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Deutsch English Français Italiano Español Portug u
Owner’s Manual
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Turning the Power On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Initial Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Specifying the Output System (Sys: Output). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Setting Up the GK Pickups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Basic Operation Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Patch Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Exchanging Patches (Exchange) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Inserting a Patch (Insert) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Initializing a Patch (Initialize) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Deutsch
USING THE UNIT SAFELY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
IMPORTANT NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Error Message List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Main Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Français
Effects/Patch Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Effects Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Preamp (Amp: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
FX (FX: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Wah (Wah: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Chorus (Chorus: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Delay (Delay: ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Reverb (Reverb: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
EQ (EQ: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Noise Suppressor (NS: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Foot Volume (FV: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Settings for Normal Pickup (Nrml PU: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Volume Balance of the Modeling and the Normal Pickup (Mixer: ) . . 11
FX Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Specifying the Output System (Sys: Output). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Settings of the GK Pickups (GK: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
System Settings for the Pedals and Switches (SysCtl: ) . . . . . . . . . . . . . . . . . . . . 13
USB Audio Settings (USBAudio: ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Guitar Performance MIDI Output Settings (MIDI: ) . . . . . . . . . . . . . . . . . . . . . . . . 13
Tuner Settings (Tuner: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Adjusting the Display’s Contrast (Sys: Contrast) . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Panel Lock Settings (Sys: Knob Lock) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Auto Off Settings (Sys: Auto Off ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Limiting the Patches Selectable in the Play Screen (Sys: Patch Extent) . . . . . 14
Adjusting the Expression Pedal (Calibration) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Restoring the Factory Settings (Factory Reset) . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
English
Modeling/Poly FX/Alternate Tuning Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Modeling Settings (Mdl: ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electric Guitar (EG: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Acoustic (AC: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Bass (EB: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Synthesizer (Synth: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Poly FX (PolyFx: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Alternate Tuning Settings (AltTune: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
12-String Guitar Settings (12Str: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
String Bend Function Settings (StrBend: ) . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Other Modeling Settings (Mdl: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Patch Settings (Patch: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Patch Volume (Patch: Level). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Patch Tempo Settings (Patch: Tempo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
GK Set Selection for the Patch (Patch: GK Set) . . . . . . . . . . . . . . . . . . . . . 11
Pedal and Switch Settings for Each Patch (Ctl: ) . . . . . . . