
00 - 30
Scale 3 E
03 00 02 05
00 00 00 01
00 - 30
Scale 3 F
03 00 02 06
00 00 00 01
00 - 30
Scale 3 F#
03 00 02 07
00 00 00 01
00 - 30
Scale 3 G
03 00 02 08
00 00 00 01
00 - 30
Scale 3 Ab
03 00 02 09
00 00 00 01
00 - 30
Scale 3 A
03 00 02 0A
00 00 00 01
00 - 30
Scale 3 Bb
03 00 02 0B
00 00 00 01
00 - 30
Scale 3 B
--- Scale 4 --03 00 03 00
00 00 00 01
00 - 30
Scale 4 C
*Refer to "Table HR Harmony Note"
03 00 03 01
00 00 00 01
00 - 30
Scale 4 Db
03 00 03 02
00 00 00 01
00 - 30
Scale 4 D
03 00 03 03
00 00 00 01
00 - 30
Scale 4 Eb
03 00 03 04
00 00 00 01
00 - 30
Scale 4 E
03 00 03 05
00 00 00 01
00 - 30
Scale 4 F
03 00 03 06
00 00 00 01
00 - 30
Scale 4 F#
03 00 03 07
00 00 00 01
00 - 30
Scale 4 G
03 00 03 08
00 00 00 01
00 - 30
Scale 4 Ab
03 00 03 09
00 00 00 01
00 - 30
Scale 4 A
03 00 03 0A
00 00 00 01
00 - 30
Scale 4 Bb
03 00 03 0B
00 00 00 01
00 - 30
Scale 4 B
--- Scale 5 --03 00 04 00
00 00 00 01
00 - 30
Scale 5 C
*Refer to "Table HR Harmony Note"
03 00 04 01
00 00 00 01
00 - 30
Scale 5 Db
03 00 04 02
00 00 00 01
00 - 30
Scale 5 D
03 00 04 03
00 00 00 01
00 - 30
Scale 5 Eb
03 00 04 04
00 00 00 01
00 - 30
Scale 5 E
03 00 04 05
00 00 00 01
00 - 30
Scale 5 F
03 00 04 06
00 00 00 01
00 - 30
Scale 5 F#
03 00 04 07
00 00 00 01
00 - 30
Scale 5 G
03 00 04 08
00 00 00 01
00 - 30
Scale 5 Ab
03 00 04 09
00 00 00 01
00 - 30
Scale 5 A
03 00 04 0A
00 00 00 01
00 - 30
Scale 5 Bb
03 00 04 0B
00 00 00 01
00 - 30
Scale 5 B
--- Scale 6 --03 00 05 00
00 00 00 01
00 - 30
Scale 6 C
*Refer to "Table HR Harmony Note"
03 00 05 01
00 00 00 01
00 - 30
Scale 6 Db
03 00 05 02
00 00 00 01
00 - 30
Scale 6 D
03 00 05 03
00 00 00 01
00 - 30
Scale 6 Eb
03 00 05 04
00 00 00 01
00 - 30
Scale 6 E
03 00 05 05
00 00 00 01
00 - 30
Scale 6 F
03 00 05 06
00 00 00 01
00 - 30
Scale 6 F#
03 00 05 07
00 00 00 01
00 - 30
Scale 6 G
03 00 05 08
00 00 00 01
00 - 30
Scale 6 Ab
03 00 05 09
00 00 00 01
00 - 30
Scale 6 A
03 00 05 0A
00 00 00 01
00 - 30
Scale 6 Bb
03 00 05 0B
00 00 00 01
00 - 30
Scale 6 B
--- Scale 7 --03 00 06 00
00 00 00 01
00 - 30
Scale 7 C
*Refer to "Table HR Harmony Note"
03 00 06 01
00 00 00 01
00 - 30
Scale 7 Db
03 00 06 02
00 00 00 01
00 - 30
Scale 7 D
03 00 06 03
00 00 00 01
00 - 30
Scale 7 Eb
03 00 06 04
00 00 00 01
00 - 30
Scale 7 E
03 00 06 05
00 00 00 01
00 - 30
Scale 7 F
03 00 06 06
00 00 00 01
00 - 30
Scale 7 F#
03 00 06 07
00 00 00 01
00 - 30
Scale 7 G
03 00 06 08
00 00 00 01
00 - 30
Scale 7 Ab
03 00 06 09
00 00 00 01
00 - 30
Scale 7 A
03 00 06 0A
00 00 00 01
00 - 30
Scale 7 Bb
03 00 06 0B
00 00 00 01
00 - 30
Scale 7 B
--- Scale 8 --03 00 07 00
00 00 00 01
00 - 30
Scale 8 C
*Refer to "Table HR Harmony Note"
03 00 07 01
00 00 00 01
00 - 30
Scale 8 Db
03 00 07 02
00 00 00 01
00 - 30
Scale 8 D
03 00 07 03
00 00 00 01
00 - 30
Scale 8 Eb
03 00 07 04
00 00 00 01
00 - 30
Scale 8 E
03 00 07 05
00 00 00 01
00 - 30
Scale 8 F
03 00 07 06
00 00 00 01
00 - 30
Scale 8 F#
03 00 07 07
00 00 00 01
00 - 30
Scale 8 G
03 00 07 08
00 00 00 01
00 - 30
Scale 8 Ab
03 00 07 09
00 00 00 01
00 - 30
Scale 8 A
03 00 07 0A
00 00 00 01
00 - 30
Scale 8 Bb
03 00 07 0B
00 00 00 01
00 - 30
Scale 8 B
95
Appendices
--- Scale 9 --03 00 08 00
00
03 00 08 01
00
03 00 08 02
00
03 00 08 03
00
03 00 08 04
00
03 00 08 05
00
03 00 08 06
00
03 00 08 07
00
03 00 08 08
00
03 00 08 09
00
03 00 08 0A
00
03 00 08 0B
00
--- Scale 10 --03 00 09 00
00
03 00 09 01
00
03 00 09 02
00
03 00 09 03
00
03 00 09 04
00
03 00 09 05
00
03 00 09 06
00
03 00 09 07
00
03 00 09 08
00
03 00 09 09
00
03 00 09 0A
00
03 00 09 0B
00
--- Scale 11 --03 00 0A 00
00
03 00 0A 01
00
03 00 0A 02
00
03 00 0A 03
00
03 00 0A 04
00
03 00 0A 05
00
03 00 0A 06
00
03 00 0A 07
00
03 00 0A 08
00
03 00 0A 09
00
03 00 0A 0A
00
03 00 0A 0B
00
--- Scale 12 --03 00 0B 00
00
03 00 0B 01
00
03 00 0B 02
00
03 00 0B 03
00
03 00 0B 04
00
03 00 0B 05
00
03 00 0B 06
00
03 00 0B 07
00
03 00 0B 08
00
03 00 0B 09
00
03 00 0B 0A
00
03 00 0B 0B
00
--- Scale 13 --03 00 0C 00
00
03 00 0C 01
00
03 00 0C 02
00
03 00 0C 03
00
03 00 0C 04
00
03 00 0C 05
00
03 00 0C 06
00
03 00 0C 07
00
03 00 0C 08
00
03 00 0C 09
00
03 00 0C 0A
00
03 00 0C 0B
00
--- Scale 14 --03 00 0D 00
00
03 00 0D 01
00
03 00 0D 02
00
03 00 0D 03
00
03 00 0D 04
00
03 00 0D 05
00
03 00 0D 06
00
03 00 0D 07
00
03 00 0D 08
00
03 00 0D 09
00
03 00 0D 0A
00
03 00 0D 0B
00
--- Scale 15 --03 00 0E 00
00
03 00 0E 01
00
03 00 0E 02
00
03 00 0E 03
00
03 00 0E 04
00
03 00 0E 05
00
03 00 0E 06
00
03 00 0E 07
00
03 00 0E 08
00
03 00 0E 09
00
03 00 0E 0A
00
03 00 0E 0B
00
--- Scale 16 --03 00 0F 00
00
03 00 0F 01
00
03 00 0F 02
00
03 00 0F 03
00
03 00 0F 04
00
03 00 0F 05
00
03 00 0F 06
00
03 00 0F 07
00
03 00 0F 08
00
03 00 0F 09
00
03 00 0F 0A
00
03 00 0F 0B
00
--- Scale 17 --03 00 10 00
00
03 00 10 01
00
03 00 10 02
00
03 00 10 03
00
03 00 10 04
00
03 00 10 05
00
03 00 10 06
00
03 00 10 07
00
03 00 10 08
00
03 00 10 09
00
03 00 10 0A
00
03 00 10 0B
00
96
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
9
9
9
9
9
9
9
9
9
9
9
9
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
10
10
10
10
10
10
10
10
10
10
10
10
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
11
11
11
11
11
11
11
11
11
11
11
11
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
12
12
12
12
12
12
12
12
12
12
12
12
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
13
13
13
13
13
13
13
13
13
13
13
13
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
14
14
14
14
14
14
14
14
14
14
14
14
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
15
15
15
15
15
15
15
15
15
15
15
15
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
16
16
16
16
16
16
16
16
16
16
16
16
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
17
17
17
17
17
17
17
17
17
17
17
17
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
Appendices
---
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
18
18
18
18
18
18
18
18
18
18
18
18
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
19
19
19
19
19
19
19
19
19
19
19
19
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
20
20
20
20
20
20
20
20
20
20
20
20
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
21
21
21
21
21
21
21
21
21
21
21
21
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
22
22
22
22
22
22
22
22
22
22
22
22
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
23
23
23
23
23
23
23
23
23
23
23
23
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
24
24
24
24
24
24
24
24
24
24
24
24
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
25
25
25
25
25
25
25
25
25
25
25
25
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
26
26
26
26
26
26
26
26
26
26
26
26
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
---
---
---
---
---
---
---
---
Appendices
--- Scale 18
03 00 11 00
03 00 11 01
03 00 11 02
03 00 11 03
03 00 11 04
03 00 11 05
03 00 11 06
03 00 11 07
03 00 11 08
03 00 11 09
03 00 11 0A
03 00 11 0B
--- Scale 19
03 00 12 00
03 00 12 01
03 00 12 02
03 00 12 03
03 00 12 04
03 00 12 05
03 00 12 06
03 00 12 07
03 00 12 08
03 00 12 09
03 00 12 0A
03 00 12 0B
--- Scale 20
03 00 13 00
03 00 13 01
03 00 13 02
03 00 13 03
03 00 13 04
03 00 13 05
03 00 13 06
03 00 13 07
03 00 13 08
03 00 13 09
03 00 13 0A
03 00 13 0B
--- Scale 21
03 00 14 00
03 00 14 01
03 00 14 02
03 00 14 03
03 00 14 04
03 00 14 05
03 00 14 06
03 00 14 07
03 00 14 08
03 00 14 09
03 00 14 0A
03 00 14 0B
--- Scale 22
03 00 15 00
03 00 15 01
03 00 15 02
03 00 15 03
03 00 15 04
03 00 15 05
03 00 15 06
03 00 15 07
03 00 15 08
03 00 15 09
03 00 15 0A
03 00 15 0B
--- Scale 23
03 00 16 00
03 00 16 01
03 00 16 02
03 00 16 03
03 00 16 04
03 00 16 05
03 00 16 06
03 00 16 07
03 00 16 08
03 00 16 09
03 00 16 0A
03 00 16 0B
--- Scale 24
03 00 17 00
03 00 17 01
03 00 17 02
03 00 17 03
03 00 17 04
03 00 17 05
03 00 17 06
03 00 17 07
03 00 17 08
03 00 17 09
03 00 17 0A
03 00 17 0B
--- Scale 25
03 00 18 00
03 00 18 01
03 00 18 02
03 00 18 03
03 00 18 04
03 00 18 05
03 00 18 06
03 00 18 07
03 00 18 08
03 00 18 09
03 00 18 0A
03 00 18 0B
--- Scale 26
03 00 19 00
03 00 19 01
03 00 19 02
03 00 19 03
03 00 19 04
03 00 19 05
03 00 19 06
03 00 19 07
03 00 19 08
03 00 19 09
03 00 19 0A
03 00 19 0B
97
Appendices
--- Scale 27 --03 00 1A 00
00 00 00 01
03 00 1A 01
00 00 00 01
03 00 1A 02
00 00 00 01
03 00 1A 03
00 00 00 01
03 00 1A 04
00 00 00 01
03 00 1A 05
00 00 00 01
03 00 1A 06
00 00 00 01
03 00 1A 07
00 00 00 01
03 00 1A 08
00 00 00 01
03 00 1A 09
00 00 00 01
03 00 1A 0A
00 00 00 01
03 00 1A 0B
00 00 00 01
--- Scale 28 --03 00 1B 00
00 00 00 01
03 00 1B 01
00 00 00 01
03 00 1B 02
00 00 00 01
03 00 1B 03
00 00 00 01
03 00 1B 04
00 00 00 01
03 00 1B 05
00 00 00 01
03 00 1B 06
00 00 00 01
03 00 1B 07
00 00 00 01
03 00 1B 08
00 00 00 01
03 00 1B 09
00 00 00 01
03 00 1B 0A
00 00 00 01
03 00 1B 0B
00 00 00 01
--- Scale 29 --03 00 1C 00
00 00 00 01
03 00 1C 01
00 00 00 01
03 00 1C 02
00 00 00 01
03 00 1C 03
00 00 00 01
03 00 1C 04
00 00 00 01
03 00 1C 05
00 00 00 01
03 00 1C 06
00 00 00 01
03 00 1C 07
00 00 00 01
03 00 1C 08
00 00 00 01
03 00 1C 09
00 00 00 01
03 00 1C 0A
00 00 00 01
03 00 1C 0B
00 00 00 01
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
27
27
27
27
27
27
27
27
27
27
27
27
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
28
28
28
28
28
28
28
28
28
28
28
28
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
00
00
00
00
00
00
00
00
00
00
00
00
-
30
30
30
30
30
30
30
30
30
30
30
30
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
Scale
29
29
29
29
29
29
29
29
29
29
29
29
C
Db
D
Eb
E
F
F#
G
Ab
A
Bb
B
*Refer to "Table HR Harmony Note"
Table HR Harmony Note <HARMONIST User Scale>
------------------------------Data(H)
Description
------------------------------Below is an explanation of the Description value when IN is C.
Replace each of the values when IN is something other than C.
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
30
98
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
-C ↓↓
-Db↓
-D ↓
-Eb↓
-E ↓
-F ↓
-F#↓
-G ↓
-Ab↓
-A ↓
-Bb↓
-B ↓
-C ↓
-Db
-D
-Eb
-E
-F
-F#
-G
-Ab
-A
-Bb
-B
C
+Db
+D
+Eb
+E
+F
+F#
+G
+Ab
+A
+Bb
+B
+C ↑
+Db↑
+D ↑
+Eb↑
+E ↑
+F ↑
+F#↑
+G ↑
+Ab↑
+A ↑
+Bb↑
+B ↑
+C ↑↑
Appendices
Table AUTO RIFF
<AUTO RIFF User Phrase>
Appendices
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------03 01 00 00
00 00 00 01
00 - 32
User 1 C Step1
*Refer to "Table AR Step Note"
03 01 00 01
00 00 00 01
00 - 32
User 1 C Step2
03 01 00 02
00 00 00 01
00 - 32
User 1 C Step3
03 01 00 03
00 00 00 01
00 - 32
User 1 C Step4
03 01 00 04
00 00 00 01
00 - 32
User 1 C Step5
03 01 00 05
00 00 00 01
00 - 32
User 1 C Step6
03 01 00 06
00 00 00 01
00 - 32
User 1 C Step7
03 01 00 07
00 00 00 01
00 - 32
User 1 C Step8
03 01 00 08
00 00 00 01
00 - 32
User 1 C Step9
03 01 00 09
00 00 00 01
00 - 32
User 1 C Step10
03 01 00 0A
00 00 00 01
00 - 32
User 1 C Step11
03 01 00 0B
00 00 00 01
00 - 32
User 1 C Step12
03 01 00 0C
00 00 00 01
00 - 32
User 1 C Step13
03 01 00 0D
00 00 00 01
00 - 32
User 1 C Step14
03 01 00 0E
00 00 00 01
00 - 32
User 1 C Step15
03 01 00 0F
00 00 00 01
00 - 32
User 1 C Step16
03 01 00 10
00 00 00 01
00 - 32
User 1 Db Step1
*Refer to "Table AR Step Note"
03 01 00 11
00 00 00 01
00 - 32
User 1 Db Step2
03 01 00 12
00 00 00 01
00 - 32
User 1 Db Step3
03 01 00 13
00 00 00 01
00 - 32
User 1 Db Step4
03 01 00 14
00 00 00 01
00 - 32
User 1 Db Step5
03 01 00 15
00 00 00 01
00 - 32
User 1 Db Step6
03 01 00 16
00 00 00 01
00 - 32
User 1 Db Step7
03 01 00 17
00 00 00 01
00 - 32
User 1 Db Step8
03 01 00 18
00 00 00 01
00 - 32
User 1 Db Step9
03 01 00 19
00 00 00 01
00 - 32
User 1 Db Step10
03 01 00 1A
00 00 00 01
00 - 32
User 1 Db Step11
03 01 00 1B
00 00 00 01
00 - 32
User 1 Db Step12
03 01 00 1C
00 00 00 01
00 - 32
User 1 Db Step13
03 01 00 1D
00 00 00 01
00 - 32
User 1 Db Step14
03 01 00 1E
00 00 00 01
00 - 32
User 1 Db Step15
03 01 00 1F
00 00 00 01
00 - 32
User 1 Db Step16
03 01 00 20
00 00 00 01
00 - 32
User 1 D Step1
*Refer to "Table AR Step Note"
03 01 00 21
00 00 00 01
00 - 32
User 1 D Step2
03 01 00 22
00 00 00 01
00 - 32
User 1 D Step3
03 01 00 23
00 00 00 01
00 - 32
User 1 D Step4
03 01 00 24
00 00 00 01
00 - 32
User 1 D Step5
03 01 00 25
00 00 00 01
00 - 32
User 1 D Step6
03 01 00 26
00 00 00 01
00 - 32
User 1 D Step7
03 01 00 27
00 00 00 01
00 - 32
User 1 D Step8
03 01 00 28
00 00 00 01
00 - 32
User 1 D Step9
03 01 00 29
00 00 00 01
00 - 32
User 1 D Step10
03 01 00 2A
00 00 00 01
00 - 32
User 1 D Step11
03 01 00 2B
00 00 00 01
00 - 32
User 1 D Step12
03 01 00 2C
00 00 00 01
00 - 32
User 1 D Step13
03 01 00 2D
00 00 00 01
00 - 32
User 1 D Step14
03 01 00 2E
00 00 00 01
00 - 32
User 1 D Step15
03 01 00 2F
00 00 00 01
00 - 32
User 1 D Step16
03 01 00 30
00 00 00 01
00 - 32
User 1 Eb Step1
*Refer to "Table AR Step Note"
03 01 00 31
00 00 00 01
00 - 32
User 1 Eb Step2
03 01 00 32
00 00 00 01
00 - 32
User 1 Eb Step3
03 01 00 33
00 00 00 01
00 - 32
User 1 Eb Step4
03 01 00 34
00 00 00 01
00 - 32
User 1 Eb Step5
03 01 00 35
00 00 00 01
00 - 32
User 1 Eb Step6
03 01 00 36
00 00 00 01
00 - 32
User 1 Eb Step7
03 01 00 37
00 00 00 01
00 - 32
User 1 Eb Step8
03 01 00 38
00 00 00 01
00 - 32
User 1 Eb Step9
03 01 00 39
00 00 00 01
00 - 32
User 1 Eb Step10
03 01 00 3A
00 00 00 01
00 - 32
User 1 Eb Step11
03 01 00 3B
00 00 00 01
00 - 32
User 1 Eb Step12
03 01 00 3C
00 00 00 01
00 - 32
User 1 Eb Step13
03 01 00 3D
00 00 00 01
00 - 32
User 1 Eb Step14
03 01 00 3E
00 00 00 01
00 - 32
User 1 Eb Step15
03 01 00 3F
00 00 00 01
00 - 32
User 1 Eb Step16
03 01 00 40
00 00 00 01
00 - 32
User 1 E Step1
*Refer to "Table AR Step Note"
03 01 00 41
00 00 00 01
00 - 32
User 1 E Step2
03 01 00 42
00 00 00 01
00 - 32
User 1 E Step3
03 01 00 43
00 00 00 01
00 - 32
User 1 E Step4
03 01 00 44
00 00 00 01
00 - 32
User 1 E Step5
03 01 00 45
00 00 00 01
00 - 32
User 1 E Step6
03 01 00 46
00 00 00 01
00 - 32
User 1 E Step7
03 01 00 47
00 00 00 01
00 - 32
User 1 E Step8
03 01 00 48
00 00 00 01
00 - 32
User 1 E Step9
03 01 00 49
00 00 00 01
00 - 32
User 1 E Step10
03 01 00 4A
00 00 00 01
00 - 32
User 1 E Step11
03 01 00 4B
00 00 00 01
00 - 32
User 1 E Step12
03 01 00 4C
00 00 00 01
00 - 32
User 1 E Step13
03 01 00 4D
00 00 00 01
00 - 32
User 1 E Step14
03 01 00 4E
00 00 00 01
00 - 32
User 1 E Step15
03 01 00 4F
00 00 00 01
00 - 32
User 1 E Step16
03 01 00 50
00 00 00 01
00 - 32
User 1 F Step1
*Refer to "Table AR Step Note"
03 01 00 51
00 00 00 01
00 - 32
User 1 F Step2
03 01 00 52
00 00 00 01
00 - 32
User 1 F Step3
03 01 00 53
00 00 00 01
00 - 32
User 1 F Step4
03 01 00 54
00 00 00 01
00 - 32
User 1 F Step5
03 01 00 55
00 00 00 01
00 - 32
User 1 F Step6
03 01 00 56
00 00 00 01
00 - 32
User 1 F Step7
03 01 00 57
00 00 00 01
00 - 32
User 1 F Step8
03 01 00 58
00 00 00 01
00 - 32
User 1 F Step9
03 01 00 59
00 00 00 01
00 - 32
User 1 F Step10
03 01 00 5A
00 00 00 01
00 - 32
User 1 F Step11
03 01 00 5B
00 00 00 01
00 - 32
User 1 F Step12
03 01 00 5C
00 00 00 01
00 - 32
User 1 F Step13
03 01 00 5D
00 00 00 01
00 - 32
User 1 F Step14
03 01 00 5E
00 00 00 01
00 - 32
User 1 F Step15
03 01 00 5F
00 00 00 01
00 - 32
User 1 F Step16
03 01 00 60
00 00 00 01
00 - 32
User 1 F# Step1
*Refer to "Table AR Step Note"
03 01 00 61
00 00 00 01
00 - 32
User 1 F# Step2
03 01 00 62
00 00 00 01
00 - 32
User 1 F# Step3
03 01 00 63
00 00 00 01
00 - 32
User 1 F# Step4
03 01 00 64
00 00 00 01
00 - 32
User 1 F# Step5
03 01 00 65
00 00 00 01
00 - 32
User 1 F# Step6
03 01 00 66
00 00 00 01
00 - 32
User 1 F# Step7
03 01 00 67
00 00 00 01
00 - 32
User 1 F# Step8
03 01 00 68
00 00 00 01
00 - 32
User 1 F# Step9
03 01 00 69
00 00 00 01
00 - 32
User 1 F# Step10
03 01 00 6A
00 00 00 01
00 - 32
User 1 F# Step11
03 01 00 6B
00 00 00 01
00 - 32
User 1 F# Step12
03 01 00 6C
00 00 00 01
00 - 32
User 1 F# Step13
03 01 00 6D
00 00 00 01
00 - 32
User 1 F# Step14
99
Appendices
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
02
6E
6F
70
71
72
73
74
75
76
77
78
79
7A
7B
7C
7D
7E
7F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
00
:
03 01 04 00
:
03 01 06 00
:
03 01 08 00
:
03 01 0A 00
:
03 01 0C 00
:
03 01 0E 00
:
03 01 10 00
:
03 01 12 00
:
03 01 13 3F
100
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
-
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
32
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
00 00 00 01
00 - 32
User
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
F# Step15
F# Step16
G Step1
G Step2
G Step3
G Step4
G Step5
G Step6
G Step7
G Step8
G Step9
G Step10
G Step11
G Step12
G Step13
G Step14
G Step15
G Step16
Ab Step1
Ab Step2
Ab Step3
Ab Step4
Ab Step5
Ab Step6
Ab Step7
Ab Step8
Ab Step9
Ab Step10
Ab Step11
Ab Step12
Ab Step13
Ab Step14
Ab Step15
Ab Step16
A Step1
A Step2
A Step3
A Step4
A Step5
A Step6
A Step7
A Step8
A Step9
A Step10
A Step11
A Step12
A Step13
A Step14
A Step15
A Step16
Bb Step1
Bb Step2
Bb Step3
Bb Step4
Bb Step5
Bb Step6
Bb Step7
Bb Step8
Bb Step9
Bb Step10
Bb Step11
Bb Step12
Bb Step13
Bb Step14
Bb Step15
Bb Step16
B Step1
B Step2
B Step3
B Step4
B Step5
B Step6
B Step7
B Step8
B Step9
B Step10
B Step11
B Step12
B Step13
B Step14
B Step15
B Step16
C Step1
:
3 C Step1
:
4 C Step1
:
5 C Step1
:
6 C Step1
:
7 C Step1
:
8 C Step1
:
9 C Step1
:
10 C Step1
:
10 B Step16
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
*Refer to "Table AR Step Note"
Appendices
Table AR Step Note
<AUTO RIFF User Phrase>
------------------------------Data(H)
Description
------------------------------Below is an explanation of the Description value when IN is C.
Replace each of the values when IN is something other than C.
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
30
31
32
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
Pitch
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
-C ↓↓
-Db↓
-D ↓
-Eb↓
-E ↓
-F ↓
-F#↓
-G ↓
-Ab↓
-A ↓
-Bb↓
-B ↓
-C ↓
-Db
-D
-Eb
-E
-F
-F#
-G
-Ab
-A
-Bb
-B
C
+Db
+D
+Eb
+E
+F
+F#
+G
+Ab
+A
+Bb
+B
+C ↑
+Db↑
+D ↑
+Eb↑
+E ↑
+F ↑
+F#↑
+G ↑
+Ab↑
+A ↑
+Bb↑
+B ↑
+C ↑↑
end
Appendices
101
Appendices
Table AMP
<AMP Customize>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------03 02 00 00
00 00 00 01
00 - 06
Custom1 Type
00 : JC Clean
01 : TW Clean
02 : Crunch
03 : VO Lead
04 : BG Lead
05 : MS1959 Stk
06 : Modern Stk
03 02 00 01
00 00 00 01
00 - 0A
Custom1 Bottom
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 02 00 02
00 00 00 01
00 - 0A
Custom1 Edge
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 02 00 03
00 00 00 01
00 - 0A
Custom1 Bass Frequency 00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 02 00 04
00 00 00 01
00 - 0A
Custom1 Treble Frequency 00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 02 00 05
00 00 00 01
00 - 0A
Custom1 Preamp Low
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 02 00 06
00 00 00 01
00 - 0A
Custom1 Preamp High
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 02 01 00
00 00 00 01
00 - 06
Custom2 Type
03 02 01 01
00 00 00 01
00 - 0A
Custom2 Bottom
03 02 01 02
00 00 00 01
00 - 0A
Custom2 Edge
03 02 01 03
00 00 00 01
00 - 0A
Custom2 Bass Frequency
03 02 01 04
00 00 00 01
00 - 0A
Custom2 Treble Frequency
03 02 01 05
00 00 00 01
00 - 0A
Custom2 Preamp Low
03 02 01 06
00 00 00 01
00 - 0A
Custom2 Preamp High
03 02 02 00
00 00 00 01
00 - 06
Custom3 Type
03 02 02 01
00 00 00 01
00 - 0A
Custom3 Bottom
03 02 02 02
00 00 00 01
00 - 0A
Custom3 Edge
03 02 02 03
00 00 00 01
00 - 0A
Custom3 Bass Frequency
03 02 02 04
00 00 00 01
00 - 0A
Custom3 Treble Frequency
03 02 02 05
00 00 00 01
00 - 0A
Custom3 Preamp Low
03 02 02 06
00 00 00 01
00 - 0A
Custom3 Preamp High
Table SPEAKER
<SPEAKER Customize>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------03 03 00 00
00 00 00 01
00 - 0A
Custom1 Size
00 : 5"
01 : 6"
02 : 7"
:
09 : 14"
0A : 15"
03 03 00 01
00 00 00 01
00 - 14
Custom1 Color Low
00 : -10
01 : - 9
02 : - 8
:
0A : 0
:
13 : + 9
14 : +10
03 03 00 02
00 00 00 01
00 - 14
Custom1 Color High
00 : -10
01 : - 9
02 : - 8
:
0A : 0
:
13 : + 9
14 : +10
03 03 00 03
00 00 00 01
00 - 03
Custom1 Number
00 : x1
01 : x2
02 : x4
03 : x8
03 03 00 04
00 00 00 01
00 - 01
Custom1 Cabinet Type
00 : Open
01 : Close
03 03 01 00
00 00 00 01
00 - 0A
Custom2 Size
03 03 01 01
00 00 00 01
00 - 14
Custom2 Color Low
03 03 01 02
00 00 00 01
00 - 14
Custom2 Color High
03 03 01 03
00 00 00 01
00 - 03
Custom2 Number
03 03 01 04
00 00 00 01
00 - 01
Custom2 Cabinet Type
102
Appendices
Table OD/DS
<OD/DS Customize>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------03 04 00 00
00 00 00 01
00 - 07
Custom1 Type
00 : OD-1
01 : OD-2
02 : CRUNCH
03 : DS-1
04 : DS-2
05 : METAL-1
06 : METAL-2
07 : FUZZ
03 04 00 01
00 00 00 01
00 - 0A
Custom1 Bottom
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 04 00 02
00 00 00 01
00 - 0A
Custom1 Top
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 04 00 03
00 00 00 01
00 - 0A
Custom1 Low
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 04 00 04
00 00 00 01
00 - 0A
Custom1 High
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 04 01 00
00 00 00 01
00 - 07
Custom2 Type
03 04 01 01
00 00 00 01
00 - 0A
Custom2 Bottom
03 04 01 02
00 00 00 01
00 - 0A
Custom2 Top
03 04 01 03
00 00 00 01
00 - 0A
Custom2 Low
03 04 01 04
00 00 00 01
00 - 0A
Custom2 High
03 04 02 00
00 00 00 01
00 - 07
Custom3 Type
03 04 02 01
00 00 00 01
00 - 0A
Custom3 Bottom
03 04 02 02
00 00 00 01
00 - 0A
Custom3 Top
03 04 02 03
00 00 00 01
00 - 0A
Custom3 Low
03 04 02 04
00 00 00 01
00 - 0A
Custom3 High
Table WAH
<WAH Customize>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------03 05 00 00
00 00 00 01
00 - 04
Custom1 Type
00 : CRY WAH
01 : VO WAH
02 : Fat WAH
03 : Light WAH
04 : 7String WAH
03 05 00 01
00 00 00 01
00 - 0A
Custom1 Q
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 05 00 02
00 00 00 01
00 - 0A
Custom1 Range Low
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 05 00 03
00 00 00 01
00 - 0A
Custom1 Range High
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 05 00 04
00 00 00 01
00 - 0A
Custom1 Presence
00 : -50
01 : -40
02 : -30
:
09 : +40
0A : +50
03 05 01 00
00 00 00 01
00 - 04
Custom2 Type
03 05 01 01
00 00 00 01
00 - 0A
Custom2 Q
03 05 01 02
00 00 00 01
00 - 0A
Custom2 Range Low
03 05 01 03
00 00 00 01
00 - 0A
Custom2 Range High
03 05 01 04
00 00 00 01
00 - 0A
Custom2 Presence
03 05 02 00
00 00 00 01
00 - 04
Custom3 Type
03 05 02 01
00 00 00 01
00 - 0A
Custom3 Q
03 05 02 02
00 00 00 01
00 - 0A
Custom3 Range Low
03 05 02 03
00 00 00 01
00 - 0A
Custom3 Range High
03 05 02 04
00 00 00 01
00 - 0A
Custom3 Presence
Appendices
103
Appendices
Table Quick Fx Data
<Quick Fx Data>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------04 00 ** **
P1(Read Only)
04 01 ** **
P2(Read Only)
04 02 ** **
P3(Read Only)
04 03 ** **
P4(Read Only)
↑ ↑
:
↑ ↑
Separate the upper four and lower four bits, assigning them to different bytes,
↑ ↑
and process them in sequence, beginning with the upper bits.
↑ ↑
↓
Example) Processing 64H
↑ ↑
↓
06H: Odd address
↑ ↑
↓
04H: Even address
--- FX-1 --** ** 00 00
00 00 00 02
00 - 0A
FX1:FX Select
*Refer to "Table Patch"
** ** 00 02
** ** 00 04
** ** 00 06
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
02
02
02
02
00
00
00
00
00
00
00
00
00
00
00
-
09
01
0C
02
02
64
64
64
64
01
01
PW :Type
AW :Mode
TM :Type
ACS:Type
LM :Type
ENH:Sensitivity
SG :Sensitivity
TR :Wave Shape
DF :Tone
RM :Mode
FB :Mode
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
02
02
02
02
00
00
00
00
00
00
00
00
00
00
00
-
64
01
64
64
64
0B
64
71
64
64
64
PW :Pdl Position
AW :Polarity
TM :Low
ACS:Sustain
LM :Attack
ENH:Frequency
SG :Rise Time
TR :Rate
DF :Sensitivity
RM :Frequency
FB :Rise Time
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
00
00
00
00
00
00
-
64
64
64
64
64
64
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
00
00
00
00
-
64
64
64
64
PW :Level
AW :Sensitivity
TM :High
ACS:Attack
LM :Threshold
ENH:Mix Level
SG :--TR :Depth
DF :Attack
RM :Effect Level
FB :Rise Time(▲)
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
00
00
00
00
-
64
64
64
11
** ** 00 08
00 00 00 02
00 00 00 02
00 00 00 02
00 - 64
00 - 64
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 - 64
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 - 71
00 00 00 02
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 - 71
** ** 00 0A
** ** 00 0C
** ** 00 0E
00 00 00 02
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 - 64
** ** 00 10
104
PW :--AW :Frequency
TM :Level
ACS:Tone
LM :Ratio
ENH:--SG :--TR :--DF :Depth
RM :Direct Level
FB :F.B.Level
*Refer
*Refer
*Refer
*Refer
*Refer
to
to
to
to
to
"Table
"Table
"Table
"Table
"Table
Patch"
Patch"
Patch"
Patch"
Patch"
*Refer to "Table Patch"
*Refer to "Table Patch"
*Refer to "Table Patch"
*Refer to "Table ENH Frequency"
*Refer to "Table Rate"
*Refer to "Table Ratio"
PW :--AW :Peak
TM :--ACS:Level
LM :Release
ENH:--SG :--TR :--DF :Resonance
RM :--FB :F.B.Level(▲)
PW :--AW :Rate
TM :--ACS:--LM :Level
ENH:--SG :--TR :--DF :Effect Level
RM :--FB :Vibrato Rate
PW :--AW :Depth
TM :--ACS:--LM :--ENH:--SG :--TR :--DF :Direct Level
RM :--FB :Vibrato Depth
PW :--AW :Level
TM :--ACS:--LM :--ENH:--TR :--SG :--DF :--RM :--FB :---
*Refer to "Table Rate"
*Refer to "Table Rate"
Appendices
--- COMP --** ** 01 00
** ** 01 02
00 00 00 02
00 00 00 02
00 - 64
00 - 64
CS :Sustain
CS :Level
--- OD/DS --** ** 02 00
** ** 02 02
** ** 02 04
** ** 02 06
** ** 02 08
** ** 02 0A
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
00
00
00
00
00
00
-
18
64
64
64
64
64
OD
OD
OD
OD
OD
OD
--- PREAMP/SP SIM --** ** 03 00
00 00
** ** 03 02
00 00
** ** 03 04
00 00
** ** 03 06
00 00
** ** 03 08
00 00
** ** 03 0A
00 00
** ** 03 0C
00 00
** ** 03 1E
00 00
** ** 03 10
00 00
** ** 03 12
00 00
** ** 03 14
00 00
** ** 03 16
00 00
** ** 03 18
00 00
** ** 03 1A
00 00
** ** 03 1C
00 00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
02
02
02
02
02
02
02
02
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
-
2F
78
64
64
64
64
64
01
02
09
04
01
0A
64
64
PRE/SP:Type
PRE/SP:Gain
PRE/SP:Bass
PRE/SP:Middle
PRE/SP:Treble
PRE/SP:Presence
PRE/SP:Amp Level
PRE/SP:Bright
PRE/SP:Gain Switch
PRE/SP:Speaker Type
PRE/SP:Mic Type
PRE/SP:Mic Distance
PRE/SP:Mic Position
PRE/SP:Mic Level
PRE/SP:Direct Level
--- EQ --** ** 04 00
** ** 04 02
** ** 04 04
** ** 04 06
** ** 04 08
** ** 04 0A
** ** 04 0C
** ** 04 0E
** ** 04 10
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
02
02
00
00
00
00
00
00
00
00
00
-
28
1B
05
28
1B
05
28
28
28
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
--- FX-2 --** ** 05 00
00 00 00 02
00 - 11
FX2:FX Select
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
02
02
02
02
04
PH :Type
FL :Rate
HR :Voice
PS :Voice
OC :Range
PB :Pitch Min
2CE:Xover Frequency
PAN:Wave Shape
VB :Rate
UV :Rate
RT :Speed Select
SDD:Delay Time
*Refer
*Refer
*Refer
*Refer
*Refer
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
00 - 03
00 - 71
00 - 02
00 - 02
00 - 03
00 - 30
00 - 10
00 - 64
00 - 71
00 - 71
00 - 01
00 00 - 03 17
00 - 02
00 - 13
00 - 27
00 - 64
00 - 01
00 - 28
HU :Mode
SL :Pattern
AR :Phrase
SYN:Sensitivity
BS :Character
SEQ:Low EQ
*Refer to "Table Patch"
*Refer to "Table Patch"
*Refer to "Table Patch"
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
02
02
02
02
00
00
00
00
00
00
00
00
00
00
00
-
71
64
39
03
64
30
71
71
64
64
71
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
00
00
00
00
00
00
-
04
71
01
03
64
1B
PH :Rate
*Refer
FL :Depth
HR :HR1 Harmony
*Refer
PS :PS1 Mode
*Refer
OC :Octave Level
PB :Pitch Max
2CE:Low Rate
*Refer
PAN:Rate
*Refer
VB :Depth
UV :Depth
RT :Rate(Slow)
*Refer
SDD:Delay Time (LSB)
HU :Vowel 1
*Refer
SL :Rate
*Refer
AR :Loop
*Refer
SYN:Wave
*Refer
BS :Level
SEQ:Low-Middle Frequency
** ** 05 02
** ** 05 04
** ** 05 06
00 00 00 02
00 00 00 02
00 00 00 04
00 00 00 02
00 - 05
00 00 00 02
00 00 00 02
00 - 64
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 - 64
00 - 50
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 00 00 02
00 - 64
00 - 78
00 - 64
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
*Refer to "Table OD Type"
*Refer to "Table PRE/SP Type"
*Refer
*Refer
*Refer
*Refer
:Low EQ
:Low-Middle Frequency
:Low-Middle Q
:Low-Middle EQ
:High-Middle Frequency
:High-Middle Q
:High-Middle EQ
:High EQ
:Level
PH :Depth
FL :Manual
HR :HR1 Pre Delay
PS :PS1 Pitch
OC :Direct Level
PB :Pdl Position
2CE:Low Depth
PAN:Depth
VB :Trigger
UV :Level
RT :Rate(Fast)
SDD:Feedback
HU :Vowel 2
SL :Trigger Sensitivity
AR :Tempo
SYN:Chromatic
BS :--SEQ:Low-Middle Q
to
to
to
to
"Table
"Table
"Table
"Table
Patch"
Patch"
Patch"
Patch"
*Refer to "Table EQ Middle Frequency"
*Refer to "Table EQ Middle Q"
*Refer to "Table EQ Middle Frequency"
*Refer to "Table EQ Middle Q"
to
to
to
to
to
"Table
"Table
"Table
"Table
"Table
Patch"
Rate"
Patch"
Patch"
OC Range"
*Refer to "Table Xover Frequency"
*Refer
*Refer
*Refer
*Refer
to
to
to
to
"Table
"Table
"Table
"Table
Rate"
Rate"
Patch"
SDD Delay Time"
*Refer to "Table Patch"
to "Table Rate"
to "Table HR Harmony"
to "Table Patch"
to "Table Rate"
to "Table Rate"
to "Table Rate"
to
to
to
to
"Table
"Table
"Table
"Table
Patch"
Rate"
Patch"
Patch"
*Refer to "Table EQ Middle Frequency"
*Refer to "Table Pre Delay"
*Refer to "Table Patch"
*Refer to "Table Rate"
*Refer to "Table Patch"
*Refer to "Table Rate"
*Refer to "Table Patch"
*Refer to "Table EQ Middle Q"
PH :Manual
FL :Resonance
HR :HR1 Pre Delay (LSB)
PS :PS1 Fine
OC :--PB :Effect Level
2CE:Low Pre Delay
*Refer to "Table Patch"
PAN:--VB :Rise Time
UV :--RT :Rise Time
SDD:Effect Level
HU :Sensitivity
SL :---
Appendices
02
02
02
02
02
02
02
02
02
02
02
02
02
00 - 64
00 - 64
00 00 - 02 33
00 - 30
00 - 64
00 - 64
00 - 64
00 - 64
00 - 01
00 - 64
00 - 64
00 - 64
00 - 04
00 - 64
00 - 71
00 - 01
00
00
00
00
00
00
00
00
00
00
00
00
00
** ** 05 08
00
00
00
00
00
00
00
00
00
:Type
:Drive
:Bass
:Treble
:EffectLevel
:DirectLevel
105
Appendices
** ** 05 0A
** ** 05 0C
** ** 05 0E
** ** 05 10
00 00 00 02
00 00 00 02
00 - 64
00 - 02
00 00 00 02
00 - 28
00
00
00
00
00 - 64
00 - 64
00 - 64
00 00 - 02 33
00
00
00
00
00
00
00
00
02
02
02
04
00 00 00 02
00 00 00 02
00 - 64
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 - 71
00 00 00 02
00 00 00 02
00 - 0B
00 - 64
00 00 00 02
00 - 1B
00 00 00 02
00 00 00 02
00 00 00 02
00 - 72
00 - 0A
00 - 64
00 00 00 02
00 - 71
00 00 00 02
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 - 64
00 - 64
00 00 00 02
00 - 05
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
-
64
64
39
64
00 00 00 02
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 - 01
00 - 64
00 00 00 02
00 - 28
00 00 00 02
00 00 00 02
00 00 00 04
00 00 00 02
00 - 64
00 - 64
00 00 - 02 33
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 - 64
00 - 64
00 00 00 02
00 - 28
** ** 05 12
00 00 00 02
00 - 03
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 - 64
00 - 64
00 00 00 02
00 - 28
00 00 00 02
00 00 00 02
00 - 64
00 - 30
** ** 05 14
106
AR :Sensitivity
SYN:Octave Shift
BS :--SEQ:Low-Middle EQ
PH
FL
HR
PS
:Resonance
:Separation
:HR1 Feedback
:PS1 Pre Delay
*Refer to "Table Patch"
*Refer to "Table Pre Delay"
OC :--PB :Direct Level
2CE:Low Level
PAN:--VB :--UV :--RT :Fall Time
SDD:--HU :Rate
*Refer to "Table Rate"
SL :--AR :Key
*Refer to "Table Patch"
SYN:PWM Rate
BS :--SEQ:High-Middle Frequency
*Refer to "Table EQ Middle Frequency"
PH :Step Rate
FL :Low Cut Filter
HR :HR1 Level
PS :PS1 Pre Delay(LSB)
OC :--PB :--2CE:High Rate
PAN:--VB :--UV :--RT :Depth
SDD:--HU :Depth
SL :--AR :Attack
SYN:PWM Depth
BS :--SEQ:High-Middle Q
PH :Effect Level
FL :Effect Level
HR :HR2 Harmony
PS :PS1 Feedback
OC :--PB :--2CE:High Depth
PAN:--VB :--UV :--RT :--SDD:--HU :Manual
SL :--AR :Hold
SYN:Cutoff Frequency
BS :--SEQ:High-Middle EQ
PH :Direct Level
FL :Direct Level
HR :HR2 Pre Delay
PS :PS1 Level
OC :--PB :--2CE:High Pre Delay
PAN:--VB :--UV :--RT :--SDD:--HU :Level
SL :--AR :Effect Level
SYN:Resonance
BS :--SEQ:High EQ
*Refer to "Table Step Rate"
*Refer to "Table Low Cut"
*Refer to "Table Rate"
*Refer to "Table EQ Middle Q"
*Refer to "Table HR Harmony"
*Refer to "Table Patch"
*Refer to "Table Pre Delay"
*Refer to "Table Patch"
PH :--FL :--HR :HR2 HR2 Pre Delay (LSB)
PS :PS2 Mode
*Refer to "Table Patch"
OC :--PB :--2CE:High Level
PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :Direct Level
SYN:FLT.Sensitivity
BS :--SEQ:Level
PH :--FL :--HR :HR2 Level
PS :PS2 Pitch
OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :---
Appendices
00 00 00 02
00 - 64
00 00 00 02
00 00 00 02
00 - 0B
00 - 64
00 00 00 02
00 - 64
00 00 00 02
00 00 00 04
00 - 64
00 00 - 02 33
** ** 05 16
** ** 05 18
00 00 00 02
00 - 65
** ** 05 1A
00 00 00 02
00 - 64
** ** 05 1C
00 00 00 02
00 - 64
00 00 00 02
00 - 64
** ** 05 1E
** ** 05 20
00 00 00 02
00 - 64
00 00 00 02
00 - 01
SYN:FLT.Decay
BS :--SEQ:--PH :--FL :--HR :Key
PS :PS2 Fine
OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :--SYN:FLT.Depth
BS :--SEQ:--PH
FL
HR
PS
*Refer to "Table Patch"
*Refer to "Table Patch"
:--:--:Direct Level
:PS2 Pre Delay
OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :--SYN:Attack
BS :--SEQ:---
*Refer to "Table Pre Delay"
*Refer to "Table Patch"
PH :--FL :--HR :--PS :PS2 Pre Delay (LSB)
OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :--SYN:Release
BS :--SEQ:--PH :--FL :--HR :--PS :PS2 Level
OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :--SYN:Velocity
BS :--SEQ:--PH :--FL :--HR :--PS :Direct Level
OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :--SYN:Hold
BS :--SEQ:---
*Refer to "Table Patch"
Appendices
PH :--FL :--HR :--PS :--OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :---
107
Appendices
00 00 00 02
00 - 64
** ** 05 22
SYN:Synth Level
BS :--SEQ:--PH :--FL :--HR :--PS :--OC :--PB :--2CE:--PAN:--VB :--UV :--RT :--SDD:--HU :--SL :--AR :--SYN:Direct Level
BS :--SEQ:---
00 00 00 02
00 - 64
--- DELAY --** ** 06 00
** ** 06 02
** ** 06 04
** ** 06 06
** ** 06 08
** ** 06 0A
** ** 06 0C
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
00
00
00
00
00
00
00
-
02
66
14
64
64
09
78
DD
DD
DD
DD
DD
DD
DD
:Type
:DlyTime
:DlyTime(Fine)
:Tap Time
:Feedback
:High Cut Filter
:Effect Level
*Refer to "Table Patch"
*Refer to "Table DD Delay Time"
--- CHORUS --** ** 07 00
** ** 07 02
** ** 07 04
** ** 07 06
** ** 07 08
** ** 07 0A
** ** 07 0C
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
00
00
00
00
00
00
00
-
02
71
64
50
0A
09
64
CE
CE
CE
CE
CE
CE
CE
:Mode
:Rate
:Depth
:Pre Delay
:Low Cut Filter
:High Cut Filter
:Effect Level
*Refer to "Table Patch"
*Refer to "Table Rate"
--- REVERB --** ** 08 00
** ** 08 02
** ** 08 04
** ** 08 06
** ** 08 08
** ** 08 0A
** ** 08 0C
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
02
02
02
00
00
00
00
00
00
00
-
04
63
64
0A
09
0A
64
RV
RV
RV
RV
RV
RV
RV
:Type
:Reverb Time
:Pre Delay
:Low Cut Filter
:High Cut Filter
:Density
:Effect Level
*Refer to "Table Reverb Type"
*Refer to "Table Patch"
--- ASSIGN --** ** 09 00
** ** 09 02
** ** 09 04
** ** 09 06
** ** 09 08
** ** 09 0A
** ** 09 0C
** ** 09 0E
** ** 09 10
** ** 09 12
00 00 00 04
00 00 00 04
00 00 00 04
00
00
00
00
00
00
00
00
00
00
00
00
02
02
02
02
Table Quick Fx Name
00 00 00 00 - 00 00 0F 0F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 - 7F
00 - 7F
*Refer to "Table High Cut"
*Refer to "Table Patch"
*Refer to "Table Low Cut"
*Refer to "Table High Cut"
*Refer to "Table Low Cut"
*Refer to "Table High Cut"
Assign:Target
*Refer to "Table Quick Fx Target"
Assign:Target Min
[Target Param Min <= Data <= Target Param Max]
Assign:Target Max
[Target Param Min <= Data <= Target Param Max]
Assign:Source
Assign:Source Mode
Assign:Source Act.Range
Assign:Source Act.Range
*Refer to "Table Source"
*Refer to "Table Patch"
Low
High
<Quick Fx Name>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------05 00 ** **
P1(Read Only)
05 01 ** **
P2(Read Only)
05 02 ** **
P3(Read Only)
05 03 ** **
P4(Read Only)
↑ ↑
:
↑ ↑
↑ ↑
↑ ↑
↑ ↑
--- FX-1
** ** 00
** ** 00
** ** :
** ** 00
--00
01#
:
0B#
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- COMP
** ** 01
** ** 01
** ** :
** ** 01
--00
01#
:
0B#
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- PREAMP/SP SIM --** ** 03 00
00 00 00 01
** ** 03 01#
00 00 00 01
** ** : :
:
** ** 03 0B#
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- EQ --** ** 04 00
** ** 04 01#
** ** : :
** ** 04 0B#
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- OD/DS --** ** 02 00
** ** 02 01#
** ** : :
** ** 02 0B#
108
00 00 00 01
00 00 00 01
:
00 00 00 01
Appendices
--- FX-2
** ** 05
** ** 05
** ** :
** ** 05
--00
01#
:
0B#
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- DELAY --** ** 06 00
** ** 06 01#
** ** : :
** ** 06 0B#
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- CHORUS --** ** 07 00
** ** 07 01#
** ** : :
** ** 07 0B#
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- REVERB --** ** 08 00
** ** 08 01#
** ** : :
** ** 08 0B#
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
--- ASSIGN --** ** 09 00
** ** 09 01#
** ** : :
** ** 09 0B#
00 00 00 01
00 00 00 01
:
00 00 00 01
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 12
*Refer to "Table Name"
Table Patch
<Patch>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
-------------------------------------------------------------------------------------------------------------06 00 ** **
Patch 001 (User Patch)
06 01 ** **
Patch 002 (User Patch)
:
:
06 63 ** **
Patch 100 (User Patch)
07 00 ** **
Patch 101 (Preset Patch)
:
:
07 63 ** **
Patch 200 (Preset Patch)
08 00 ** **
Temporary Buffer (Bulk)
09 00 ** **
Temporary Buffer (Individual)
↑ ↑
↑ ↑
↑ ↑
↑ ↑
↑ ↑
00 00 00 01
00 - 01
FX1:On/Off
** ** 00 01
00 00 00 01
00 - 0A
FX1:FX Select
** ** 00 02
00 00 00 01
00 - 09
PW :Type
** ** 00 03
** ** 00 04
** ** 00 05
00 00 00 01
00 00 00 01
00 00 00 01
00 - 64
00 - 64
00 - 01
PW :Pdl Position
PW :Level
AW :Mode
** ** 00 06
00 00 00 01
00 - 01
AW :Polarity
**
**
**
**
**
**
**
**
**
**
**
**
**
**
00
00
00
00
00
00
00
07
08
09
0A
0B
0C
0D
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
00
00
00
00
00
00
00
-
64
64
64
71
64
64
0C
AW
AW
AW
AW
AW
AW
TM
**
**
**
**
**
**
**
**
00
00
00
00
0E
0F
10
11
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
00
00
00
00
-
64
64
64
02
TM :Low
TM :High
TM :Level
ACS:Type
**
**
**
**
**
**
**
**
**
**
00
00
00
00
00
12
13
14
15
16
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
00
00
00
00
00
-
64
64
64
64
02
ACS:Sustain
ACS:Attack
ACS:Tone
ACS:Level
LM :Type
:Sensitivity
:Frequency
:Peak
:Rate
:Depth
:Level
:Type
00 : Off
01 : On
00 : PW
01 : AW
02 : TM
03 : ACS
04 : LM
05 : ENH
06 : SG
07 : TR
08 : DF
09 : RM
0A : FB
00 : CRY WAH
01 : VO WAH
02 : Fat WAH
03 : Light WAH
04 : 7String WAH
05 : Resonance WAH
06 : Bass WAH
07 : Custom1
08 : Custom2
09 : Custom3
0 - 100
0 - 100
00 : LPF
01 : BPF
00 : Down
01 : Up
0 - 100
0 - 100
0 - 100
*Refer to "Table Rate"
0 - 100
0 - 100
00 : Fat
01 : Presence
02 : Mild
03 : Tight
04 : Enhance
05 : 'S' to 'H'
06 : 'H' to 'S'
07 : 'H' to 'HF'
08 : 'S' to Hollow
09 : 'H' to Hollow
0A : 'S' to Acoustic
0B : 'H' to Acoustic
0C : 'P' to Acoustic
-50 - +50
-50 - +50
0 - 100
00 : Stereo Comp
01 : BOSS Comp
02 : D-Comp
0 - 100
0 - 100
-50 - +50
0 - 100
00 : Stereo Limiter
Appendices
--- FX-1 --** ** 00 00
109
Appendices
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
-
64
64
11
64
64
64
0B
64
64
64
64
71
64
64
64
64
64
64
64
64
01
**
**
**
**
**
**
**
**
00
00
00
00
2C
2D
2E
2F
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
00
00
00
00
-
64
64
64
01
**
**
**
**
**
**
**
**
**
**
**
**
00
00
00
00
00
00
30
31
32
33
34
35
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
00
00
00
00
00
00
-
64
64
64
64
71
64
01 : Rack 160D
02 : Vtg Rack U
LM :Attack
0 - 100
LM :Threshold
0 - 100
LM :Ratio
*Refer to "Table Ratio"
LM :Release
0 - 100
LM :Level
0 - 100
ENH:Sensitivity 0 - 100
ENH:Frequency
*Refer to "Table ENH Frequency"
ENH:Mix Level
0 - 100
SG :Sensitivity
0 - 100
SG :Rise Time
0 - 100
TR :Wave Shape
0 - 100
TR :Rate
*Refer to "Table Rate"
TR :Depth
0 - 100
DF :Tone
-50 - +50
DF :Sensitivity
0 - 100
DF :Attack
0 - 100
DF :Depth
0 - 100
DF :Resonance
0 - 100
DF :Effect Level
0 - 100
DF :Direct Level
0 - 100
RM :Mode
00 : Normal
01 : Intelligent
RM :Frequency
0 - 100
RM :Effect Level
0 - 100
RM :Direct Level
0 - 100
FB :Mode
00 : OSC
01 : Natural
FB :Rise Time
0 - 100 Mode=OSC
FB :Rise Time(▲)
0 - 100 Mode=OSC
FB :F.B.Level
0 - 100
FB :F.B.Level(▲)
0 - 100 Mode=OSC
FB :Vibrato Rate
0 - 100 Mode=OSC
*Refer to "Table Rate"
FB :Vibrato Depth
0 - 100 Mode=OSC
--- COMP --** ** 01 00
00 00 00 01
00 - 01
CS :On/Off
** ** 01 01
** ** 01 02
00 00 00 01
00 00 00 01
00 - 64
00 - 64
CS :Sustain
CS :Level
--- OD/DS --** ** 02 00
00 00 00 01
00 - 01
OD :On/Off
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
OD
OD
OD
OD
OD
OD
**
**
**
**
**
**
02
02
02
02
02
02
01
02
03
04
05
06
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
-
18
64
64
64
64
64
:Type
:Drive
:Bass
:Treble
:Effect Level
:Direct Level
00 : Off
01 : On
0 - 100
0 - 100
00 : Off
01 : On
*Refer to "Table OD Type"
0 - 100
-50 - +50
-50 - +50
0 - 100
0 - 100
--- PREAMP/SP SIM --** ** 03 00
00 00 00 01
00 - 01
PRE/SP:On/Off
** ** 03 01
00 00 00 02
00 - 02
PRE/SP:Channel Select
00 : Off
01 : On
A, B, C
**
**
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
PRE/SP:Type
PRE/SP:Gain
PRE/SP:Bass
PRE/SP:Middle
PRE/SP:Treble
PRE/SP:Presence
PRE/SP:Amp Level
PRE/SP:Bright
(Ach)
(Ach)
(Ach)
(Ach)
(Ach)
(Ach)
(Ach)
(Ach)
**
**
**
**
**
**
**
**
03
03
03
03
03
03
03
03
02
03
04
05
06
07
08
09
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
-
2F
78
64
64
64
64
64
01
** ** 03 0A
00 00 00 01
00 - 02
PRE/SP:Gain SW
(Ach)
** ** 03 0B
00 00 00 01
00 - 0E
PRE/SP:Speaker Type
(Ach)
** ** 03 0C
00 00 00 01
00 - 04
PRE/SP:Mic Type
(Ach)
** ** 03 0D
00 00 00 01
00 - 01
PRE/SP:Mic Distance
(Ach)
** ** 03 0E
00 00 00 01
00 - 0A
PRE/SP:Mic Position
(Ach)
** ** 03 0F
** ** 03 10
00 00 00 01
00 00 00 01
00 - 64
00 - 64
PRE/SP:Mic Level
PRE/SP:Direct Level
(Ach)
(Ach)
**
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
00
00
PRE/SP:Type
PRE/SP:Gain
PRE/SP:Bass
PRE/SP:Middle
PRE/SP:Treble
PRE/SP:Presence
PRE/SP:Amp Level
(Bch)
(Bch)
(Bch)
(Bch)
(Bch)
(Bch)
(Bch)
**
**
**
**
**
**
**
03
03
03
03
03
03
03
110
11
12
13
14
15
16
17
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
-
2F
78
64
64
64
64
64
*Refer to "Table PRE/SP Type"
0 - 120
0 - 100
0 - 100
0 - 100
0 - 100 (-100 - 0)
0 - 100
00 : Off
01 : On
00 : Low
01 : Middle
02 : High
00 : OFF
01 : ORIGINAL
02 : 1x8"
03 : 1x10"
04 : 1x12"
05 : 1x15"
06 : 1x18"
07 : 2x12"
08 : 2x15"
09 : 4x10"
0A : 4x12"
0B : 8x10"
0C : 8x12"
0D : Custom1
0E : Custom2
00 : DYN57
01 : DYN421
02 : CND451
03 : CND87
04 : FLAT
00 : Off Mic
01 : On Mic
00 : Center
01 : 1
02 : 2
03 : 3
04 : 4
05 : 5
06 : 6
07 : 7
08 : 8
09 : 9
0A : 10
0 - 100
0 - 100
Appendices
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
03
03
03
03
03
03
03
03
18
19
1A
1B
1C
1D
1E
1F
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
-
01
02
09
04
01
0A
64
64
PRE/SP:Bright
PRE/SP:Gain SW
PRE/SP:Speaker Type
PRE/SP:Mic Type
PRE/SP:Mic Distance
PRE/SP:Mic Position
PRE/SP:Mic Level
PRE/SP:Direct Level
(Bch)
(Bch)
(Bch)
(Bch)
(Bch)
(Bch)
(Bch)
(Bch)
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
-
2F
78
64
64
64
64
64
01
02
09
04
01
0A
64
64
PRE/SP:Type
PRE/SP:Gain
PRE/SP:Bass
PRE/SP:Middle
PRE/SP:Treble
PRE/SP:Presence
PRE/SP:Amp Level
PRE/SP:Bright
PRE/SP:Gain SW
PRE/SP:Speaker Type
PRE/SP:Mic Type
PRE/SP:Mic Distance
PRE/SP:Mic Position
PRE/SP:Mic Level
PRE/SP:Direct Level
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
(Cch)
--- EQ --** ** 04 00
00 00 00 01
00 - 01
EQ :On/Off
**
**
**
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
**
**
**
**
**
**
**
**
**
04
04
04
04
04
04
04
04
04
01
02
03
04
05
06
07
08
09
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
-
28
1B
05
28
1B
05
28
28
28
00 : Off
01 : On
:Low EQ
-20dB - +20dB
:Low-Middle Frequency
*Refer
:Low-Middle Q
*Refer
:Low-Middle EQ
-20dB - +20dB
:High-Middle Frequency
*Refer
:High-Middle Q
*Refer
:High-Middle EQ
-20dB - +20dB
:High EQ
-20dB - +20dB
:Level
-20dB - +20dB
--- FX-2 --** ** 05 00
00 00 00 01
00 - 01
FX2:On/Off
** ** 05 01
00 00 00 01
00 - 11
FX2:FX Select
** ** 05 02
00 00 00 01
00 - 03
PH :Type
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
PH
PH
PH
PH
PH
PH
PH
FL
FL
FL
FL
FL
FL
FL
FL
HR
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
05
05
05
05
05
05
05
05
05
05
05
05
13
14
15#
16
17
18
19
1A#
1B
1C
1D
1E
00 00 00 01
00 00 00 02
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
-
71
64
64
64
72
64
64
71
64
64
64
64
0A
64
64
02
to "Table EQ Middle Frequency"
to "Table EQ Middle Q"
HR :HR1 Harmony
HR :HR1 Pre Delay
00 : Off
01 : On
00 : PH
01 : FL
02 : HR
03 : PS
04 : OC
05 : PB
06 : 2CE
07 : PAN
08 : VB
09 : UV
0A : RT
0B : SDD
0C : HU
0D : SL
0E : AR
0F : SYN
10 : BS
11 : SEQ
00 : 4 Stage
01 : 8 Stage
02 : 12 Stage
03 : Bi-Phase
*Refer to "Table
0 - 100
0 - 100
0 - 100
*Refer to "Table
0 - 100
0 - 100
*Refer to "Table
0 - 100
0 - 100
0 - 100
0 - 100
*Refer to "Table
0 - 100
0 - 100
00 : 1-Voice
01 : 2-Mono
02 : 2-Stereo
*Refer to "Table
*Refer to "Table
HR
HR
HR
HR
:HR1
:HR1
:HR2
:HR2
0 - 100
0 - 100
*Refer to "Table HR Harmony"
*Refer to "Table Pre Delay"
HR
HR
HR
PS
:HR2 Level
:Key
:Direct Level
:Voice
:Rate
:Depth
:Manual
:Resonance
:Step Rate
:Effect Level
:Direct Level
:Rate
:Depth
:Manual
:Resonance
:Separation
:Low Cut Filter
:Effect Level
:Direct Level
:Voice
00
00
00
00
00
00
00
00
01
01
01
02
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
** ** 05 1F
00 00 00 01
00 - 03
PS :PS1 Mode
**
**
**
**
**
**
**
**
**
**
**
**
**
**
05
05
05
05
05
05
05
20
21
22
23#
24
25
26
00 00 00 01
00 00 00 01
00 00 00 02
00 - 30
00 - 64
00 00 - 02 33
00 - 64
00 - 64
00 - 03
PS :PS1 Pitch
PS :PS1 Fine
PS :PS1 Pre Delay
**
**
**
**
**
**
**
**
05
05
05
05
27
28
29
2A#
00 00 00 01
00 00 00 01
00 00 00 02
00 - 30
00 - 64
00 00 - 02 33
PS :PS2 Pitch
PS :PS2 Fine
PS :PS2 Pre Delay
Feedback
Level
Harmony
Pre Delay
PS :PS1 Feedback
PS :PS1 Level
PS :PS2 Mode
Rate"
Step Rate"
Rate"
Low Cut"
HR Harmony"
Pre Delay"
0 - 100
C(Am) - B(G#m)
0 - 100
00 : 1-Voice
01 : 2-Mono
02 : 2-Stereo
00 : Fast
01 : Medium
02 : Slow
03 : Mono
-24 - +24
-50 - +50
*Refer to "Table Pre Delay"
0 - 100
0 - 100
00 : Fast
01 : Medium
02 : Slow
03 : Mono
-24 - +24
-50 - +50
*Refer to "Table Pre Delay"
Appendices
00
00
00
00
00 - 39
00 00 - 02 33
00 - 64
00 - 64
00 - 39
00 00 - 02 33
00 - 64
00 - 0B
00 - 64
00 - 02
00 00 00 01
00 00 00 01
00 00 00 01
to "Table EQ Middle Frequency"
to "Table EQ Middle Q"
111
Appendices
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
2B
2C
2D
2E
2F
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
40
41
42
43
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
-
64
64
03
64
64
30
30
64
64
64
10
71
64
50
64
71
64
50
64
64
71
64
71
64
01
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
**
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F#
50
51
52
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
02
00 00 00 01
00 00 00 01
00 00 00 01
00 - 64
00 - 71
00 - 64
00 - 64
00 - 01
00 - 71
00 - 71
00 - 64
00 - 64
00 - 64
00 00 - 03 17
00 - 64
00 - 78
00 - 02
** ** 05 53
00 00 00 01
00 - 04
** ** 05 54
00 00 00 01
00 - 04
**
**
**
**
**
**
**
**
**
**
**
**
05
05
05
05
05
05
55
56
57
58
59
5A
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
00
00
00
00
00
00
-
64
71
64
64
64
13
**
**
**
**
**
**
**
**
05
05
05
05
5B
5C
5D
5E
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
00
00
00
00
-
71
64
27
01
**
**
**
**
**
**
**
**
**
**
05
05
05
05
05
5F
60
61
62
63
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
00
00
00
00
00
-
71
64
0B
64
01
**
**
**
**
**
**
**
**
05
05
05
05
64
65
66
67
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
00
00
00
00
-
64
64
64
03
** ** 05 68
00 00 00 01
00 - 01
** ** 05 69
00 00 00 01
00 - 02
**
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
00
00
**
**
**
**
**
**
**
05
05
05
05
05
05
05
6A
6B
6C
6D
6E
6F
70
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
-
64
64
64
64
64
64
64
** ** 05 71
00 00 00 01
00 - 65
** ** 05 72
** ** 05 73
** ** 05 74
00 00 00 01
00 00 00 01
00 00 00 01
00 - 64
00 - 64
00 - 01
** ** 05 75
** ** 05 76
** ** 05 77
00 00 00 01
00 00 00 01
00 00 00 01
00 - 64
00 - 64
00 - 01
**
**
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
**
**
**
**
**
**
**
**
05
05
05
05
05
05
05
05
112
78
79
7A
7B
7C
7D
7E
7F
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
-
64
28
1B
05
28
1B
05
28
PS :PS2 Level
PS :Direct Level
OC :Range
OC :Octave Level
OC :Direct Level
PB :Pitch Min
PB :Pitch Max
PB :Pdl Position
PB :Effect Level
PB :Direct Level
2CE:Xover Frequency
2CE:Low Rate
2CE:Low Depth
2CE:Low Pre Delay
2CE:Low Level
2CE:High Rate
2CE:High Depth
2CE:High Pre Delay
2CE:High Level
PAN:Wave Shape
PAN:Rate
PAN:Depth
VB :Rate
VB :Depth
VB :Trigger
VB :Rise Time
UV :Rate
UV :Depth
UV :Level
RT :Speed Select
RT :Rate(Slow)
RT :Rate(Fast)
RT :Rise Time
RT :Fall Time
RT :Depth
SDD:Delay Time
SDD:Feedback
SDD:Effect Level
HU :Mode
0 - 100
0 - 100
*Refer to "Table OC Range"
0 - 100
0 - 100
-24 - +24
-24 - +24
0 - 100
0 - 100
0 - 100
*Refer to "Table Xover Frequency"
*Refer to "Table Rate"
0 - 100
0.0ms - 40.0ms (0.5ms step)
0 - 100
*Refer to "Table Rate"
0 - 100
0.0ms - 40.0ms (0.5ms step)
0 - 100
0 - 100
*Refer to "Table Rate"
0 - 100
*Refer to "Table Rate"
0 - 100
00 : Off
01 : On
0 - 100
*Refer to "Table Rate"
0 - 100
0 - 100
00:slow, 01:fast
*Refer to "Table Rate"
*Refer to "Table Rate"
0 - 100
0 - 100
0 - 100
*Refer to "Table SDD Delay Time"
0 - 100
0 - 120
00 : Picking
01 : Auto
02 : Random
HU :Vowel 1
00 : 'a'
Mode = Picking, Auto
01 : 'e'
02 : 'i'
03 : 'o'
04 : 'u'
HU :Vowel 2
00 : 'a'
Mode = Picking, Auto
01 : 'e'
02 : 'i'
03 : 'o'
04 : 'u'
HU :Sensitivity
0 - 100
Mode = Picking
HU :Rate
*Refer to "Table Rate"
HU :Depth
0 - 100
HU :Manual
0 - 100
Mode = Auto
HU :Level
0 - 100
SL :Pattern
00 : P1
:
13 : P20
SL :Rate
*Refer to "Table Rate"
SL :Trigger Sensitivity 0 - 100
AR :Phrase
Preset1 - Preset30, User1 - User10
AR :Loop
00 : Off
01 : On
AR :Tempo
*Refer to "Table Rate"
AR :Sensitivity
0 - 100
AR :Key
C(Am) - B(G#m), Phrase = Preset1-30
AR :Attack
0 - 100
AR :Hold
00 : Off
01 : On
AR :Effect Level
0 - 100
AR :Direct Level
0 - 100
SYN:Sensitivity
0 - 100
SYN:Wave
00 : Square
01 : Saw
02 : Brass
03 : Bow
SYN:Chromatic
00 : Off
Wave = Square, Saw
01 : On
SYN:Octave Shift
00 : 0
Wave = Square, Saw
01 : -1
02 : -2
SYN:PWM Rate
0 - 100
Wave = Square
SYN:PWM Depth
0 - 100
Wave = Square
SYN:Cutoff Frequency
0 - 100
SYN:Resonance
0 - 100
SYN:FLT.Sensitivity
0 - 100
SYN:FLT.Decay
0 - 100
SYN:FLT.Depth
00 : -100
01 : -98
:
63 : +98
64 : +100
SYN:Attack
00 : Decay
01 : 0
:
65 : 100
SYN:Release
0 - 100
SYN:Velocity
0 - 100
SYN:Hold
00 : Off
Wave = Square, Saw
01 : On
SYN:Synth Level
0 - 100
SYN:Direct Level
0 - 100
BS :Character
00 : Loose
01 : Tight
BS :Level
0 - 100
SEQ:Low EQ
-20dB - +20dB
SEQ:Low-Middle Frequency
*Refer to "Table EQ Middle Frequency"
SEQ:Low-Middle Q
*Refer to "Table EQ Middle Q"
SEQ:Low-Middle EQ
-20dB - +20dB
SEQ:High-Middle Frequency
*Refer to "Table EQ Middle Frequency"
SEQ:High-Middle Q
*Refer to "Table EQ Middle Q"
SEQ:High-Middle EQ
-20dB - +20dB
Appendices
** ** 06 00
** ** 06 01
00 00 00 01
00 00 00 01
00 - 28
00 - 28
SEQ:High EQ
SEQ:Level
-20dB - +20dB
-20dB - +20dB
--- DELAY --** ** 07 00
00 00 00 01
00 - 01
DD :On/Off
** ** 07 01
00 00 00 01
00 - 02
DD :Type
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
DD
DD
DD
DD
DD
DD
00 : Off
01 : On
00 : Single
01 : Pan
02 : Stereo
*Refer to "Table DD Delay Time"
0 - 20ms
0% - 100%
Type = Pan
0 - 100
*Refer to "Table High Cut"
0 - 120
**
**
**
**
**
**
07
07
07
07
07
07
02
03
04
05
06
07
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
-
66
14
64
64
09
78
:DlyTime
:DlyTime.F
:Tap Time
:Feedback
:High Cut Filter
:Effect Level
--- CHORUS --** ** 08 00
00 00 00 01
00 - 01
CE :On/Off
** ** 08 01
00 00 00 01
00 - 02
CE :Mode
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
CE
CE
CE
CE
CE
CE
**
**
**
**
**
**
08
08
08
08
08
08
02
03
04
05
06
07
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
-
71
64
50
0A
09
64
:Rate
:Depth
:Pre Delay
:Low Cut Filter
:High Cut Filter
:Effect Level
--- REVERB --** ** 09 00
00 00 00 01
00 - 01
RV :On/Off
**
**
**
**
**
**
**
00
00
00
00
00
00
00
00
00
00
00
00
00
00
RV
RV
RV
RV
RV
RV
RV
**
**
**
**
**
**
**
09
09
09
09
09
09
09
01
02
03
04
05
06
07
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
-
04
63
64
0A
09
0A
64
:Type
:Reverb Time
:Pre Delay
:Low Cut Filter
:High Cut Filter
:Density
:Effect Level
00 : Off
01 : On
00 : Mono
01 : Stereo1
02 : Stereo2
*Refer to "Table Rate"
0 - 100
0.0ms - 40.0ms(0.5ms step)
*Refer to "Table Low Cut"
*Refer to "Table High Cut"
0 - 100
00 : Off
01 : On
*Refer to "Table Reverb Type"
0.1s - 10.0s(0.1s step)
0ms - 100ms
*Refer to "Table Low Cut"
*Refer to "Table High Cut"
0 - 10
0 - 100
--- MASTER --** ** 0A 00
00 00 00 01
00 - 64
Patch Level
** ** 0A 01
** ** 0A 02#
00 00 00 02
00 00 - 01 52
Master BPM
** ** 0A 03
00 00 00 01
00 - 01
NS :On/Off
** ** 0A 04
** ** 0A 05
** ** 0A 06
00 00 00 01
00 00 00 01
00 00 00 01
00 - 64
00 - 64
00 - 64
NS :Threshold
NS :Release
FV : Level
--- INPUT SELECT --** ** 0B 00
00 00 00 01
00 - 05
Input Select
00
01
02
03
04
05
--- EFFECT CHAIN --** ** 0C 00
00 00
** ** 0C 01#
00 00
** ** 0C 02#
00 00
** ** 0C 03#
00 00
** ** 0C 04#
00 00
** ** 0C 05#
00 00
** ** 0C 06#
00 00
** ** 0C 07#
00 00
** ** 0C 08#
00 00
** ** 0C 09#
00 00
** ** 0C 0A#
00 00
** ** 0C 0B#
00 00
00
00
00
00
00
00
00
00
00
00
00
00
Chain
Chain
Chain
Chain
Chain
Chain
Chain
Chain
Chain
Chain
Chain
Chain
*Refer
*Refer
*Refer
*Refer
*Refer
*Refer
*Refer
*Refer
*Refer
*Refer
*Refer
*Refer
*
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
-
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
1
2
3
4
5
6
7
8
9
10
11
12
00 : 0
01 : 2
:
64 : 200
00 00 : 40
:
00 7F : 167
01 00 : 168
:
01 52 : 250
00 : Off
01 : On
0 - 100
0 - 100
0 - 100
:
:
:
:
:
:
Guitar
Bass
Microphone
USB(Gtr/Mic)
USB(Bass)
AUX
to
to
to
to
to
to
to
to
to
to
to
to
"Table
"Table
"Table
"Table
"Table
"Table
"Table
"Table
"Table
"Table
"Table
"Table
Chain"
Chain"
Chain"
Chain"
Chain"
Chain"
Chain"
Chain"
Chain"
Chain"
Chain"
Chain"
Rules for exchanging effect positions
The same effect cannot be used more than once.
--- NAME --** ** 0D 00
** ** 0D 01
:
** ** 0D 0F
20 - 7F
20 - 7F
:
20 - 7F
Name 1
Name 2
:
Name 16
*Refer to "Table Name"
*Refer to "Table Name"
:
*Refer to "Table Name"
--- ASSIGN 1 --** ** 0E 00
00 00 00 01
00 - 01
ASSIGN 1:On/Off
**
**
**
**
**
**
**
**
ASSIGN 1:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 1:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 1:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
**
**
**
**
**
**
**
**
0E
0E
0E
0E
0E
0E
0E
0E
01
02#
03
04#
05
06#
07
08
** ** 0E 09
** ** 0E 0A
00 00 00 02
00 00 00 02
00 00 00 02
Appendices
00 00 00 01
00 00 00 01
:
00 00 00 01
ASSIGN 1:Source
ASSIGN 1:Source Mode
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 1:Source Act.Range Low
0 - 127
ASSIGN 1:Source Act.Range High 0 - 127
113
Appendices
--- ASSIGN 2 --** ** 0F 00
00 00 00 01
00 - 01
ASSIGN 2:On/Off
**
**
**
**
**
**
**
**
ASSIGN 2:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 2:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 2:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 2:Source Act.Range Low
0 - 127
ASSIGN 2:Source Act.Range High 0 - 127
--- ASSIGN 3 --** ** 10 00
00 00 00 01
00 - 01
ASSIGN 3:On/Off
**
**
**
**
**
**
**
**
ASSIGN 3:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 3:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 3:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 3:Source Act.Range Low
0 - 127
ASSIGN 3:Source Act.Range High 0 - 127
--- ASSIGN 4 --** ** 11 00
00 00 00 01
00 - 01
ASSIGN 4:On/Off
**
**
**
**
**
**
**
**
ASSIGN 4:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 4:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 4:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 4:Source Act.Range Low
0 - 127
ASSIGN 4:Source Act.Range High 0 - 127
--- ASSIGN 5 --** ** 12 00
00 00 00 01
00 - 01
ASSIGN 5:On/Off
**
**
**
**
**
**
**
**
ASSIGN 5:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 5:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 5:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 5:Source Act.Range Low
0 - 127
ASSIGN 5:Source Act.Range High 0 - 127
--- ASSIGN 6 --** ** 13 00
00 00 00 01
00 - 01
ASSIGN 6:On/Off
**
**
**
**
**
**
**
**
ASSIGN 6:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 6:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 6:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 6:Source Act.Range Low
0 - 127
ASSIGN 6:Source Act.Range High 0 - 127
--- ASSIGN 7 --** ** 14 00
00 00 00 01
00 - 01
ASSIGN 7:On/Off
**
**
**
**
**
**
**
**
ASSIGN 7:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 7:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 7:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 7:Source Act.Range Low
0 - 127
ASSIGN 7:Source Act.Range High 0 - 127
--- ASSIGN 8 --** ** 15 00
00 00 00 01
00 - 01
ASSIGN 8:On/Off
**
**
**
**
**
**
**
**
ASSIGN 8:Target
00 : Off
01 : On
*Refer to "Table Target"
ASSIGN 8:Target Min
[Target Param Min <= Data <= Target Param Max]
ASSIGN 8:Target Max
[Target Param Min <= Data <= Target Param Max]
00 00 00 01
00 00 00 01
00 00 - 01 7F
xx xx - xx xx
xx xx - xx xx
00 - 41
00 - 01
00 00 00 01
00 00 00 01
00 - 7F
00 - 7F
**
**
**
**
**
**
**
**
0F
0F
0F
0F
0F
0F
0F
0F
01
02#
03
04#
05
06#
07
08
** ** 0F 09
** ** 0F 0A
**
**
**
**
**
**
**
**
10
10
10
10
10
10
10
10
01
02#
03
04#
05
06#
07
08
** ** 10 09
** ** 10 0A
**
**
**
**
**
**
**
**
11
11
11
11
11
11
11
11
01
02#
03
04#
05
06#
07
08
** ** 11 09
** ** 11 0A
**
**
**
**
**
**
**
**
12
12
12
12
12
12
12
12
01
02#
03
04#
05
06#
07
08
** ** 12 09
** ** 12 0A
**
**
**
**
**
**
**
**
13
13
13
13
13
13
13
13
01
02#
03
04#
05
06#
07
08
** ** 13 09
** ** 13 0A
**
**
**
**
**
**
**
**
14
14
14
14
14
14
14
14
01
02#
03
04#
05
06#
07
08
** ** 14 09
** ** 14 0A
**
**
**
**
**
**
**
**
15
15
15
15
15
15
15
15
01
02#
03
04#
05
06#
07
08
** ** 15 09
** ** 15 0A
114
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
00 00 00 02
ASSIGN 2:Source
ASSIGN 2:Source Mode
ASSIGN 3:Source
ASSIGN 3:Source Mode
ASSIGN 4:Source
ASSIGN 4:Source Mode
ASSIGN 5:Source
ASSIGN 5:Source Mode
ASSIGN 6:Source
ASSIGN 6:Source Mode
ASSIGN 7:Source
ASSIGN 7:Source Mode
ASSIGN 8:Source
ASSIGN 8:Source Mode
*Refer to "Table Source"
00 : Normal
01 : Toggle
ASSIGN 8:Source Act.Range Low
0 - 127
ASSIGN 8:Source Act.Range High 0 - 127
Appendices
Table Patch Change
<Patch Change>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- PatchChange --0A 00 00 00
00 00 00 02
00 00 Patch No.
00 00 : U001
0A 00 00 01#
- 01 47
:
01 47 : P200
Table Patch Write
<Patch Write>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- PatchWrite --0A 01 00 00
00 00 00 02
00 00 Patch No.
00 00 : U001
0A 01 00 01#
- 00 63
(user area)
:
00 63 : U100
Table Current Patch
<Current Patch>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- CurrentPatch --0A 02 00 00
00 00 00 02
00 00 Patch No.
00 00 : U001
0A 02 00 01#
- 01 47
:
01 47 : P200
Table Patch Initialize <Patch Initialize>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- PatchInitialize --0A 03 00 00
00 00 00 01
00 - 01
Patch
00 : none
Initialize
01 : Patch Initialize
Table AMP Ch Copy
<AMP Ch Copy>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- AMPChCopy --0A 04 00 00
00 00 00 01
00 - 02
AMP Ch Copy
00 : A ch
01 : B ch
02 : C ch
Table Quick Fx Number <Quick Fx Number>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- QuickSelect --0B 00 00 00
00 00 00 01
00 - **
FX-1 Quick Fx Number
00 : temp
01 : P01
02 : P02
:
0B 00 01 00
00 00 00 01
00 - **
COMP Quick Fx Number
0B 00 02 00
00 00 00 01
00 - **
OD/DS Quick Fx Number
0B 00 03 00
00 00 00 01
00 - **
PRE Quick Fx Number
0B 00 04 00
00 00 00 01
00 - **
EQ Quick Fx Number
0B 00 05 00
00 00 00 01
00 - **
FX-2 Quick Fx Number
0B 00 06 00
00 00 00 01
00 - **
DELAY Quick Fx Number
0B 00 07 00
00 00 00 01
00 - **
CHORUS Quick Fx Number
0B 00 08 00
00 00 00 01
00 - **
REVERB Quick Fx Number
0B 00 09 00
00 00 00 01
00 - **
ASSSIGN1 Quick Fx Number
0B 00 0A 00
00 00 00 01
00 - **
ASSSIGN2 Quick Fx Number
0B 00 0B 00
00 00 00 01
00 - **
ASSSIGN3 Quick Fx Number
0B 00 0C 00
00 00 00 01
00 - **
ASSSIGN4 Quick Fx Number
0B 00 0D 00
00 00 00 01
00 - **
ASSSIGN5 Quick Fx Number
0B 00 0E 00
00 00 00 01
00 - **
ASSSIGN6 Quick Fx Number
0B 00 0F 00
00 00 00 01
00 - **
ASSSIGN7 Quick Fx Number
0B 00 10 00
00 00 00 01
00 - **
ASSSIGN8 Quick Fx Number
Table Quick Fx Count
<Quick Fx Count>
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- QuickSelect --0B 01 00 00
00 00 00 01
00 - **
FX-1 Quick Fx Count
0B 01 01 00
00 00 00 01
00 - **
COMP Quick Fx Count
0B 01 02 00
00 00 00 01
00 - **
OD/DS Quick Fx Count
0B 01 03 00
00 00 00 01
00 - **
PRE Quick Fx Count
0B 01 04 00
00 00 00 01
00 - **
EQ Quick Fx Count
0B 01 05 00
00 00 00 01
00 - **
FX-2 Quick Fx Count
0B 01 06 00
00 00 00 01
00 - **
DELAY Quick Fx Count
0B 01 07 00
00 00 00 01
00 - **
CHORUS Quick Fx Count
0B 01 08 00
00 00 00 01
00 - **
REVERB Quick Fx Count
0B 01 09 00
00 00 00 01
00 - **
ASSSIGN Quick Fx Count
Table TUNER/METER
<TUNER/METER Mode>
Appendices
-------------------------------------------------------------------------------------------------------------Address(H)
Size(H)
Data(H)
Parameter
Description
---------------------------------------------------------------------------------------------------------------- TUNER/METER Mode --0C 00 00 00
00 00 00 01
00 - 02
Mode
00 : exit
01 : tuner mode ON
02 : meter mode ON
0C 00 00 01
00 00 00 02
00 ** - 0C **
TUNER Note
C,C#,D,D#,E,F,F#,G,G#,A,A#,B,NO SIGNAL
↓
↓
0C 00 00 02#
** 00 - ** 7F
TUNER Cent
00 : NO SIGNAL
:
40 : 0
:
7f : +63
0C 00 00 03
00 00 00 02
00 ** - 30 **
METER peak data 00 - 30
↓
↓
0C 00 00 04#
** 00 - ** 30
METER data
00 - 30
115
Appendices
Table Quick Fx Target <Quick Fx: Assign Target>
---------------Data(H)
---------------00 00 00 00
00 00 00 01
00 00 00 02
00 00 00 03
00 00 00 04
00 00 00 05
00 00 00 06
00 00 00 07
00 00 00 08
00 00 00 09
00 00 00 0A
00 00 00 0B
00 00 00 0C
00 00 00 0D
00 00 00 0E
00 00 00 0F
00 00 01 00
00 00 01 01
00 00 01 02
00 00 01 03
00 00 01 04
00 00 01 05
00 00 01 06
00 00 01 07
00 00 01 08
00 00 01 09
00 00 01 0A
00 00 01 0B
00 00 01 0C
00 00 01 0D
00 00 01 0E
00 00 01 0F
00 00 02 00
00 00 02 01
00 00 02 02
00 00 02 03
00 00 02 04
00 00 02 05
00 00 02 06
00 00 02 07
00 00 02 08
00 00 02 09
00 00 02 0A
00 00 02 0B
00 00 02 0C
00 00 02 0D
00 00 02 0E
00 00 02 0F
00 00 03 00
00 00 03 01
00 00 03 02
00 00 03 03
00 00 03 04
00 00 03 05
00 00 03 06
00 00 03 07
00 00 03 08
00 00 03 09
00 00 03 0A
00 00 03 0B
00 00 03 0C
00 00 03 0D
00 00 03 0E
00 00 03 0F
00 00 04 00
00 00 04 01
00 00 04 02
00 00 04 03
00 00 04 04
00 00 04 05
00 00 04 06
00 00 04 07
00 00 04 08
00 00 04 09
00 00 04 0A
00 00 04 0B
00 00 04 0C
00 00 04 0D
00 00 04 0E
00 00 04 0F
00 00 05 00
00 00 05 01
00 00 05 02
00 00 05 03
00 00 05 04
00 00 05 05
00 00 05 06
00 00 05 07
00 00 05 08
00 00 05 09
00 00 05 0A
00 00 05 0B
00 00 05 0C
00 00 05 0D
00 00 05 0E
00 00 05 0F
00 00 06 00
00 00 06 01
00 00 06 02
00 00 06 03
00 00 06 04
00 00 06 05
00 00 06 06
00 00 06 07
00 00 06 08
00 00 06 09
00 00 06 0A
00 00 06 0B
00 00 06 0C
00 00 06 0D
116
---------------Description
---------------FX1:On/Off
FX1:FX Select
PW :Type
PW :Pdl Position
PW :Level
AW :Mode
AW :Polarity
AW :Sensitivity
AW :Frequency
AW :Peak
AW :Rate
AW :Depth
AW :Level
TM :Type
TM :Low
TM :High
TM :Level
ACS:Type
ACS:Sustain
ACS:Attack
ACS:Tone
ACS:Level
LM :Type
LM :Attack
LM :Threshold
LM :Ratio
LM :Release
LM :Level
ENH :Sensitivity
ENH :Frequency
ENH :Mix Level
SG :Sensitivity
SG :Rise Time
TR :Wave Shape
TR :Rate
TR :Depth
DF :Tone
DF :Sensitivity
DF :Attack
DF :Depth
DF :Resonance
DF :Effect Level
DF :Direct Level
RM :Mode
RM :Frequency
RM :Effect Level
RM :Direct Level
FB :Mode
FB :Rise Time
FB :Rise Time(Å£)
FB :F.B.Level
FB :F.B.Level(Å£)
FB :Vibrato Rate
FB :Vibrato Dept
CS :On/Off
CS :Sustain
CS :Level
OD :On/Off
OD :Type
OD :Drive
OD :Bass
OD :Treble
OD :Effect Level
OD :Direct Level
PRE/SP:On/Off
PRE/SP:Channel Select
PRE/SP:Type
PRE/SP:Gain
PRE/SP:Bass
PRE/SP:Middle
PRE/SP:Treble
PRE/SP:Presence
PRE/SP:Amp Level
PRE/SP:Bright
PRE/SP:Gain SW
PRE/SP:Speaker Type
PRE/SP:Mic Type
PRE/SP:Mic Distance
PRE/SP:Mic Position
PRE/SP:Mic Level
PRE/SP:Direct Level
EQ :On/Off
EQ :Low EQ
EQ :Low-Middle Frequency
EQ :Low-Middle Q
EQ :Low-Middle EQ
EQ :High-Middle Frequency
EQ :High-Middle Q
EQ :High-Middle EQ
EQ :High EQ
EQ :Level
FX2:On/Off
FX2:FX Select
PH :Type
PH :Rate
PH :Depth
PH :Manual
PH :Resonance
PH :Step Rate
PH :Effect Level
PH :Direct Level
FL :Rate
FL :Depth
FL :Manual
FL :Resonance
FL :Separation
FL :Low Cut Filter
FL :Effect Level
FL :Direct Level
HR :Voice
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
06
06
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
08
08
08
08
08
08
08
08
08
08
08
08
08
08
08
08
09
09
09
09
09
09
09
09
09
09
09
09
09
09
09
09
0A
0A
0A
0A
0A
0A
0A
0A
0A
0A
0A
0A
0A
0A
0A
0A
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0B
0C
0C
0C
0C
0C
0C
0C
0C
0C
0C
0C
0C
0C
0C
0C
0C
0D
0D
0D
0D
0D
0D
0D
0D
0D
0D
0D
0D
0D
0D
0D
0D
0E
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
HR :HR1 Harmony
HR :HR1 Pre Delay
HR :HR1 Feedback
HR :HR1 Level
HR :HR2 Harmony
HR :HR2 Pre Delay
HR :HR2 Level
HR :Key
HR :Direct Level
PS :Voice
PS :PS1 Mode
PS :PS1 Pitch
PS :PS1 Fine
PS :PS1 Pre Delay
PS :PS1 Feedback
PS :PS1 Level
PS :PS2 Mode
PS :PS2 Pitch
PS :PS2 Fine
PS :PS2 Pre Delay
PS :PS2 Level
PS :Direct Level
OC :Range
OC :Octave Level
OC :Direct Level
PB :Pitch Min
PB :Pitch Max
PB :Pdl Position
PB :Effect Level
PB :Direct Level
2CE:Xover Frequency
2CE:Low Rate
2CE:Low Depth
2CE:Low Pre Delay
2CE:Low Level
2CE:High Rate
2CE:High Depth
2CE:High Pre Delay
2CE:High Level
PAN:Wave Shape
PAN:Rate
PAN:Depth
VB :Rate
VB :Depth
VB :Trigger
VB :Rise Time
UV :Rate
UV :Depth
UV :Level
RT :Speed Select
RT :Rate(Slow)
RT :Rate(Fast)
RT :Rise Time
RT :Fall Time
RT :Depth
SDD:Delay Time
SDD:Feedback
SDD:Effect Level
HU :Mode
HU :Vowel 1
HU :Vowel 2
HU :Sensitivity
HU :Rate
HU :Depth
HU :Manual
HU :Level
SL :Pattern
SL :Rate
SL :Trigger Sensitivity
AR :Phrase
AR :Loop
AR :Tempo
AR :Sensitivity
AR :Key
AR :Attack
AR :Hold
AR :Effect Level
AR :Direct Level
SYN:Sensitivity
SYN:Wave
SYN:Chromatic
SYN:Octave Shift
SYN:PWM Rate
SYN:PWM Depth
SYN:Cutoff Frequency
SYN:Resonance
SYN:FLT.Sensitivity
SYN:FLT.Decay
SYN:FLT.Depth
SYN:Attack
SYN:Release
SYN:Velocity
SYN:Hold
SYN:Synth Level
SYN:Direct Level
BS :Character
BS :Level
SEQ:Low EQ
SEQ:Low-Middle Frequency
SEQ:Low-Middle Q
SEQ:Low-Middle EQ
SEQ:High-Middle Frequency
SEQ:High-Middle Q
SEQ:High-Middle EQ
SEQ:High EQ
SEQ:Level
DD :On/Off
DD :Type
DD :DlyTime
DD :DlyTime.F
DD :Tap Time
DD :Feedback
DD :High Cut Filter
DD :Effect Level
CE :On/Off
Appendices
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
0E
0E
0E
0E
0E
0E
0E
0E
0E
0E
0E
0E
0E
0E
0E
0F
0F
0F
0F
0F
0F
0F
0F
0F
0F
0F
0F
0F
0F
0F
0F
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
Table Rate
CE :Mode
CE :Rate
CE :Depth
CE :Pre Delay
CE :Low Cut Filter
CE :High Cut Filter
CE :Effect Level
RV :On/Off
RV :Type
RV :Reverb Time
RV :Pre Delay
RV :Low Cut Filter
RV :High Cut Filter
RV :Density
RV :Effect Level
NS :On/Off
NS :Threshold
NS :Release
FV : Level
Patch Level
Master BPM
TUNER On/Off
Master BPM(Tap)
Delay Time(Tap)
Remote Start/Stop
Patch Level Inc1
Patch Level Inc2
Patch Level Dec1
Patch Level Dec2
CH Select Inc
CH Select Dec
<Rate>
---------------Data(H)
---------------00
:
64
65
66
67
68
69
6A
6B
6C
6D
6E
6F
70
71
---------------Description
----------------0
:
100
whole note
doted half note
whole note triplet
half note
doted quarter note
half note triplet
quarter note
doted eighth note
quarter note triplet
eighth note
doted sixteenth note
eighth note triplet
sixteenth note
Table High Cut
<High Cut>
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
---------------Description
---------------700Hz
1.00kHz
1.40kHz
2.00kHz
3.00kHz
4.00kHz
6.00kHz
8.00kHz
11.0kHz
Flat
Table Low Cut
<Low Cut>
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
---------------Description
---------------FLAT
55.0Hz
110Hz
165Hz
200Hz
280Hz
340Hz
400Hz
500Hz
630Hz
800Hz
Table Ratio
<Quick Fx, Patch>
---------------Description
---------------1:1
1.2:1
1.4:1
1.6:1
1.8:1
2:1
2.3:1
2.6:1
3:1
3.5:1
4:1
5:1
6:1
8:1
10:1
12:1
20:1
oo:1
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
Table OD Type
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
Table PRE/SP Type
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
<ENH Frequency>
---------------Description
---------------800Hz
1.00kHz
1.25kHz
1.60kHz
2.00kHz
2.50kHz
3.15kHz
4.00kHz
5.00kHz
6.30kHz
8.00kHz
10.0kHz
<Quick Fx, Patch : OD Type>
---------------Description
---------------Blues OD
Turbo OD
Booster
OD-1
T-Scream
Natural OD
Bass OD
Distortion
RAT
GUV DS
Mild DS
Solid DS
DST+
Metal Zone
R-MAN
Heavy Metal
Loud
Sharp
Mechanical
'60s FUZZ
Oct FUZZ
MUFF FUZZ
Custom1
Custom2
Custom3
<Quick Fx, Patch : PRE/SP Type>
---------------Description
---------------JC-120
Jazz Combo
Full Range
Warm Clean
Clean TWIN
Pro Crunch
Tweed
Crunch
Blues
Wild Crunch
VO Drive
VO Lead
MATCH Drive
Fat MATCH
BG Lead
BG Drive
BG Rhythm
Smooth Drive
MS1959(I)
MS1959(II)
MS1959(I+II)
MS HiGain
Power Stack
R-FIER Red
R-FIER Orng
R-FIER Vint
T-Amp Clean
T-Amp Crunch
T-Amp Lead
SLDN
Drive Stack
Lead Stack
5150 Drive
Metal Stack
Metal Lead
CONCERT 810
SESSION
BASS 360
T. E.
B-MAN
FLIP TOP
Bass Clean
Bass Crunch
Bass HiGain
Mic Preamp
Custom1
Custom2
Custom3
Appendices
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
Table ENH Frequency
117
Appendices
Table EQ Middle Frequency
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
Table EQ Middle Q
---------------Data(H)
---------------00
01
02
03
04
05
<EQ(SEQ): Lo(Hi)-Mid f>
---------------Description
---------------20.0Hz
25.0Hz
31.5Hz
40.0Hz
50.0Hz
63.0Hz
80.0Hz
100Hz
125Hz
160Hz
200Hz
250Hz
315Hz
400Hz
500Hz
630Hz
800Hz
1.00kHz
1.25kHz
1.60kHz
2.00kHz
2.50kHz
3.15kHz
4.00kHz
5.00kHz
6.30kHz
8.00kHz
10.0kHz
<EQ: Lo(Hi)-Mid Q>
---------------Description
---------------0.5
1
2
4
8
16
Table Pre Delay
<Pre Delay>
---------------Data(H)
---------------00 00
00 01
:
00 7F
01 00
:
01 7F
02 00
:
02 2C
02 2D
02 2E
02 2F
02 30
02 31
02 32
02 33
---------------Description
---------------0ms
1ms
:
127ms
128ms
:
255ms
256ms
:
300ms
sixteenth note
eighth note triplet
doted sixteenth note
eighth note
quarter note triplet
doted eighth note
quarter note
Table Step Rate
<PH: Step Rate>
---------------Data(H)
---------------00
01
:
65
66
67
68
69
6A
6B
6C
6D
6E
6F
70
71
72
---------------Description
----------------OFF
0
:
100
whole note
doted half note
whole note triplet
half note
doted quarter note
half note triplet
quarter note
doted eighth note
quarter note triplet
eighth note
doted sixteenth note
eighth note triplet
sixteenth note
118
Table HR Harmony
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
30
31
32
33
34
35
36
37
38
39
<HR: HR1(HR2) Harm>
---------------Description
----------------2oct
-14th
-13th
-12th
-11th
-10th
-9th
-1oct
-7th
-6th
-5th
-4th
-3rd
-2nd
Unison
+2nd
+3rd
+4th
+5th
+6th
+7th
+1oct
+9th
+10th
+11th
+12th
+13th
+14th
+2oct
Scale 1
*Refer to "Table HR Scale"
Scale 2
Scale 3
Scale 4
Scale 5
Scale 6
Scale 7
Scale 8
Scale 9
Scale 10
Scale 11
Scale 12
Scale 13
Scale 14
Scale 15
Scale 16
Scale 17
Scale 18
Scale 19
Scale 20
Scale 21
Scale 22
Scale 23
Scale 24
Scale 25
Scale 26
Scale 27
Scale 28
Scale 29
Appendices
Table HR Scale
<Harmony Scale>
--------------------------------------------Harmony
-2oct
-14th
-13th
-12th
-11th
-10th
-9th
-1oct
-7th
-6th
-5th
-4th
-3rd
-2nd
Unison
+2nd
+3rd
+4th
+5th
+6th
+7th
+1oct
+9th
+10th
+11th
+12th
+13th
+14th
+2oct
Input note
C
C#
D
Harmony note (Default)
-C↓↓
-C#↓↓
-D↓↓
-D↓
-D#↓
-E↓
-E↓
-E↓
-F↓
-F↓
-F#↓
-G↓
-G↓
-G↓
-A↓
-A↓
-A#↓
-B↓
-B↓
-B↓
-C↓
-C↓
-C#↓
-D↓
-D
-D#
-E
-E
-E
-F
-F
-F#
-G
-G
-G
-A
-A
-A#
-B
-B
-B
-C
C
C#
D
+D
+D#
+E
+E
+E
+F
+F
+F#
+G
+G
+G
+A
+A
+A#
+B
+B
+B
+C
+C↑
+C#↑
+D↑
+D↑
+D#↑
+E↑
+E↑
+E↑
+F↑
+F↑
+F#↑
+G↑
+G↑
+G↑
+A↑
+A↑
+A#↑
+B↑
+B↑
+B↑
+C↑
+C↑↑
+C#↑↑
+D↑↑
User Scale
Scale 1
Scale 2
Scale 3
Scale 4
Scale 5
Scale 6
Scale 7
Scale 8
Scale 9
Scale 10
Scale 11
Scale 12
Scale 13
Scale 14
Scale 15
Scale 16
Scale 17
Scale 18
Scale 19
Scale 20
Scale 21
Scale 22
Scale 23
Scale 24
Scale 25
Scale 26
Scale 27
Scale 28
Scale 29
Table OC Range
---------------Data(H)
---------------00
D#
-D#↓↓
-F↓
-F#↓
-G#↓
-A↓
-B↓
-C↓
-D#↓
-F
-F#
-G#
-A
-B
-C
D#
+F
+F#
+G#
+A
+B
+C
+D#↑
+F↑
+F#↑
+G#↑
+A↑
+B↑
+C↑
+D#↑↑
E
-E↓↓
-F↓
-G↓
-A↓
-B↓
-C↓
-D↓
-E↓
-F
-G
-A
-B
-C
-D
E
+F
+G
+A
+B
+C
+D
+E↑
+F↑
+G↑
+A↑
+B↑
+C↑
+D↑
+E↑↑
F
-F↓↓
-G↓
-A↓
-B↓
-C↓
-D↓
-E↓
-F↓
-G
-A
-B
-C
-D
-E
F
+G
+A
+B
+C
+D
+E
+F↑
+G↑
+A↑
+B↑
+C↑
+D↑
+E↑
+F↑↑
<OC: Range>
---------------Description
---------------Gt. or Mic
Bass
1 (Gt. or Mic)
7th string, open to 1st string, 24th fret
(Bass)
24th fret LoB, open to HiC, 24th fret
01
2 (Gt. or Mic)
7th string, open to 1st string, 12th fret
(Bass)
LoB, open to 1st string, 19th fret
02
3 (Gt. or Mic)
7th string, open to 1st string, open
(Bass)
LoB, open to 1st string, 9th fret
03
4 (Gt. or Mic)
7th string, open to 4th string, 2nd fret
(Bass)
LoB, open to 2nd string, 2nd fret
Table Xover Frequency
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
<2CE: Xover f>
---------------Description
---------------100Hz
125Hz
160Hz
200Hz
250Hz
315Hz
400Hz
500Hz
630Hz
800Hz
1.00kHz
1.25kHz
1.60kHz
2.00kHz
2.50kHz
3.15kHz
4.00kHz
F#
-F#↓↓
-G#↓
-A#↓
-B↓
-C↓
-D↓
-E↓
-F#↓
-G#
-A#
-B
-C
-D
-E
F#
+G#
+A#
+B
+C
+D
+E
+F#↑
+G#↑
+A#↑
+B↑
+C↑
+D↑
+E↑
+F#↑↑
G
-G↓↓
-A↓
-B↓
-C↓
-D↓
-E↓
-F↓
-G↓
-A
-B
-C
-D
-E
-F
G
+A
+B
+C
+D
+E
+F
+G↑
+A↑
+B↑
+C↑
+D↑
+E↑
+F↑
+G↑↑
G#
-G#↓↓
-A#↓
-B↓
-C#↓
-D↓
-E↓
-F↓
-G#↓
-A#
-B
-C#
-D
-E
-F
G#
+A#
+B
+C#
+D
+E
+F
+G#↑
+A#↑
+B↑
+C#↑
+D↑
+E↑
+F↑
+G#↑↑
A
A#
-A↓↓
-B↓
-C↓
-D↓
-E↓
-F↓
-G↓
-A↓
-B
-C
-D
-E
-F
-G
A
+B
+C
+D
+E
+F
+G
+A↑
+B↑
+C↑
+D↑
+E↑
+F↑
+G↑
+A↑↑
Table SDD Delay Time
---------------Data(H)
---------------00 00
00 01
:
00 7F
01 00
:
01 7F
02 00
:
02 7F
03 00
:
03 10
03 11
03 12
03 13
03 14
03 15
03 16
03 17
Table DD Delay Time
---------------Data(H)
---------------00
01
:
59
5A
5B
5C
5D
5E
5F
60
61
62
63
64
65
66
Table Reverb Type
-B↓↓
-C↓
-D↓
-E↓
-F↓
-G↓
-A↓
-B↓
-C
-D
-E
-F
-G
-A
B
+C
+D
+E
+F
+G
+A
+B↑
+C↑
+D↑
+E↑
+F↑
+G↑
+A↑
+B↑↑
<SDD: DlyTime>
---------------Description
---------------0ms
1ms
:
127ms
128ms
:
255ms
256ms
:
383ms
384ms
:
400ms
sixteenth note
eighth note triplet
doted sixteenth note
eighth note
quarter note triplet
doted eighth note
quarter note
<DD: Delay Time>
---------------Description
---------------0ms
20ms
:
1780ms
sixteenth note
eighth note triplet
doted sixteenth note
eighth note
quarter note triplet
doted eighth note
quarter note
half note triplet
doted quarter note
half note
whole note triplet
doted half note
whole note
<RV: Type>
---------------Description
---------------Ambience
Room
Hall1
Hall2
Plate
Appendices
---------------Data(H)
---------------00
01
02
03
04
-A#↓↓
-C↓
-C#↓
-D#↓
-E↓
-F↓
-G↓
-A#↓
-B
-C#
-D#
-E
-F#
-G
A#
+C
+C#
+D#
+E
+F#
+G
+A#↑
+C↑
+C#↑
+D#↑
+E↑
+F#↑
+G↑
+A#↑↑
B
119
Appendices
Table Chain
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
Table Name
---------------Data(H)
---------------20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
40
41
42
43
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F
50
51
52
53
54
55
56
57
58
59
5A
5B
5C
5D
5E
5F
60
61
62
63
64
65
66
67
68
69
6A
6B
6C
6D
6E
6F
70
71
72
73
74
75
76
77
78
79
7A
7B
7C
7D
120
<Effect Chain>
---------------Description
---------------FX-1
Compressor
Overdrive/Distortion
Preamp/Speaker Simulator
Equalizer
FX-2
Delay
Chorus
Reverb
Noise Suppressor
Foot Volume
USB
<Name Edit>
---------------Description
---------------!
"
#
$
%
&
'
(
)
*
+
,
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
`
a
b
c
d
e
f
g
h
I
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
Table Target
---------------Data(H)
---------------00 00
00 01
00 02
00 03
00 04
00 05
00 06
00 07
00 08
00 09
00 0A
00 0B
00 0C
00 0D
00 0E
00 0F
00 10
00 11
00 12
00 13
00 14
00 15
00 16
00 17
00 18
00 19
00 1A
00 1B
00 1C
00 1D
00 1E
00 1F
00 20
00 21
00 22
00 23
00 24
00 25
00 26
00 27
00 28
00 29
00 2A
00 2B
00 2C
00 2D
00 2E
00 2F
00 30
00 31
00 32
00 33
00 34
00 35
00 36
00 37
00 38
00 39
00 3A
00 3B
00 3C
00 3D
00 3E
00 3F
00 40
00 41
00 42
00 43
00 44
00 45
00 46
00 47
00 48
00 49
00 4A
00 4B
00 4C
00 4D
00 4E
00 4F
00 50
00 51
00 52
00 53
00 54
00 55
00 56
00 57
00 58
00 59
00 5A
00 5B
00 5C
00 5D
00 5E
00 5F
00 60
00 61
00 62
00 63
00 64
00 65
00 66
00 67
00 68
00 69
00 6A
00 6B
00 6C
00 6D
<Patch: Assign Target>
---------------Description
---------------FX1:On/Off
FX1:FX Select
PW :Type
PW :Pdl Position
PW :Level
AW :Mode
AW :Polarity
AW :Sensitivity
AW :Frequency
AW :Peak
AW :Rate
AW :Depth
AW :Level
TM :Type
TM :Low
TM :High
TM :Level
ACS:Type
ACS:Sustain
ACS:Attack
ACS:Tone
ACS:Level
LM :Type
LM :Attack
LM :Threshold
LM :Ratio
LM :Release
LM :Level
ENH :Sensitivity
ENH :Frequency
ENH :Mix Level
SG :Sensitivity
SG :Rise Time
TR :Wave Shape
TR :Rate
TR :Depth
DF :Tone
DF :Sensitivity
DF :Attack
DF :Depth
DF :Resonance
DF :Effect Level
DF :Direct Level
RM :Mode
RM :Frequency
RM :Effect Level
RM :Direct Level
FB :Mode
FB :Rise Time
FB :Rise Time(Å£)
FB :F.B.Level
FB :F.B.Level(Å£)
FB :Vibrato Rate
FB :Vibrato Dept
CS :On/Off
CS :Sustain
CS :Level
OD :On/Off
OD :Type
OD :Drive
OD :Bass
OD :Treble
OD :Effect Level
OD :Direct Level
PRE/SP:On/Off
PRE/SP:Channel Select
PRE/SP:Type
PRE/SP:Gain
PRE/SP:Bass
PRE/SP:Middle
PRE/SP:Treble
PRE/SP:Presence
PRE/SP:Amp Level
PRE/SP:Bright
PRE/SP:Gain SW
PRE/SP:Speaker Type
PRE/SP:Mic Type
PRE/SP:Mic Distance
PRE/SP:Mic Position
PRE/SP:Mic Level
PRE/SP:Direct Level
EQ :On/Off
EQ :Low EQ
EQ :Low-Middle Frequency
EQ :Low-Middle Q
EQ :Low-Middle EQ
EQ :High-Middle Frequency
EQ :High-Middle Q
EQ :High-Middle EQ
EQ :High EQ
EQ :Level
FX2:On/Off
FX2:FX Select
PH :Type
PH :Rate
PH :Depth
PH :Manual
PH :Resonance
PH :Step Rate
PH :Effect Level
PH :Direct Level
FL :Rate
FL :Depth
FL :Manual
FL :Resonance
FL :Separation
FL :Low Cut Filter
FL :Effect Level
FL :Direct Level
HR :Voice
Appendices
6E
6F
70
71
72
73
74
75
76
77
78
79
7A
7B
7C
7D
7E
7F
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
40
41
42
43
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F
50
51
52
53
54
55
56
57
58
59
5A
5B
5C
5D
5E
5F
60
HR :HR1 Harmony
HR :HR1 Pre Delay
HR :HR1 Feedback
HR :HR1 Level
HR :HR2 Harmony
HR :HR2 Pre Delay
HR :HR2 Level
HR :Key
HR :Direct Level
PS :Voice
PS :PS1 Mode
PS :PS1 Pitch
PS :PS1 Fine
PS :PS1 Pre Delay
PS :PS1 Feedback
PS :PS1 Level
PS :PS2 Mode
PS :PS2 Pitch
PS :PS2 Fine
PS :PS2 Pre Delay
PS :PS2 Level
PS :Direct Level
OC :Range
OC :Octave Level
OC :Direct Level
PB :Pitch Min
PB :Pitch Max
PB :Pdl Position
PB :Effect Level
PB :Direct Level
2CE:Xover Frequency
2CE:Low Rate
2CE:Low Depth
2CE:Low Pre Delay
2CE:Low Level
2CE:High Rate
2CE:High Depth
2CE:High Pre Delay
2CE:High Level
PAN:Wave Shape
PAN:Rate
PAN:Depth
VB :Rate
VB :Depth
VB :Trigger
VB :Rise Time
UV :Rate
UV :Depth
UV :Level
RT :Speed Select
RT :Rate(Slow)
RT :Rate(Fast)
RT :Rise Time
RT :Fall Time
RT :Depth
SDD:Delay Time
SDD:Feedback
SDD:Effect Level
HU :Mode
HU :Vowel 1
HU :Vowel 2
HU :Sensitivity
HU :Rate
HU :Depth
HU :Manual
HU :Level
SL :Pattern
SL :Rate
SL :Trigger Sensitivity
AR :Phrase
AR :Loop
AR :Tempo
AR :Sensitivity
AR :Key
AR :Attack
AR :Hold
AR :Effect Level
AR :Direct Level
SYN:Sensitivity
SYN:Wave
SYN:Chromatic
SYN:Octave Shift
SYN:PWM Rate
SYN:PWM Depth
SYN:Cutoff Frequency
SYN:Resonance
SYN:FLT.Sensitivity
SYN:FLT.Decay
SYN:FLT.Depth
SYN:Attack
SYN:Release
SYN:Velocity
SYN:Hold
SYN:Synth Level
SYN:Direct Level
BS :Character
BS :Level
SEQ:Low EQ
SEQ:Low-Middle Frequency
SEQ:Low-Middle Q
SEQ:Low-Middle EQ
SEQ:High-Middle Frequency
SEQ:High-Middle Q
SEQ:High-Middle EQ
SEQ:High EQ
SEQ:Level
DD :On/Off
DD :Type
DD :DlyTime
DD :DlyTime.F
DD :Tap Time
DD :Feedback
DD :High Cut Filter
DD :Effect Level
CE :On/Off
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
61
62
63
64
65
66
67
68
69
6A
6B
6C
6D
6E
6F
70
71
72
73
74
75
76
77
78
79
7A
7B
7C
7D
7E
7F
Table Source
---------------Data(H)
---------------00
01
02
03
:
21
22
:
41
Table METER Point
---------------Data(H)
---------------00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
CE :Mode
CE :Rate
CE :Depth
CE :Pre Delay
CE :Low Cut Filter
CE :High Cut Filter
CE :Effect Level
RV :On/Off
RV :Type
RV :Reverb Time
RV :Pre Delay
RV :Low Cut Filter
RV :High Cut Filter
RV :Density
RV :Effect Level
NS :On/Off
NS :Threshold
NS :Release
FV : Level
Patch Level
Master BPM
TUNER On/Off
Master BPM(Tap)
Delay Time(Tap)
Remote Start/Stop
Patch Level Inc1
Patch Level Inc2
Patch Level Dec1
Patch Level Dec2
CH Select Inc
CH Select Dec
<Assign Source>
---------------Description
---------------EXP PEDAL
CTL 1
CTL 2
MIDI CC# 01
:
MIDI CC# 31
MIDI CC# 64
:
MIDI CC# 95
<METER Point>
---------------Description
---------------Input
FX-1
CS
OD
PRE
EQ
FX-2
DD
CE
RV
NS
FV
USB
Output
Appendices
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
121
Appendices
MIDI Implementation Chart
Date: Jul. 15, 2003
GUITAR EFFECTS SYSTEM with USB AUDIO INTERFACE
MIDI Implementation Chart
Model GS-10
Transmitted
Function...
Version: 1.00
Recognized
Remarks
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Memorized
Default
Messages
Altered
X
X
**************
OMNI ON/OFF
X
X
Memorized
Mode
Note
Number :
True Voice
X
**************
X
X
Velocity
Note ON
Note OFF
X
X
X
X
After
Touch
Key's
Ch's
X
X
X
X
X
X
O (0–1)
O
O
O
O
O
X
O
O
**************
O
0–127
O
O
Pitch Bend
0, 32
1–31
33–63
64–95
*1
*2
Bank Select
*2
Control
Change
Prog
Change
: True #
System Exclusive
System
Common
: Song Pos
: Song Sel
: Tune
X
X
X
X
X
X
System
Real Time
: Clock
: Command
X
O
O
X
Aux
Message
: All sound off
: Reset All Controller
: Local ON/OFF
: All Notes OFF
: Active Sense
: Reset
X
X
X
X
X
X
X
X
X
X
O
X
Program Number
1–128
* 1 00H: For values of 01H or lower, the Program Change Map will be switched according to
the value. For values of 02H or higher, the received data will be ignored.
Notes
20H: The received data will be ignored, regardless of the value.
* 2 Rcognizes messages designated by specifying this as a source for Assign (p. 60).
122
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
Mode 3 : OMNI OFF, POLY
Mode 4 : OMNI OFF, MONO
X : No
Appendices
Specifications
GS-10: Guitar Effects System with USB Audio Interface
Rated Power Output
Connectors
1.5 W + 1.5 W
GUITAR/BASS input jack
Signal Processing
AD Conversion: 24 bit + AF method
DA Conversion: 24 bit
Digital Out/USB Audio: 24 bit
Sampling Frequency
44.1 kHz
PHONES jack
MIC INPUT jack (TRS balanced, 1/4 inch phone type)
MIC INPUT connector (XLR balanced)
AUX INPUT jack L/R (RCA Phono type)
OUTPUT jack L/R (RCA Phono type)
GUITAR AMP OUT jack
EXP PEDAL/CTL 1,2 jack
DIGITAL OUT connector (Coaxial)
Program Memories
USB connector
200: 100 (User) + 100 (Preset)
MIDI connector IN/OUT
Nominal Input Level
AC Adaptor jack
GUITAR/BASS INPUT: -10 dBu
Control
MIC INPUT: -40 dBu (BALANCE)
(PREAMP/SPEAKER)
AUX INPUT L/R: -10 dBu
Input Impedance
GUITAR/BASS INPUT: 1 MΩ
MIC INPUT: 2.2 kΩ
AUX INPUT L/R: 33 kΩ
GAIN knob
BASS knob
MIDDLE knob
TREBLE knob
PRESENCE knob
LEVEL knob
Nominal Output Level
On/Off button
OUTPUT L/R: -10 dBu
CHANNEL SELECT button A/B/C
GUITAR AMP OUT: -10 dBu
(COMP)
Output Impedance
OUTPUT L/R: 1 kΩ
GUITAR AMP OUT: 1.5 kΩ
SUSTAIN knob
On/Off button
(OD/DS)
DRIVE knob
Speaker
LEVEL knob
Internal Speaker x 2
On/Off button
Digital Output
(DELAY)
EIAJ CP1201, S/P DIF
FEEDBACK knob
LEVEL knob
USB
On/Off button
AUDIO IN/OUT: Stereo, 44.1 kHz, 24 bit (Capable of
simultaneous recording and playback)
TAP button
MIDI Control IN/OUT
MIDI IN/OUT
(CHORUS)
LEVEL knob
Display
(REVERB)
16 characters, 2 lines (backlit LCD)
LEVEL knob
Appendices
On/Off button
On/Off button
123
Appendices
FX-1 button
FX-2 button
EQ button
NAME/NS/MASTER button
In the interest of product improvement, the specifications
and/or appearance of this unit are subject to change without
prior notice.
ASSIGN button
INPUT SELECT button
QUICK FX button
PARAMETER button L/R
EXIT button
WRITE button
TUNER button
USB button
SPEAKER ON/OFF button
METER button
SYSTEM button
DIRECT PATCH button 1–4
AUX INPUT LEVEL knob
OUTPUT LEVEL knob
PATCH/VALUE dial
Power Supply
AC 14 V; Supply AC adaptor (BOSS BRC series)
Current Draw
800 mA
Dimensions
329 (W) x 231 (D) x 85 (H) mm
13 (W) x 9-1/8 (D) x 3-3/8 (H) inches
Weight
2.25 kg/5 lbs
Accessories
AC Adaptor (BRC series)
Read This First (Leaflet)
Owner’s Manual
USB cable
GS-10 Software CD-ROM
Cakewalk Music Creator set (CD-ROM, Owner’s Manual)
Options
Expression Pedal: EV-5 (Roland)
Foot Switch: FS-5U
Connection Cord: PCS-31 (Roland)
(1/4 inches Phone Plug (stereo) – 1/4 inches Phone Plug
(mono) x 2)
* 0 dBu= 0.775 Vrms
124
AF Method (Adaptive Focus method)
This is a proprietary method from Roland that vastly
improves the signal-to-noise (S/N) ratio of the A/D and
D/A converters.
Installing & Setup the USB Driver
In order to use the GS-10 USB, you must first install the USB driver.
The USB Driver is included in the “GS-10 SOFTWARE CD-ROM.”
■ What is USB Driver?
The USB Driver is software which passes data between the GS-10 and the application (sequencer software
etc.) that is running on the USB-connected computer.
The GS-10 Driver sends data from the application to the GS-10, and passes data from the GS-10 to the
application.
The GS-10 can receive and transmit both digital audio signals and MIDI messages.
Application
USB connector
USB
Driver
Computer
USB cable
GS-10
The explanation about installing and setup the driver is organized according to the computer and driver
mode that you are using. Please proceed to the following pages.
Installing & Setting Up the Driver (Windows) ............................. (p. 126)
Installing & Setting Up the Driver (Macintosh) ........................... (p. 146)
125
Installing & Setting Up the Driver (Windows)
Special Driver and Standard Driver
The GS-10 features two operational modes, each of which uses a different type of driver, with one
mode using the special driver on the CD-ROM included with the GS-10 and the other mode using
the standard Windows driver.
Before installing the drivers, you must first switch the GS-10’s driver mode.
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
■
Special Driver
Special Driver mode allows audio to be recorded/played/edited with high quality and stable
timing.
Audio signals can be transferred between the GS-10 and the computer at a resolution of 24 bits and
sampling frequencies of 44.1 kHz.
And in addition to audio, you can also control the GS-10 using MIDI messages and connect external
MIDI devices and computers.
Select this mode if you are using an application that allows high-quality audio recording/playback/
editing, such as an application that supports 24 bit audio (e.g., the Cakewalk series or Cool Edit) or
an ASIO-compatible application (e.g., Cubase VST, Logic Audio, or SingerSongWriter).
→ “Installing the special driver” (p. 127)
■
Standard Driver
In Standard Driver mode, audio signals are transferred between the GS-10 and the computer at a
resolution of 16 bits and sampling frequencies of 44.1 kHz.
Select this mode if you are using an application that uses Window’s own functionality, such as an
application that uses the computer’s CD-ROM drive to play back CD-audio, or an application that
uses the software synthesizer included with Windows.
→ “Installing the OS-standard driver” (p. 136)
* If you want to use MIDI, use special driver mode.
* The standard driver included with Windows does not support ASIO.
126
Installing & Setting Up the Driver (Windows)
Installing the special driver
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Windows XP/2000 users.............. (p. 127)
• Windows Me/98 users ................. (p. 135)
■
Windows XP/2000 users
Windows XP
1.
With the GS-10 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Open “Control Panel” from the Windows Start menu, then open the “System
Properties” dialog.
3.
Click “Hardware” tab, and then click [Driver Signing].
Open the “Driver Signing Options” dialog box.
fig.11-020
4.
If you are using Windows XP
Professional, you must log on
using a user name with an
administrative account type
(e.g., Administrator).
Depending on how your
system is set up, the System
icon may be displayed directly
in the Control Panel (the
Classic display). In this case,
double-click the System icon.
Make sure that “What action do you want Windows to take?” is set to “Ignore”.
If currently set to “Warn” or “Block,” set it to “Ignore” here, then after installing the driver, restore
the original setting.
5.
Click [OK] to close the “System Properties” dialog box.
6.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to exit it
as well.
7.
Insert the CD-ROM into the CD-ROM drive of your computer.
8.
Click the Windows start button. From the menu that appears, select “Run...”.
Open the “Run...” dialog box.
127
Installing & Setting Up the Driver (Windows)
9.
In the dialog box that appears, input the following into the “Open” field, and
click [OK].
D:\DRIVER\USB_XP2k\SETUPINF.EXE
* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.
fig.11-030
In this manual, the location of
folders and files is given in
terms of the file path, using \
as the delimiter. For example,
WinXP_2k\SETUPINF.EXE
indicates the SETUPINF.EXE
file found in the WinXP_2k
folder.
The “SetupInf” dialog box will appear, with “Ready to install the driver” appearing in the box.
fig.11-040
10.
Before connecting the USB cable, switch the GS-10’s driver mode to “Advanced.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
11.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
12.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
The “Found New Hardware Wizard” will appear.
fig.11-050
13.
Make sure that the screen indicates “BOSS GS-10”, select “Install from a list or
specific location (Advanced)”, and click [Next].
The screen will indicate “Please choose your search and installation options”.
128
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
Installing & Setting Up the Driver (Windows)
fig.11-060
14.
Select “Don’t search. I will choose the driver to install”, and click [Next].
fig.11-070
15.
Make sure that the “Model” field indicates “BOSS GS-10”, and click [Next].
Driver installation will begin.
If the “What action do you want Windows to take?” setting in step 4 was not set to “Ignore”, a
“Hardware Installation” dialog box will appear.
fig.11-080
If the [Continue Anyway] button appears, click the [Continue Anyway] button to continue with
the installation.
If you are unable to continue, click [STOP Installation] or [OK] to begin the driver installation over
again from Step 1.
The Insert Disk dialog box will appear.
fig.11-090
16.
The Insert Disk dialog may not
appear. In that case, proceed to
step 17.
Click [OK].
The “Files Needed” dialog box will appear.
129
Installing & Setting Up the Driver (Windows)
17.
Input the following into the “Copy files from” field, and click [OK].
D:\DRIVER\USB_XP2k
* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.
fig.11-100
If the “What action do you want Windows to take?” setting in step 4 was not set to “Ignore”, a
“Hardware Installation” dialog box will appear.
fig.11-110
If the [Continue Anyway] button appears, click the [Continue Anyway] button to continue with
the installation.
The Found New Hardware Wizard will appear.
fig.11-120
18.
Verify that “BOSS GS-10” is displayed, and click [Finish].
Wait until “Found New Hardware” appears near the taskbar.
When driver installation has been completed, the “System Settings Change” dialog box will appear.
19.
Click [Yes].
Windows will restart automatically.
→ Next, you need to make the driver settings (p. 141).
130
Installing & Setting Up the Driver (Windows)
Windows 2000
1.
With the GS-10 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Click the Windows Start button, and from the menu that appears, select
“Settings | Control Panel.” In “Control Panel,” double-click the System icon.
The “System Properties” dialog box will appear.
fig.11-130
If the GS-10 is already
connected to your computer
and a message of “Add New
Hardware Wizard” is
displayed, go to the included
CD-ROM folder named
DRIVER\USB_XP2k, open the
file Readme_e.htm, and read
the “Troubleshooting” section
entitled “You attempted to
install using the above
procedure, but were not able
to.”
You must log on using a user
name with an administrative
account type (e.g., Administrator).
3.
Click the “Hardware” tab, and then click [Driver Signature].
Open the “Driver Signing Options” dialog box.
fig.11-140
4.
the “File signature verification” is set to “Ignore,” and click [OK].
If currently set to “Warn” or “Block,” set it to “Ignore” here, then after installing the driver, restore
the original setting.
5.
Click [OK] to close the “System Properties” dialog box.
6.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to exit it
as well.
7.
Insert the CD-ROM into the CD-ROM drive of your computer.
8.
Click the Windows start button. From the menu that appears, select “Run...”.
Open the “Run...” dialog box.
131
Installing & Setting Up the Driver (Windows)
9.
In the dialog box that appears, input the following into the “Open” field, and
click [OK].
D:\DRIVER\USB_XP2k\SETUPINF.EXE
* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.
fig.11-150
In this manual, the location of
folders and files is given in
terms of the file path, using \
as the delimiter. For example,
WinXP_2k\SETUPINF.EXE
indicates the SETUPINF.EXE
file found in the WinXP_2k
folder.
The “SetupInf” dialog box will appear, with “Ready to install the driver” appearing in the box.
fig.11-160
10.
Before connecting the USB cable, switch the GS-10’s driver mode to “Advanced.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
11.
12.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
If the “File signature verification” setting in step 4 was not set to “Ignore”, a “Digital Signature
Not Found” dialog box will appear.
fig.11-170
If the [Yes] button appears, click the [Yes] button to continue with the installation.
If you are unable to continue, click [No] or [OK] to begin the driver installation over again from
Step 1.
The “Insert Disk” dialog box will appear.
132
If the Insert Disk dialog box
does not appear, please read
The “Insert Disk” dialog box
does not appear (p. 167)
Installing & Setting Up the Driver (Windows)
fig.11-180
13.
Click [OK].
The “Files Needed” dialog box will appear.
14.
In the Copy files from field, type the folder name that is shown in the dialog box,
and click [OK].
D:\DRIVER\USB_XP2k
* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.
fig.11-190
If the “File signature verification” setting in step 4 was not set to “Ignore”, a “Digital Signature
Not Found” dialog box will appear.
fig.11-200
Click [Yes], and continue the installation.
The “Find New Hardware Wizard” may be displayed.
fig.11-210
133
Installing & Setting Up the Driver (Windows)
15.
Verify that “BOSS GS-10” is displayed, and click [Finish].
Driver installation will begin.
When driver installation has been completed, the “System Settings Change” dialog box will appear.
fig.11-220
16.
Click [Yes].
Windows will restart automatically.
→ Next, you need to make the driver settings (p. 141).
134
Installing & Setting Up the Driver (Windows)
■
Windows Me/98 users
1.
With the GS-10 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to exit it
as well.
3.
Insert the CD-ROM into the CD-ROM drive of your computer.
4.
Click the Windows start button. From the menu that appears, select “Run...”.
Open the “Run...” dialog box.
5.
In the dialog box that appears, input the following into the “Open” field, and
click [OK].
If the GS-10 is already
connected to your computer
and a message of “Add New
Hardware Wizard” is
displayed, go to the included
CD-ROM folder named
DRIVER\USB_XP2k, open the
file Readme_e.htm, and read
the “Troubleshooting” section
entitled “You attempted to
install using the above
procedure, but were not able
to.”
D:\DRIVER\USB_ME98\SETUPINF.EXE
* The drive name “D:” may be different for your system. Specify the drive name of your CD-ROM drive.
fig.11-230
In this manual, the location of
folders and files is given in
terms of the file path, using \
as the delimiter. For example,
ME98\SETUPINF.EXE
indicates the SETUPINF.EXE
file found in the ME98 folder.
The “SetupInf” dialog box will appear, with “Ready to install the driver” appearing in the box.
* If a message prompting you to restart Windows appears, restart Windows in accordance with the message
instructions, then proceed to the following step.
fig.11-240
6.
Before connecting the USB cable, switch the GS-10’s driver mode to “Advanced.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
7.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
8.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
The driver is installed automatically.
9.
Click [OK].
* If a message prompting you to restart Windows appears, restart Windows in accordance with the message
instructions.
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
→ Next, you need to make the driver settings (p. 141).
135
Installing & Setting Up the Driver (Windows)
Installing the OS-standard driver
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Windows XP/2000 users.............. (p. 136)
• Windows Me users ....................... (p. 137)
• Windows 98 users........................ (p. 138)
■
Windows XP/2000 users
1.
With the GS-10 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to exit it
as well.
3.
Before connecting the USB cable, switch the GS-10’s driver mode to “Standard.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
4.
5.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
The GS-10 will be detected automatically, and the driver will be installed.
6.
When installation is complete, restart Windows.
→ Next, you need to make the driver settings (p. 141).
136
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
Installing & Setting Up the Driver (Windows)
■
Windows Me users
1.
With the GS-10 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to exit it
as well.
3.
Before connecting the USB cable, switch the GS-10’s driver mode to “Standard.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
4.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
5.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
Windows will detect the GS-10, and the “Add New Hardware Wizard” dialog box will appear.
fig.11-260
6.
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
Make sure that Automatic search for a better driver (Recommended) is selected,
and click [Next].
Driver detection will begin.
When the driver has been found, driver installation will begin.
Once the driver has been installed, a dialog box will inform you of this.
fig.11-270
7.
Click [Finish].
8.
Restart Windows.
→ Next, you need to make the driver settings (p. 141).
137
Installing & Setting Up the Driver (Windows)
■
Windows 98 users
The USB composite device driver is installed first, then the USB audio device driver is installed. Use
the following procedure to install the drivers.
1.
With the GS-10 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to exit it
as well.
3.
Before connecting the USB cable, switch the GS-10’s driver mode to “Standard.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
4.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
5.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
USB composite device will be detected automatically, and the “Add New Hardware Wizard” dialog
box will appear.
fig.11-280
6.
Click [Next].
7.
When “What do you want Windows to do?” appears, select “Search for the best
driver for your device (Recommended)”, and click [Next].
fig.11-290
A dialog box like the one shown below will appear.
fig.11-300
138
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
Installing & Setting Up the Driver (Windows)
8.
Check CD-ROM drive, and click [Next].
A dialog box like the one shown below will appear.
fig.11-310
9.
Click [Next]
File (driver) copying will begin.
If the Windows CD-ROM is not inserted in the CD-ROM drive, a “Insert Disk” dialog box may
appear. In this case, insert the Windows CD-ROM into the CD-ROM drive and click [OK].
fig.11-320
When installation of the USB Composite Device driver is completed, a dialog box like the one shown
below will appear.
fig.11-330
10.
Click [Finish].
Next, the USB audio device will be detected automatically, and the “Add New Hardware Wizard”
dialog box will appear.
fig.11-340
139
Installing & Setting Up the Driver (Windows)
11.
Click [Next], and proceed with the installation in the same way as in steps 8–10.
When installation of the USB audio device driver is complete, a dialog box like the one shown here
will appear.
fig.11-341
12.
Click [Finish].
Installation of the USB composite device driver and USB audio device driver has been completed.
13.
Restart Windows.
→ Next, you need to make the driver settings (p. 141).
140
Installing & Setting Up the Driver (Windows)
Driver settings
■
About the input/output devices
Audio output devices
BOSS GS-10
This sends audio data from the computer to the GS-10. This is the setting you will normally use, such
as when using the GS-10 with Media Player. You will also select this setting when using an
application such as SONAR in WDM driver mode, or when using a DirectSound application.
MME BOSS GS-10 Out (Windows XP/2000 only)
This sends audio data from the computer to the GS-10. Use this setting if you want to use 24-bit audio
with an application that does not have a WDM driver mode or does not support ASIO (such as Cool
Edit).
Audio input devices
BOSS GS-10
This receives audio data sent by the GS-10 to the computer. This is the setting you will normally use.
You will also select this setting when using an application such as SONAR in WDM driver mode.
MME BOSS GS-10 In (Windows XP/2000 only)
This receives audio data sent by the GS-10 to the computer. Use this setting if you want to use 24-bit
audio with an application that does not have a WDM driver mode or does not support ASIO (such
as Cool Edit).
ASIO device
If you are using the GS-10 with an ASIO-compatible application such as Cubase, select “BOSS GS10” as the ASIO setting on your application.
* To prevent an audio oscillation loop or double monitoring, turn monitoring Off in your application, or use
ASIO Direct Monitor.
MIDI output devices
BOSS GS-10 MIDI OUT
This transmits MIDI data from the computer to the GS-10. Transmitted MIDI data is output from the
GS-10’s MIDI OUT connector.
BOSS GS-10 Control
This transmits MIDI data from the computer to the GS-10. You can control the GS-10’s operations
using MIDI data.
MIDI input devices
BOSS GS-10 MIDI IN
This accepts MIDI data transmitted from the GS-10 to the computer. MIDI data input to the GS-10’s
MIDI IN connector is transmitted to the computer.
BOSS GS-10 MIDI Control
This accepts MIDI data transmitted from the GS-10 to the computer. Data for the GS-10’s operations
and performance data is transmitted to the computer.
141
Installing & Setting Up the Driver (Windows)
■
Specifying the audio input/output destination
Windows XP/2000/Me users
1.
Open Control Panel.
Windows XP
1) Click the Windows start button, and from the menu that appears, select “Control Panel.”
Windows 2000/Me
1) Click the Windows Start button, and from the menu that appears, select “Settings | Control
Panel.”
2.
Open the “Sounds and Audio Devices Properties” dialog box (or in Windows
2000/Me, “Sounds and Multimedia Properties”).
Windows XP
1) In “Pick a category”, click “Sound, Speech, and Audio Devices.”
2) In “or pick a Control Panel icon”, click the sounds and Audio Devices icon.
Depending on how your
system is set up, the “Sounds
and Audio Devices” icon may
be displayed directly in the
Control Panel (the Classic
view). In this case, double-click
the “Sounds and Audio
Devices” icon.
Windows 2000/Me
1) In Control Panel, double-click the Sounds and Multimedia icon to open the “Sounds and
Multimedia Properties” dialog box.
3.
Click the “Audio” tab.
4.
For “Sound playback,” “Sound recording,” and “MIDI music playback,” click the
▼ located at the right of [Default device] (or in Windows 2000/Me, [Preferred
device]), and select the following from the list that appears.
fig.11-350
If the Sound and Multimedia
icon is not displayed, click
“Show all control panel
options” in the frame at the
left.
Special driver mode
Sound
playback
Sound
recording
MIDI music
playback
5.
BOSS GS-10
BOSS GS-10
BOSS GS-10 MIDI OUT
Standard driver mode
GS-10 (Windows XP),
USB Audio Device (Windows 2000/Me)
GS-10 (Windows XP),
USB Audio Device (Windows 2000/Me)
MIDI cannot be handled when using Standard
Driver mode.
(“MIDI in Standard Driver Mode” (p. 80))
Click [OK] to close the “Sounds and Audio Devices Properties” dialog box.
This concludes the procedure for setting the input and output destinations.
→ Next, set the Windows “Volume Control” (p. 144).
142
Installing & Setting Up the Driver (Windows)
Windows 98 users
1.
Click the Windows Start button, and from the menu that appears,
select “Settings | Control Panel.”
The “Control Panel” will appear.
2.
In Control Panel, double-click the “Multimedia” icon.
3.
Click the “Audio” tab.
fig.11-360
4.
Specify the “Preferred device.”
Click the Playback field and Recording field, make the following selections from the list that appears,
and click [Apply].
Playback
Recording
5.
Special driver mode
BOSS GS-10
BOSS GS-10
Standard driver mode
USB Audio Device
USB Audio Device
Click the MIDI tab.
fig.11-370
6.
Set “MIDI output.”
Select [Single instrument], and choose one of the following from the list that appears, and click
[Apply].
Special driver mode
MIDI sound
playback
7.
BOSS GS-10 MIDI OUT
Standard driver mode
MIDI cannot be handled when using Standard
Driver mode.
(“MIDI in Standard Driver Mode” (p. 80))
Click [OK] to close the Multimedia Properties dialog box.
This concludes the procedure for setting the input and output destinations.
→ Next, set the Windows “Volume Control” (p. 144).
143
Installing & Setting Up the Driver (Windows)
■
Volume Control setting
1.
Click the Windows Start button,
and select “Programs | Accessories | Entertainment | Volume Control.”
The “Volume Control” dialog box will apper.
fig.11-380
2.
Raise or lower the slider to adjust the volume of the GS-10.
The GS-10 can use the Windows “volume control” to adjust the output volume.
Items that can be set
CD Player
(CD Audio)
WAVE
Synthesizer
SW Synth
*1
Controls the volume of “audio CDs” on the internal CD-ROM drive of the computer. (*1)
Controls the volume of sound output from the “BOSS GS-10” audio output device. Digital output and analog output will change.
Controls the volume of the software synthesizer built into Windows.
If the CD playback volume does not change when you adjust this control, then change the
WAVE volume.
If you are using Windows 2000 and the CD Player is not displayed, check “Enable digital music
CDs for this CD playback device” in Digital CD Playback.
→ “When playing audio CDs from the computer’s internal CD-ROM drive, or using the GS-10
to play game music” (p. 145)
144
If the Volume Control is not
installed on your computer,
use the Control Panel icon Add
or Remove Programs to install
it. For details on installation,
refer to the Windows manual
or Help.
Installing & Setting Up the Driver (Windows)
When playing audio CDs from the computer’s internal CD-ROM drive,
or using the GS-10 to play game music
Windows XP/2000 users:
1. Open the “System Properties” dialog box.
Windows XP- Click the Windows start button, and from the menu that appears, select
“Control Panel.”
Windows 2000- Select “Start | Settings | Control Panel,” and in the “Control Panel,”
double-click the System icon.
2. Click the “Hardware” tab, and click the “Device Manager” button.
The “Device Manager” dialog box will apper.
3. In CD-ROM drive, double-click the CD-ROM drive that you are using.
The CD-ROM drive’s “Properties” dialog box will appear.
4. Click the “Properties” tab, then in “Digital CD Playback,” check the “Enable
digital CD audio for this CD-ROM device” item.
Windows Me users:
1. Select “Start | Settings | Control Panel,” and in “Control Panel,” doubleclick the System icon.
The “System Properties” dialog box will appear.
2. Double-click the CD-ROM icon, and then double-click the CD-ROM drive
that you are using.
The CD-ROM drive’s “Properties” dialog box will appear.
3. Click the “Properties” tab, then in “Digital CD Playback,” check the “Enable
digital CD audio for this CD-ROM device” item.
Windows 98 users:
1. Select “Start | Settings | Control Panel,” and in “Control Panel,” doubleclick the Multimedia icon.
The “Multimedia Properties” dialog box will appear.
2. Click the “Music CD” tab, and check the “Enable digital CD audio for this
CD-ROM device” item.
* Depending on your system, playback may still not be possible. For details, please contact the
manufacturer of your computer. If you are using a PC-card (PCMCIA) type CD-ROM drive,
playing back WAVE data from a CD-ROM or playing an audio CD may cause interrupted sound,
or possibly no sound at all.
145
Installing & Setting Up the Driver (Macintosh)
Special Driver and Standard Driver
The GS-10 features two operational modes, each of which uses a different type of driver, with one
mode using the special driver on the CD-ROM included with the GS-10 and the other mode using
the standard Mac OS driver.
Before installing the drivers, you must first switch the GS-10’s driver mode.
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
■
Special Driver
In Special Driver mode, allowing audio to be recorded/played/edited with high quality and stable
timing.
Audio signals can be transferred between the GS-10 and the computer at a resolution of 24 bits and
sampling frequencies of 44.1 kHz.
And in addition to audio, you can also control the GS-10 using MIDI messages and connect external
MIDI devices and computers.
Select this mode if you are using an application that allows high-quality audio recording/playback/
editing, such as an application that supports 24 bit audio or an ASIO-compatible application (e.g.,
Cubase VST, Logic Audio, or Metro).
→ “Installing the special driver” (p. 146)
■
Standard Driver
In Standard Driver mode, audio signals are transferred between the GS-10 and the computer at a
resolution of 16 bits and sampling frequencies of 44.1 kHz.
Select this mode if you are using an application that uses Mac OS’s own functionality, such as an
application that uses the computer’s CD-ROM drive to play back CD-audio, or an application that
uses the software synthesizer included with Mac OS.
→ “Installing the OS-standard driver” (p. 157)
* If you want to use MIDI, use special driver mode.
Installing the special driver
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Mac OS 9/8 users......................... (p. 146)
• Mac OS X users ............................ (p. 155)
■
Mac OS 9/8 users
If using the unit in the Special driver mode, use either OMS or FreeMIDI as
the MIDI driver.
The included GS-10 driver is an add-on module for using the GS-10 with OMS or FreeMIDI.
* Either OMS or FreeMIDI must be installed in your Macintosh, as appropriate for the sequencer
software you are using.
146
OMS can be found in the OMS
2.3.8 E folder of the CD-ROM.
If you would like to learn more
about OMS, refer to
OMS_2.3_Mac.pdf in the OMS
2.3.8E folder of the CD-ROM.
In order to read
“OMS_2.3_Mac.pdf,” you will
need the Adobe Acrobat
Reader.
Installing & Setting Up the Driver (Macintosh)
Disconnect the GS-10 from the Macintosh before you perform the installation.
If the power of the GS-10 is turned on, a message like the following will appear when the
Macintosh is started up. Perform the steps described below as appropriate for the message that is
displayed.
If the screen indicates:
“Driver required for USB device `unknown device’ is not available. Search for driver on the
Internet?”
→ Click [Cancel].
If the screen indicates:
“Software required for using device `unknown device’ cannot be found. Please refer to the
manual included with the device, and install the necessary software.”
→ Click [Cancel].
Use the following procedure to install the GS-10 driver.
1.
Exit all currently running software (applications).
If you are using a virus checker or similar software, be sure to exit this as well.
2.
Insert the CD-ROM into the CD-ROM drive.
3.
Double-click the “GS-10 Driver-E Installer” icon (found in the Driver E (Mac OS
9/8) of the CD-ROM) to start up the installer.
4.
Verify the Install Location, and click [Install].
* If a message like the following is displayed, click [Continue].
The other currently running applications will exit, and installation will continue.
The indication for the “Install
Location” will differ
depending on your system.
Make sure that the startup disk
for the system you are using is
selected.
fig.11-390
A dialog box will indicate Installation completed.
5.
Click [Restart] to restart your Macintosh.
147
Installing & Setting Up the Driver (Macintosh)
OMS settings
If other MIDI devices are connected, you must turn off the power on all devices, and then make OMS
settings according to the following procedure.
For more on connecting MIDI sound modules, refer to the owner’s manual for the MIDI sound
module you are using.
1.
Before connecting the USB cable, switch the GS-10’s driver mode to “Advanced.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
2.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
3.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
4.
In the “Opcode” folder, open the “OMS Applications” folder, and double-click
the “OMS Setup” icon.
fig.11-400
* The first time OMS is started up, a “Create a New Studio Setup” dialog box will appear. Click [OK]. If this is
the second or later time, select “New Studio Setup” from the File menu.
fig.11-401
* If the “Apple Talk” dialog box appears, select [Turn It Off]. Then click [OK] in the dialog box that appears next.
fig.11-410
The “OMS Driver Search” dialog box will appear.
fig.11-420
148
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
Installing & Setting Up the Driver (Macintosh)
5.
Click [Search].
6.
When the search has been completed, verify that the “OMS Driver Setup” dialog
box lists the BOSS GS-10, and click [OK].
fig.11-430
* If the dialog box does not show “BOSS GS-10,” check whether the GS-10 is connected correctly, and start up
OMS Setup once again.
7.
Verify that the “OMS MIDI Device Setup” dialog box lists the GS-10. Then click
all check boxes from “Port 1” to “Port 2” to check them, and click [OK].
A dialog box will appear, allowing you to save the settings in a file.
fig.11-440
* For other connected MIDI devices as well, add a check mark to the port(s) you want to use. For details on
settings, refer to the manual that came with your MIDI device.
* BOSS/Roland can provide no guarantees or support regarding the operation of MIDI device made by another
company. Please contact the manufacturer of your MIDI device.
8.
Input the desired file name, and click [Save].
9.
In the Studio Setup window, change the device name indicating the MIDI device
connected to the GS-10 as follows.
Click the device name, and you will be able to edit it.
Port 1: GS-10 MIDI IN,OUT
Port 2: GS-10 CONTROL
fig.11-450
10.
From the File menu, select “Save.”
149
Installing & Setting Up the Driver (Macintosh)
11.
From the Edit menu, select “OMS MIDI Setup”. In the OMS MIDI Setup dialog
box that appears, check “Run MIDI in background,” and click [OK].
fig.11-460
12.
Verify that MIDI transmission and reception occur correctly.
From the Studio menu, choose [Test Studio].
fig.11-470
13.
If a MIDI sound module is connected to the GS-10’s MIDI OUT connector, click
the GS-10 MIDI IN,OUT icon in the Studio Setup window.
If you hear sound, the settings have been made correctly.
fig.11-480
* GS-10 MIDI IN,OUT corresponds to the GS-10’s MIDI IN,MIDI OUT. GS-10 CONTROL corresponds to
the GS-10’s control port.
14.
After you have verified this, and exit OMS Setup.
15.
Make MIDI device settings on your sequencer software.
For details on settings, refer to the manual that came with your software.
→ Next, you need to install the ASIO driver (p. 154).
150
If a MIDI sound module is
connected to the GS-10, the
following step will cause a
relatively loud sound to be
produced by the sound
module, so it is a good idea to
turn down the volume on the
sound module first.
Installing & Setting Up the Driver (Macintosh)
FreeMIDI settings
If other MIDI devices are connected, you must turn off the power on all devices, and then make
FreeMIDI settings according to the following procedure.
For more on connecting MIDI sound modules, refer to the owner’s manual for the MIDI sound
module you are using.
1.
Before connecting the USB cable, switch the GS-10’s driver mode to “Advanced.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
2.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
3.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
4.
Open the “FreeMIDI Applications” folder, and double-click the “FreeMIDI
Setup” icon.
fig.11-490
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
* The first time FreeMIDI is started up, a “Welcome to FreeMIDI!” dialog box will appear. Click [Continue]. If
this is the second or later time, select “FreeMIDI Preferences” from the File menu.
fig.11-500
* When “OMS is installed on this computer...” appears, click [FreeMIDI].
5.
Make sure that “Use OMS when available” is unchecked in the FreeMIDI
Preferences dialog box.
If it is checked, remove the check mark, and restart FreeMIDI.
6.
In the FreeMIDI Preferences dialog box, check “GS-10 Port” which is located
below GS-10 Driver in MIDI Configuration, and click [OK].
fig.11-510
* If the dialog box does not show “GS-10 Driver,” check whether the GS-10 is connected correctly, and start up
FreeMIDI Setup once again.
151
Installing & Setting Up the Driver (Macintosh)
The About Quick Setup dialog box will appear.
fig.11-520
* If the dialog will not appear, select “Quick Setup” from the Configuration menu.
7.
Click [Continue].
* If the dialog box does not show “GS-10 Driver,” check whether the GS-10 is connected correctly, and start up
FreeMIDI Setup once again.
8.
In the dialog box that appears, set “Studio Location:” to “GS-10,GS-10 Port.” For
the “Cable” field located below it, choose Cable 1 and click [>>Add>>].
fig.11-521
9.
Repeat step 8 up to Cable 2.
10.
When settings are complete, click [Done].
A setting window will appear.
11.
In the setting window, change the device name indicating the MIDI device
connected to the GS-10 as follows.
Click the device name, and you will be able to edit it.
Device 1: GS-10 MIDI IN,OUT
Device 2: GS-10 CONTROL
fig.11-530
12.
From the File menu, select [Save], and save your settings.
13.
Verify that MIDI transmission and reception occur correctly.
From the MIDI menu, choose “Check Connections.”
152
If a MIDI sound module is
connected to the GS-10, the
following step will cause a
relatively loud sound to be
produced by the sound
module, so it is a good idea to
turn down the volume on the
sound module first.
Installing & Setting Up the Driver (Macintosh)
14.
If a MIDI sound module is connected to the GS-10’s MIDI OUT connector, click
the GS-10 MIDI IN,OUT icon in the setting window.
If you hear sound, the settings have been made correctly.
fig.11-540
GS-10 MIDI IN,OUT corresponds to the GS-10’s MIDI IN,MIDI OUT. GS-10 CONTROL corresponds
to the GS-10’s control port
15.
After you have verified this, and exit FreeMIDI Setup.
16.
Make MIDI device settings on your sequencer software.
For details on settings, refer to the manual that came with your software.
→ Next, you need to install the ASIO driver (p. 154).
153
Installing & Setting Up the Driver (Macintosh)
Installing the ASIO driver
You must install the MIDI driver even if you will be using only audio on the GS-10.
* Be sure to install the MIDI driver before you install the ASIO driver.
This section explains how to install the ASIO driver that allows the GS-10 to be used by your
sequencer software or audio editing software.
In Special mode, the GS-10 cannot play back audio data from the Macintosh’s sound manager
(such as audio CDs and alert sounds).
The ASIO driver of the GS-10 supports the following audio input/output channels.
• Audio input
24/16 bit
1 stereo ch. (2 mono chs.)
• Audio output
24/16 bit
1 stereo ch. (2 mono chs.)
ASIO (Steinberg Audio Stream
In/Out Interface) This is an
audio interface standard
promoted by the Steinberg
Corporation. When the GS-10
is used with ASIO-compatible
software, the synchronization
precision will be improved,
allowing a more sophisticated
music production
environment.
Here we will explain how to install the ASIO 1.0 16 bit-compatible driver.
If your ASIO-compatible software supports ASIO 2.0 or recording/playback of 24 bit audio data,
using the following drivers will provide a higher quality environment.
ASIO-compatible software
ASIO2.0-compatible
24 bit compatible
x
x
x
o
x
x
o
o
1.
Driver to use
GS-10 ASIO1.0 16 bit
GS-10 ASIO1.0 24 bit
GS-10 ASIO2.0 16 bit
GS-10 ASIO2.0 24 bit
From the Driver E (Mac OS 9/8) –ASIO folder of the CD-ROM, copy [GS-10
ASIO1.0 16bit] to the [ASIO Drivers] folder within the ASIO Drivers folder of the
ASIO-compatible software you are using (e.g., Cubase VST, Logic Audio, Digital
Performer, Metro, or SPARK LE).
fig.11-550
2.
Start up your ASIO-compatible software (e.g., Cubase VST, Logic Audio, Digital
Performer, Metro, or SPARK LE).
3.
Open the Audio setting dialog box of your ASIO-compatible software, and select
[GS-10 ASIO 16bit] as the ASIO Device.
154
The “Audio setting” dialog
box will be named differently
depending on your software.
For details refer to the manual
of your software.
Installing & Setting Up the Driver (Macintosh)
■
Mac OS X users
1.
With the GS-10 disconnected, start up Mac OS.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Insert the CD-ROM into the CD-ROM drive.
3.
Double-click the “GS10USBDriver” icon (found in the Driver (Mac OS X) of the
CD-ROM).
In case of Mac OS X v10.1.5, the display will indicate “Authorization,” then click on the key symbol.
fig.11-560
4.
The “Authenticate” dialog box will appear; type your password and click “OK.”
The display will indicate “Welcome to the GS-10 USB Driver Installer.”
fig.11-570
5.
Click [Continue].
The display will indicate “Select a Destination.”
6.
Click the drive on which the system is installed, then click [Continue].
The display will indicate “Easy Install.”
fig.11-590
7.
Click [Install] or [Update].
The display will indicate “Installing this software requires you to restart...”.
fig.11-600
155
Installing & Setting Up the Driver (Macintosh)
8.
Click [Continue Installation].
The display will indicate “The software was successfully installed.”
fig.11-610
9.
Click [Restart] to restart your Macintosh.
156
Installing & Setting Up the Driver (Macintosh)
Installing the OS-standard driver
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Mac OS 9/8 users......................... (p. 157)
• Mac OS X users ............................ (p. 160)
■
Mac OS 9/8 users
1.
With the GS-10 disconnected, start up Mac OS.
2.
Exit all currently running software (applications).
If you are using a virus checker or similar software, be sure to exit it as well.
3.
After starting up Mac OS, select Apple System Profiler from the Apple menu.
The “Apple System Profiler” dialog box will appear.
fig.11-620
4.
Click the “Devices and Volumes” tab.
5.
Before connecting the USB cable, switch the GS-10’s driver mode to “Standard.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
6.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
7.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
Wait for approximately five seconds.
While you are waiting, the screen display will not change, but the GS-10 is being detected. Do not
touch the mouse or keyboard.
8.
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
In order to check that detection has been completed, once again go to “Apple
System Profiler”, and select “Update all information” from the Commands menu.
In the USB area, three audio devices will be displayed.
If these are displayed correctly, driver installation has succeeded.
fig.11-630
9.
In the File menu, click Quit to close “Apple System Profiler.”
If they are not displayed correctly, disconnect the GS-10, wait for about ten seconds, and then repeat
the procedure from step 2.
157
Installing & Setting Up the Driver (Macintosh)
Settings the sound input/output
1.
From the Apple menu, select “Control Panel” – “Sound.”
The “Sound” dialog box will appear.
fig.11-640
The “Sound” dialog box will appear.
2.
Click the “Speakers” tab or “Speaker” Settings.
fig.11-650
3.
With the volume turned down on the GS-10 and on your peripheral audio
equipment, click [Start Test].
Test signals will be output from the GS-10; left first, then right, as indicated in the screen.
fig.11-660
4.
In the Sound dialog box, click the “Input” tab.
158
Installing & Setting Up the Driver (Macintosh)
5.
In “Choose a source for sound input (Device),” select “USB audio.”
fig.11-670
If USB audio is not displayed,
close the “Sound” dialog box,
and disconnect the GS-10’s
USB cable from the Macintosh.
Perform the driver installation
(p. 157) once again.
* Do not check “Play sound through output device”.
6.
When you are finished making settings, close the “Sound” dialog box.
7.
From the File menu, select “Quit.”
159
Installing & Setting Up the Driver (Macintosh)
■
Mac OS X users
1.
With the GS-10 disconnected, start up Mac OS.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to exit it
as well.
3.
Before connecting the USB cable, switch the GS-10’s driver mode to “Standard.”
For instructions on switching the GS-10’s driver modes, refer to “Switching the Driver Mode” (p. 80).
4.
With the power switch turned OFF, use the USB cable to connect the GS-10 to
your computer.
5.
Make sure that the GS-10’s OUTPUT LEVEL is set to the lowest setting, then
switch ON the POWER switch.
6.
Open “System Preferences” and click “Sound.”
fig.11-680
7.
Turn on power to your various
devices in the order specified.
By turning on devices in the
wrong order, you risk causing
malfunction and/or damage to
other devices.
This unit is equipped with a
protection circuit. A brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
In the “Sound Effects” tab, set “Play alerts and sound effects through” to “GS10.”
Now, try clicking on an alert in the list. If the sound of the alert comes from the GS-10 when you do
so, it means that the GS-10 is being recognized and that the driver has been installed properly.
fig.11-690
160
Once set this way, all sounds
from your Macintosh
(including audio alerts) will be
output only through the GS-10,
not from the speakers of your
Macintosh.
Installing & Setting Up the Driver (Macintosh)
8.
In the Output tab, set “Choose a device for sound output” to “GS-10.”
fig.11-700
9.
The “Main Volume” slider will
not move.
In the Input tab, set “Choose a device for sound input” to “GS-10.”
fig.11-710
Cautions when using the GS-10
Before you use your software, please note the following points.
• Select “GS-10” in the audio driver setting of your software. For details, refer to the manual
that came with your software.
• Connect the GS-10 to your computer via a USB cable before you start up your sequencer or
other software.
• Do not disconnect the USB cable from the GS-10 while your sequencer or other software is
running.
• Disconnect the USB cable from the GS-10 only after you have quit your sequencer or other
software.
• Leave the Sleep function of your Macintosh turned off.
• The GS-10 will not work in the Classic environment of Mac OS X. Use the GS-10 when the
Classic environment is not running.
161
Setting the Special Driver’s Functions
Adjusting the audio latency
When using the GS-10 in Advanced mode, you can change the driver settings to adjust the latency
of the audio. To adjust the latency, change the Buffer Size in the driver settings dialog box.
1.
As described in “Opening the special driver settings dialog box” (p. 163), open
the “Driver Settings” dialog box.
2.
Adjust the driver buffer size.
The following setting will produce the shortest latency.
Windows:
Set “Audio Buffer Size” to the far left (Min).
Macintosh:
Set “Buffer Size” to the far left (Min).
3.
Click [OK] to close the driver settings dialog box.
4.
Restart the application that is using the GS-10.
If you are using an application that has a function for testing audio devices, get it to perform its tests.
5.
Play back audio data on your application.
If interruptions occur in the sound, repeat this procedure, and gradually increase the buffer size
specified in step 2 until interruptions no longer occur.
* Depending on the application you are using, there may be a buffer size or latency adjustment function among
the audio settings of the application as well. For details, refer to the operation manual for your application.
Using ASIO Direct Monitor
If you are using the GS-10 from an ASIO 2.0 compatible application, switching of the GS-10’s output
signals (“Switching the Output Signals (Direct Monitor)” (p. 79)) can be controlled from your ASIO
2.0 compatible application.
1.
As described in Opening the special driver settings dialog box (p. 163), open the
“Driver Settings” dialog box.
2.
Check the “Use ASIO Direct Monitor” check box.
3.
Click [OK] to close the driver settings dialog box.
* Depending on the application you are using, there may be a ASIO Direct Monitor among the audio settings of
the application as well. For details, refer to the operation manual for your application.
* When using ASIO Direct Monitor, monitoring may switch on/off at unexpected times, depending on the
application settings and on the recording procedure. If this occurs, uncheck the check box in step 2 to disable
ASIO Direct Monitor.
162
Setting the Special Driver’s Functions
Opening the special driver settings dialog box
If using Windows:
1. Open the “Control Panel” and double-click “BOSS GS-10.”
The “BOSS GS-10 Driver Settings” dialog box will appear.
* In Windows XP, click “Switch to classic view” to switch the display to the classic view. BOSS GS10 will not be displayed unless the classic view is selected.
* In Windows Me, click “View all Control Panel options”.
If using Macintosh:
1. Open the “ASIO Control Panel” from the “Audio Settings” dialog box of
your ASIO-compatible application.
The name of the Audio Settings dialog box and the procedure for opening the ASIO
Control Panel will differ depending on your application. For details, refer to the operation
manual for your application.
163
Troubleshooting
If there is no sound or other operational problems occur, first
check through the following solutions. If this does not
resolve the problem, then contact your dealer or a nearby
Roland service station.
Sound from devices connected to the INPUT
jack is not heard in the headphones
❏
Is the AUX INPUT LEVEL raised to suitable level?
→ Adjust the volume level.
Problems when using the GS-10
❏
Problems with the sound
→ Note that turning off this setting will stop the sounds
from being output when the application is not recording
or if its settings are not correctly made. Set to ON.
No sound / volume too low
❏
Are the built-in speakers set to OFF?
→ Press [SPEAKER ON/OFF] to ON (p. 15).
❏
Is the Dir Monitor (p. 79) set to OFF?
The volume level of the instrument
connected to INPUT is too low
❏
Are the connection cables broken?
Could you be using a connection cable that contains a
resistor?
→ Try using a different set of connection cables.
→ Use a connection cable that does not contain a resistor.
❏
❏
Is the GS-10 correctly connected to the other devices?
→ Check connections with the other devices (p. 14).
❏
Is the connected amp/mixer turned off, or the volume
lowered?
Is the AUX INPUT LEVEL knob lowered?
→ Adjust the AUX INPUT LEVEL knob to an appropriate
position (p. 17).
❏
Is “USB:Input Level” set to a low value?
→ Check the settings of your amp/mixer system.
→ Adjust the setting to an appropriate value (p. 78).
❏
❏
Is the OUTPUT LEVEL knob lowered?
→ Adjust the OUTPUT LEVEL knob to an appropriate
position (p. 15).
❏
Is Tuner set to On?
→ When the volume is set to “Mute” in the Tuner mode,
even the direct sound will not be output by setting the
Tuner to “On” (p. 64).
❏
→ Adjust the setting to an appropriate value (p. 20).
The sound of a device connected to the
AUX INPUT jack is distorted
→ If you are inputting sound through the AUX IN jacks,
use AUX INPUT LEVEL knob of the GS-10 to lower the
input level.
Is each effect set correctly?
→ Use the “Meter function” (p. 67) to check the output level
of each effect. If there is an effect for which the meter
does not move, check the settings for that effect.
❏
Is “Mic Gain” set to a low value?
Is “USB/DIG:Out Levl” set to a low value?
The sound of a device connected to the
MIC INPUT jack is distorted
→ If you are inputting sound through the MIC INPUT
jacks, adjust the Mic Gain (p. 20) of the GS-10 to lower
the input level.
→ Adjust the setting to an appropriate value (p. 78).
❏
Is “FV: Level” or “MST: Patch Level” specified as an
assign Target?
→ Move the controller to which it is assigned.
❏
Is the Dir Monitor (p. 79) set to OFF?
→ Note that turning off this setting will stop the sounds
from being output when the application is not recording
or if its settings are not correctly made. Set to ON.
Oscillating sound occurs
❏
Is the AUX INPUT LEVEL knob turned up too high?
→ If inputting audio from AUX INPUT, reduce the input
level with the AUX INPUT LEVEL knob.
❏
Is “Mic Gain” set to a high value?
→ Lower the Mic Gain (p. 20) value.
❏
Is the value for any gain- or volume-related effects
parameter set too high?
→ Lower these values.
164
Troubleshooting
Other Problems
Patch does not change
❏
Is something other than the Play screen shown in the
display?
→ On the GS-10, patches can be selected only when the
Play screen is displayed. Press [EXIT] to return to the
Play screen (p. 15).
Parameters specified with Assign can’t
be controlled
❏
Could the effect be switched off?
❏
→ Check the on/off status for transmission of program
change messages and the settings for the controller
numbers to be transmitted (p. 70) .
The GS-10 cannot be controlled with the MIDI
controller connected to the MIDI IN connector
❏
Problems common to Windows and Macintosh
Is something other than “Assign 1–8” selected for the
Expression Pedal function setting?
Problems occurring only in Windows
→ When operating an expression pedal connected to the
EXP PEDAL/CTL 1, 2 jack, set the Expression Pedal
function (p. 58) to “Assign 1–8.”
❏
Is something other than “Assign 1–8” selected for the
CTL 1, 2 function setting?
Are you connected via USB?
→ If the GS-10 is connected via USB with the driver mode
set to Advanced, messages to MIDI IN are transmitted to
the computer via USB. Disconnect the USB cable.
→ To control a parameter using the expression pedal or
CTL pedal, make sure the effect that contains the
parameter you intend to control is switched on.
❏
When you send messages from the GS-10, make sure
the GS-10 is set to the settings appropriate for sending
data.
Problems occurring only in Macintosh
Problems related to the USB driver
→ When operating a foot switch connected to the EXP
PEDAL/CTL 1, 2 jack, set the CTL 1, 2 function (p. 59) to
“Assign 1–8.”
❏
Do the MIDI channel settings of both devices match?
→ Make sure that the MIDI channels of both devices match
(p. 69).
❏
Do the controller number settings of both devices
match?
→ Make sure that the controller number of both devices
match (p. 70).
MIDI messages are not transmitted/
received
❏
Are the MIDI cables broken?
→ Try another set of MIDI cables.
❏
Is the GS-10 correctly connected to the other MIDI
device?
→ Check connections with the other MIDI device.
❏
Do the MIDI channel settings of both devices match?
→ Make sure that the MIDI channels of both devices match
(p. 69).
An “Unknown driver found” dialog
box appears, and you are unable to
install the driver
“Find new hardware wizard” does
not execute automatically
“Find new hardware wizard” ends
before the process is completed
❏
It may take about 15 seconds (or more) after the USB
cable is connected for the GS-10 to be detected.
❏
Is the USB cable connected correctly?
→ Make sure that the GS-10 and your computer are
correctly connected via a USB cable.
❏
Is USB enabled on your computer?
→ Refer to the operation manual for your computer, and
make sure that USB is enabled.
165
Troubleshooting
❏
It has been found that in some cases, not all of the
Windows 98 files required to support audio via USB
are installed when a computer is shipped.
→ Please contact the manufacturer of your computer.
❏
Does your computer meet the USB specifications?
→ If you are using a computer that does not fulfill the
electrical requirements of the USB specifications,
operation may be unstable. In this case, you may be able
to solve the problem by connecting a USB hub.
❏
→ As described in “Deleting the special driver” (p. 173),
delete the USB audio device driver that is installed in
your computer, and then install the GS-10 driver once
again as described in “Installing & Setting Up the Driver
(Windows)” (p. 126). Also check whether there is an
“Unknown device” in “Other devices” or “Universal
Serial Bus Controller.”
If you find one, delete it.
Does “Unknown device” appear for “Other device” or
“Universal serial bus controller”?
→ Use the following procedure to delete “Other device”
(Universal Serial Bus Controller) “Unknown device”,
and then restart your computer.
1. In the Windows Control Panel, double-click System.
The “System Properties” dialog box will appear.
2. Click the “Device Manager” tab.
3. Double-click “Other device” or “Universal Serial Bus
Controller” to display a list of devices.
4. From the list, select the unknown device and click
[Delete].
5. In the dialog box that asks you to confirm the deletion,
click [OK].
6. Verify that “Other device” or “Unknown device” is not
displayed in the list, and click [Close] to close the
dialog box.
“Found unknown device” appears
even though you installed the driver
❏
Driver is not installed correctly
If your computer or USB hub has two or more USB
connectors, and you connect the GS-10 to a USB
connector to which the GS-10 has never been
connected before, the “Unknown device” dialog box
may appear even on a computer onto which you have
already installed the driver.
→ Refer to “Installing & Setting Up the Driver (Windows)”
(p. 126), and install the driver once again. This is not a
malfunction.
166
Can’t install/delete/use the driver in
Windows XP/2000
❏
Did you log on to Windows as a user with
administrative privileges?
→ In order to install/delete/re-install the driver in
Windows XP/2000, you must be logged into Windows
as a user with administrative privileges, such as
Administrator. For details, please contact the system
administrator for your computer system.
❏
Did you make “Driver Signing Options”?
→ In order to install/re-install the driver, you must make
“Driver Signing Options.”
(Windows XP → p. 127, Windows 2000 → p. 131)
Windows XP/2000 displays a
“Hardware Installation” or “Digital
Signature Not Found” dialog box
❏
Did you make “Driver Signing Options”?
→ In order to install/re-install the driver, you must make
the settings described in “Driver Signing Options.”
(Windows XP → p. 127, Windows 2000 → p. 131)
Troubleshooting
Device Manager shows “?”, “!”, or
“USB Composite Device”
A dialog box says “Can’t use driver
required by USB device ‘BOSS GS-10’”
❏
The “Insert Disk” dialog box does not
appear
→ Use the following procedure to re-install the driver.
1. Turn off the power of your computer, and start up
Windows with all USB cables disconnected (except for
keyboard and mouse).
2. After Windows restarts, use a USB cable to connect the
GS-10 to your computer.
3. Click the Windows [Start] button, and from the menu
that appears, choose “Settings | Control Panel.”
4. Double-click the System icon.
The “System Properties” dialog box will appear.
5. Click the “Device Manager” tab.
6. Check whether you can see an indication of
“?Composite USB Device”, “?USB Device”, “!USB
Device”, or “USB composite device” displayed below
“Sound, Video, and Game Controllers”, “Other
Devices”, or “Universal Serial Bus Controller”.
If you find any such indication, select it and click
[Delete].
7. A dialog box will ask you to confirm deletion of the
device. Verify the contents of the dialog box, and then
click [OK].
In the same way, delete all indications of “?Composite
USB Device”, “?USB Device”, “USB Device”, and “USB
composite device” that you find.
If you find BOSS GS-10 with a yellow “!” or a red “?”
displayed beside it, delete this in the same way.
8. When you have finished deleting the unwanted
devices, click [OK] in the System Properties dialog box.
9. Turn off the power of the GS-10, then delete the driver.
(→ Deleting the special driver (p. 173))
10. Restart Windows.
Then install the driver once again. (→ Installing &
Setting Up the Driver (Windows) (p. 126)).
* If the problem still occurs after you have taken the above
measures, please refer also to the Readme file for the USB
driver. The Readme file is on the CD-ROM.
[Special driver mode] Are you using only audio?
→ You must install the MIDI driver even if you are using
the GS-10 only with audio. Please install the GS-10 driver
for OMS or FreeMIDI.
(→ Installing the special driver (p. 146))
Problems when using the
USB driver
Operating system becomes unstable
❏
Operation becomes unstable when the computer is
started up with the GS-10 already connected
→ Please start up your computer with the GS-10
disconnected, and then connect the GS-10. On a
computer that uses a USB keyboard, starting up the
computer with the GS-10 already connected may cause
operation to become unstable. In this case, start up the
computer with the GS-10 disconnected, and then connect
the GS-10.
Can’t hear sound from the computer
❏
Is it possible that the GS-10’s OUTPUT LEVEL has
been placed at 0 (turned fully counterclockwise)?
❏
Have you specified the audio and MIDI data output
destination for your operating system?
→ You must specify the GS-10 as the audio data output
destination for your computer. For details on how to
make this setting, refer to Settings and checking.
(Windows, “Driver settings” (p. 141)/ Macintosh, “OMS
settings” (p. 148), “FreeMIDI settings” (p. 151))
❏
In your playback software, have you specified the
audio data output destination?
→ For some software, such as Cakewalk Music Creator,
you will need to specify the GS-10 as the output
destination for audio data. For details on the procedure
for making settings, refer to the owner’s manual for your
software.
167
Troubleshooting
❏
Are you running multiple applications?
→ If multiple applications are running simultaneously, an
error message may appear. If this occurs, click [OK] and
exit the other applications.
Even if an application window is closed, it is still
running if it appears in the taskbar. Be sure to exit
unneeded applications displayed.
❏
Was the driver installed correctly?
→ In order for you to play back audio data via the GS-10,
the driver must be installed. For installation and settings,
refer to “Installing & Setting Up the Driver” (Windows,
p. 126 / Macintosh, p. 146).
❏
Can’t play back / record MIDI
❏
Has the MIDI device you are using been set correctly?
→ In order to record/play MIDI tracks using the GS-10,
you must correctly install the GS-10 driver (Installing &
Setting Up the Driver (Windows) (p. 126)).
Also make sure that the input port and output port are
set as follows in your software.
INPUT port
BOSS GS-10 MIDI IN
OUTPUT port
BOSS GS-10 MIDI OUT
Is your computer in Suspend or Sleep mode?
→ If so, get your computer to resume normal operation,
then exit all applications that are using the GS-10. Next,
turn the GS-10’s power off, then switch it on again.
❏
Has the MIDI device you are using been selected
correctly?
→ Select [GS-10 MIDI IN/OUT] as the MIDI output device.
❏
Did you plug in the USB cable, or unplug it while an
application was running?
→ Exit all applications that are using the GS-10, and exit all
applications that are using the GS-10, and re-connect the
GS-10.
❏
Have you selected “Game compatible device” or
“Voice modem” as the output for the audio track?
→ If game compatible device or voice modem (the actual
name will depend on the computer you are using) is
selected for the audio track of your software, the audio
track may not play back. Do not select these devices as
the port.
❏
Has your computer been set to enter Sleep mode?
❏
Are the track outputs set correctly?
→ MIDI tracks to which no MIDI playback device is
assigned will not be heard. If you want to play back a
MIDI track, you must make sure that the MIDI device
you want to use is displayed in your software as the
MIDI output port. For details, refer to the owner’s
manual for your software.
❏
Is OMS/FreeMIDI set correctly?
→ If your computer enters Sleep mode, exit the software
you are using, and then restart your computer. We
recommend that you set your computer to not use Sleep
mode.
→ As described in “OMS settings” (p. 148) or “FreeMIDI
settings” (p. 151), check the OMS or FreeMIDI settings.
Also make sure that the device for MIDI IN/OUT is
correctly selected in the MIDI settings of your MIDI
sequencer software.
❏
❏
[Standard driver mode] Are you attempting to play
back an audio CD using your computer’s CD player?
→ If you want to play an audio CD from your computer’s
internal CD-ROM drive, refer to “When playing audio
CDs from the computer’s internal CD-ROM drive, or
using the GS-10 to play game music“ (p. 145).
❏
Are the “Volume Control” faders raised?
→ Adjust the volume of the faders as described in “Volume
Control setting” (p. 144).
168
Is the OMS setup enabled?
→ If a diamond-shaped symbol is not displayed at the left
edge of the title area in the OMS setup window, the
setup is not enabled.
From the OMS File menu, choose “Make Current.”
(“OMS settings” (p. 148))
Troubleshooting
Interrupted notes or delays occur
during MIDI playback
❏
Make Windows XP settings to enable background
processing.
→ Make the following settings so that MIDI processing will
occur smoothly.
1. Click the Windows start button, and from the menu
that appears, select “Control Panel.”
2. In “Pick a category”, click “Performance and
Maintenance”.
3. In “or pick a Control Panel icon”, click the System icon.
4. Click the “Advanced” tab.
5. At the right of the Performance field, click [Settings].
The “Performance Options” dialog box will appear.
6. Click the “Advanced” tab.
fig.12-010
Noise is heard during audio playback
❏
→ If you are not using any audio devices connected to the
AUX INPUT, set the AUX INPUT LEVEL knob to
minimum position.
❏
Is a mic or guitar still connected?
→ If a mic or guitar is connected to the GS-10, disconnect
the mic or guitar. Disconnect any audio devices you are
not using.
❏
Noise is sometimes heard in the line input or mic
input.
→ If a USB-compatible MIDI sound module and the GS-10
are connected via USB to the same computer, and the
outputs of the MIDI sound module are connected to the
line input jacks of the GS-10, noise from your computer
may be heard via the MIDI sound module from the GS10, depending on the computer you are using. If this
occurs, you can either connect the MIDI sound module
and the GS-10 in parallel using a self-powered hub, or
connect the MIDI sound module via its serial or MIDI
interface.
❏
7. In the Processor Scheduling field, select “Background
services”, and click [OK].
Is the AUX INPUT LEVEL knob raised?
Are two or more audio devices such as the GS-10 or a
mixer connected to your computer?
→ Try connecting only a single GS-10 unit, and check
whether the noise disappears. If numerous audio devices
are connected to a computer, noise may occur depending
on your system. In such cases, connect only the GS-10 to
your computer.
8. In the “System Properties” dialog box, click [OK].
The “System Properties” dialog box will close.
❏
Does your sequencer software support ASIO 2.0?
→ If your ASIO-compatible software does not support
ASIO 2.0, it will not operate correctly if you use [GS-10
ASIO2.0 16bit] or [GS-10 ASIO2.0 24bit] as the ASIO
driver.
In this case, select either [GS-10 ASIO1.0 16bit] or [GS-10
ASIO1.0 24bit] as the ASIO driver.
❏
Does your sequencer software support 24-bit audio?
→ If your ASIO-compatible software does not support 24bit audio input/output, it will not operate correctly if
you select [GS-10 ASIO1.0 24bit] or [GS-10 ASIO2.0
24bit] as the ASIO driver. In this case, select either [GS-10
ASIO1.0 16bit] or [GS-10 ASIO2.0 16bit] as the ASIO
driver.
169
Troubleshooting
4. In the “Display Properties” dialog box, click [OK] to
close the dialog box.
❏
Is the GS-10 connected to a USB hub?
→ Try connecting the GS-10 directly to the USB connector
of the Macintosh itself.
5. Restart your computer.
❏
❏
Are you using a USB device other than the GS-10?
→ Try turning off the power of all USB audio devices other
than the GS-10.
→ In some cases, you may also be able to solve this problem
by grounding the chassis of your computer, or the
grounding connector of the AC power supply plug of
your computer. In addition, you can check whether any
devices that produce a strong magnetic field are located
nearby, such as a television or microwave oven.
Also check the troubleshooting item Sound is
interrupted during audio recording/playback.
Sound is interrupted during audio
recording/playback
❏
Are many applications running on your computer?
→ If you use many applications or start up other
applications during playback, playback may be
interrupted, depending on your computer system. Please
exit unneeded applications, and try again. If this does
not resolve the problem, try restarting your computer.
In Windows XP, make the settings that enable
background processing.
→ Make these settings so that audio processing can be
performed smoothly.
Make settings as described in Make Windows XP
settings to enable background processing (p. 169).
→ Try using the following procedure to change your disk
drive settings.
The following setting item may not exist on some
computers.
1. In the Windows Control Panel, double-click System.
2. Click the “Device Manager” tab.
3. Double-click “Disk Drives” to see the list of devices.
4. From the list, select GENERIC IDE DISK TYPE??, and
click Properties to access the GENERIC IDE DISK
TYPE?? Properties dialog box.
* In the ?? field of GENERIC IDE DISK TYPE??, there will be
a number that differs depending on your computing
environment.
5. Click the “Settings” tab, place a check mark in the
check box for the DMA option, and click [OK] to close
the dialog box.
* Depending on your system, a DMA Settings dialog box may
appear. Check the contents, and click either [OK] or [Cancel].
❏
Graphic accelerators may cause noise to be heard
during audio playback.
→ Use the following procedure to turn the graphic
accelerator “Off”.
1. In the Windows Control Panel, double-click Display to
open the “Display Properties” dialog box, and click the
“Settings” tab.
2. Click Advanced, and in the properties that appear, click
the “Performance” tab.
For Windows XP, click Advanced, and then click the
Troubleshoot tab.
For Windows 2000, click Advanced, and then click the
Troubleshooting tab.
3. Set the Hardware acceleration slider to None, and click
[OK].
170
6. In the “System Properties” dialog box, click [OK] to
close the dialog box.
7. Restart your computer.
❏
Try installing more memory.
→ Installing more memory will increase the performance of
your computer. For details on how to install more
memory, refer to the operation manual for your
computer.
Troubleshooting
❏
Does your computer satisfy the requirements of the
USB standard?
→ If you are using a computer (such as a computer that you
yourself assembled) that does not satisfy the electrical
requirements of the USB specifications, you may
experience interruptions in the audio. If this occurs, you
may be able to solve the problem by connecting a USB
hub that contains its own power supply.
❏
On some computers, audio playback may be
interrupted due to the Power Management settings in
the Control Panel.
→ The Power Supply Properties that you see when you
double-click Power Management will differ depending
on your computer system. One example is given below,
but you should also refer to the operation manual for
your computer. Some computers may not have all of the
following setting items.
1. Click the Windows Start button, and select “Settings |
Control Panel” to open the Control Panel.
2. In Control Panel, double-click System to open the
“System Properties” dialog box.
3. Click the “Device Manager” tab.
4. Double-click System Devices to display the list of
devices.
5. From the list, select Advanced Power Management
Support. Then click Properties to open the “Advanced
Power Management Support Properties” dialog box.
6. Click the “Settings” tab, and in Troubleshooting, place
a check in the check box for Don’t Poll Power Supply
Status. Then click [OK].
7. In the System Properties dialog box, click [OK].
8. Restart Windows.
❏
If you are using the special driver, you can solve this
problem in the “BOSS GS-10 Driver Settings” dialog
box.
❏
Depending on the virtual memory setting or networkrelated settings, noise may occur.
→ Please make the following settings before use.
• In Chooser of the Apple menu, set AppleTalk to
“Inactive”.
(This setting is not changed as a result of turning off
AppleTalk, as requested by OMS when sequencer
software is started up. You must change the setting
yourself using the “Chooser”.)
• In the “Memory” Control Panel, set Virtual Memory to
“Off”.
• Depending on the way in which you connect to the
Internet, use the GS-10 with the following settings.
If you connect to the Internet via a LAN cable
Use while the LAN cable is connected.
If you connect to the Internet via the internal modem
port, or are not connected to the Internet
In the “TCP/IP” Control Panel, set “Connect via” to
“PPP”.
After you have made the settings, restart your
Macintosh.
* Do not use software that accesses the network (such as a Web
browser) at the same time that you are using sequencer
software or audio editing software.
→ Try increasing the Buffer Size in the ASIO Driver control
panel.
The name of the settings dialog box will differ
depending on your software.
* If you change the buffer size, you must exit the software and
then restart it.
* BOSS/Roland can make no guarantee of, nor provide support
regarding the operation of sequencer software and audio
editing software made by another manufacturer. Please
contact the manufacturer of the software you are using.
→ For details, refer to the section “Something is wrong with
playback; sound is interrupted or notes are missing”
within the Readme_e file located in the folder in which
you installed the CD-ROM.
171
Troubleshooting
Digitally recorded sound is distorted,
is at the wrong pitch, or contains noise
Game background music does not
play
❏
❏
Is the application's sampling frequency set to 44.1
kHz?
→ Set the application's sampling frequency to 44.1 kHz.
Playback or recording halts midway
through, and then becomes impossible
❏
Was a heavy processing load experienced while using
the GS-10, such as accessing the CD-ROM drive or a
network?
→ If an operation involving a heavy processing load is
performed while the GS-10 is in use, it may not operate
correctly. If this occurs, stop playback/recording, and
then try resuming playback/recording. If you are still
unable to play back/record, exit all applications that use
the GS-10, switch off the GS-10, then turn it on again.
→ If the game uses an audio CD for background music,
refer to “When playing audio CDs from the computer’s
internal CD-ROM drive, or using the GS-10 to play game
music” (p. 145).
Sound becomes distorted or noisy
when you apply an effect
→ Adjust the volume of the effects.
A loud buzz is present in the guitar
signal
❏
Recording produces a silent (blank)
file
❏
Try setting the bit rate to “16 bit or higher”.
→ If you are using Windows 98 Second Edition and your
recording software is set to a bit rate setting of 8 bits, a
silent file may be created, effectively making recording
impossible. If this occurs, set the bit rate to “16 bit or
higher”, and you will be able to record normally.
❏
Is the Recording source select switch set correctly?
❏
In your operating system, is the audio data input
destination set correctly?
❏
On your recording software, is the audio data input
destination set correctly?
172
Does the game use an audio CD for background music?
(Standard driver mode)
Does the buzz decrease when you lower the volume of
your guitar?
→ If the buzz decreases when you lower the volume of
your guitar, it is possible that the pickup of your guitar is
receiving noise from a computer or a display screen.
Move as far away from the computer as possible.
Sometimes this problem can be solved by grounding the
chassis of your computer, or the grounding connector of
your computer’s AC power supply. You should also
check whether there is a device nearby that produces a
strong magnetic field, such as a television or a
microwave oven. (p. 4)
Troubleshooting
Deleting the special driver
If you were unable to install the special driver according to
the procedure given, the GS-10 may not be recognized
correctly by the computer. In this case, use the following
procedure to delete the special driver, and then follow the
procedure in “Installing & Setting Up the Driver” (Windows,
p. 126; Macintosh, p. 146) to install the driver once again.
Windows XP/2000 users
In order to delete (uninstall) the driver, a user with
administrative privileges such as Administrator must be
logged onto Windows. For details, contact the system
administrator of your computer.
Macintosh users
1. Disconnect the USB cable (by which the GS-10 is
connected) from your Macintosh.
2. From the system extensions folder, drag “USB GS-10
Driver” into the trash to delete it.
3. Delete GS-10 from the OMS Folder inside the System
folder, or drag GS-10 Driver from the FreeMIDI Folder
to the trash.
4. Drag the ASIO driver that you installed in “Installing
the ASIO driver” (p. 154) into the trash to delete it.
5. Restart the Macintosh.
1. Start Windows with all USB cables disconnected.
(except the keyboard and mouse)
2. Log on to Windows as one of the following users:
• a user whose account type is Computer Administrator
• the Administrator or other user with the privileges of the
Administrators group
* For more information regarding this, consult your computer
system administrator.
3. Double-click Uninstal.exe.
4. The display will indicate “This program uninstalls the
BOSS GS-10 USB Driver installed,” and click the “OK”
button.
5. The display will indicate “Uninstallation completed,”
and click the “Yes” button. Windows will restart.
Windows Me/98 users
1. Start Windows with all USB cables disconnected.
(except the keyboard and mouse)
2. Exit all applications before performing the
uninstallation.
3. Double-click Uninstal.exe.
4. The display will indicate “This program uninstalls the
BOSS GS-10 USB Driver installed,” and click the “OK”
button.
5. The display will indicate “Uninstallation completed,”
and click the “Yes” button. Windows will restart.
173
Index
Numerics
D
2x2 Chorus ...................................................................... 45
Defretter .......................................................................... 40
DEL .................................................................................. 24
DELAY ...................................................................... 10, 21
Delay ............................................................................... 33
DIGITAL OUT ......................................................... 12, 17
DIRECT PATCH ................................................ 11, 18, 27
Display ............................................................................ 10
DRIVE ....................................................................... 10, 21
A
AC Adaptor .................................................................... 12
AC IN .............................................................................. 12
Advanced ....................................................................... 70
Advanced Compressor ................................................. 38
ASSIGN ............................................................... 11, 60–61
Assign ....................................................................... 60, 66
Active Range ............................................................ 63
Source ........................................................................ 63
Source Mode ............................................................. 63
Target ........................................................................ 61
Target Range ............................................................ 62
Assign 1-8 ................................................................. 58–59
Assign Hold ................................................................... 66
Auto Riff ......................................................................... 49
Auto Wah ....................................................................... 36
AUX ................................................................................. 20
AUX INPUT ............................................................. 12, 17
AUX INPUT LEVEL ..................................................... 11
E
Effect Chain .............................................................. 24, 54
Effect On/Off ................................................................. 22
Enhancer ......................................................................... 39
EQ .................................................................................... 11
Equalizer ......................................................................... 35
EXIT ................................................................................. 11
EXP PEDAL/CTL 1,2 .................................................... 12
Expression Pedal ........................................................... 58
F
BASS .......................................................................... 10, 21
Bass .................................................................................. 19
Bass Simulator ............................................................... 52
Bulk Dump ..................................................................... 71
Bulk Load ................................................................. 71–72
Bypass ............................................................................. 65
Factory Reset .................................................................. 86
FEEDBACK .............................................................. 10, 21
Feedbacker ...................................................................... 40
Flanger ............................................................................ 42
Foot Switch ..................................................................... 59
Foot Volume ............................................................. 54, 58
FX-1 ............................................................................ 11, 36
FX-2 ............................................................................ 11, 41
C
G
CAPS ............................................................................... 24
CHANNEL SELECT ............................................... 10, 27
Channel Select ................................................................ 28
Copy .......................................................................... 27
CHORUS .................................................................. 11, 21
Chorus ............................................................................. 34
Combo AMP .................................................................. 16
Combo Return ............................................................... 16
COMP ....................................................................... 10, 21
Compressor .................................................................... 31
Control 1, 2 ..................................................................... 59
COSM ................................................................................ 9
Customize
COSM Amp .............................................................. 55
Overdrive/Distortion ............................................. 56
Pedal Wah ................................................................. 57
Speaker ...................................................................... 56
GAIN ......................................................................... 10, 21
GS-10’s Speakers ............................................................ 15
Guitar .............................................................................. 19
GUITAR AMP OUT ................................................ 12, 16
Guitar Synth ................................................................... 50
GUITAR/BASS .............................................................. 11
B
H
Harmonist ....................................................................... 43
Humanizer ...................................................................... 48
I
INPUT SELECT ....................................................... 11, 19
INS ................................................................................... 24
J
JUMP ............................................................................... 23
174
Index
K
P
Knob Mode ..................................................................... 66
Pan ................................................................................... 46
PARAMETER ................................................................. 11
Patch ................................................................................ 18
Copy .......................................................................... 25
Exchange ................................................................... 26
Initialize ..................................................................... 26
Register ...................................................................... 27
Write .......................................................................... 25
Patch Change ................................................................. 18
Patch Extent .................................................................... 65
Patch Level ..................................................................... 54
Patch Name .............................................................. 24, 53
PATCH/VALUE ........................................................... 11
Pedal Bend ................................................................ 45, 58
Pedal Wah ................................................................. 36, 58
Phaser .............................................................................. 42
PHONES ......................................................................... 11
Pitch Shifter .................................................................... 44
Play Screen ..................................................................... 15
POWER ........................................................................... 12
PREAMP ......................................................................... 21
PREAMP/SPEAKER .................................................... 10
Preamp/Speaker Simulator ......................................... 28
PRESENCE ............................................................... 10, 21
Preset Patch .................................................................... 18
Program Change Map .................................................. 73
L
LCD Contrast ................................................................. 65
LEVEL ................................................................. 10–11, 21
Level Meter .................................................................... 67
Limiter ............................................................................. 38
Line/Phones .................................................................. 16
M
Master BPM .................................................................... 54
METER ...................................................................... 11, 67
MIC GAIN ...................................................................... 20
MIC INPUT .................................................................... 12
Microphone .................................................................... 19
MIDDLE ................................................................... 10, 21
MIDI .......................................................................... 68, 82
Control 1 Out ............................................................ 70
Control 2 Out ............................................................ 70
Device ID .................................................................. 69
Expression Pedal Out .............................................. 70
Knob Control Out .................................................... 70
Omni Mode .............................................................. 69
Program Change Out .............................................. 70
Receive Channel ...................................................... 69
Remote Control ........................................................ 70
Sync Clock ................................................................ 69
Transmit Channel .................................................... 69
MIDI IN .......................................................................... 12
MIDI OUT ...................................................................... 12
MMC ............................................................................... 70
Mute ................................................................................ 64
N
NAME/NS/MASTER ...................................... 11, 24, 53
Noise Suppressor .......................................................... 53
O
Octave ............................................................................. 45
OD/DS ...................................................................... 10, 21
OUTPUT ......................................................................... 12
OUTPUT LEVEL ..................................................... 11, 15
Output Level .................................................................. 15
OUTPUT SELECT ......................................................... 16
Overdrive/Distortion ................................................... 32
Q
QUICK FX ........................................................... 11, 22, 60
R
Reference Pitch .............................................................. 64
Remote Control .............................................................. 75
REVERB .................................................................... 11, 21
Reverb ............................................................................. 34
Ring Modulator ............................................................. 40
Rotary .............................................................................. 47
S
Short Delay ..................................................................... 48
Slicer ................................................................................ 49
Slow Gear ....................................................................... 39
SPEAKER ON/OFF ................................................ 11, 15
Stack AMP ...................................................................... 16
Stack Return ................................................................... 16
Standard .......................................................................... 70
Stereo Equalizer ............................................................. 52
SUSTAIN .................................................................. 10, 21
SYSTEM .......................................................................... 11
175
Index
T
TAP .................................................................................. 11
Tone Modify ................................................................... 37
TREBLE ..................................................................... 10, 21
Tremolo ........................................................................... 39
TUNER ............................................................................ 11
Tuner ............................................................................... 64
U
Uni-V ............................................................................... 47
USB ................................................................ 11–12, 78, 83
Direct Monitor .......................................................... 79
Direct Monitor Command ...................................... 79
Driver Mode ............................................................. 80
Input Level ............................................................... 78
Output Level ............................................................ 78
Output Mode ............................................................ 79
USB (Bass) ................................................................ 20, 81
USB (Gtr/Mic) ......................................................... 19, 81
USB Driver ................................................................... 125
User Patch ....................................................................... 18
V
Vibrato ............................................................................ 46
W
WRITE ................................................................. 11, 25–27
176
MEMO
177
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
Telephone :
178
GS-10
Guitar Effects System with USB Audio Interface
Roland Corporation U.S.
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
USING THE UNIT SAFELY
For EU Countries
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
to damage or
caused with
and all its
to domestic
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
Apparatus containing
Lithium batteries
ADVARSEL!
VARNING
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
Levér det brugte batteri tilbage til
leverandøren.
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Kassera använt batteri enligt
fabrikantens instruktion.
ADVARSEL
001
009
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
..........................................................................................................
002c
• Do not open (or modify in any way) the unit or its
AC adaptor.
..........................................................................................................
003
• Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the “Information” sheet.
..........................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
007
• Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
..........................................................................................................
008c
• Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptor’s body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
2
VAROITUS
Eksplosjonsfare ved feilaktig skifte av
batteri.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
010
• This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
011
• Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
012b
• Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” sheet when:
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
• If smoke or unusual odor occurs
This product complies with the requirements of European Directive 89/336/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Tested To Comply With FCC Standards
FOR HOME OR OFFICE USE
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
• Objects have fallen into, or liquid has been
spilled onto the unit; or
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Owner’s Manual
Thank you, and congratulations on your choice of the
BOSS GS-10 Guitar Effects System with USB Audio Interface.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 4–5)
These sections provide important information concerning the
proper operation of the unit.
Additionally, in order to feel assured that you have gained a
good grasp of every feature provided by your new unit, Owner’s
manual should be read in its entirety. The manual should be
saved and kept on hand as a convenient reference.
■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[WRITE] WRITE button
[USB]
USB button
• Reference such as (p. **) indicate pages in this manual to which you
can refer.
Copyright © 2003 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of BOSS CORPORATION.
03342912
‘03-8-1N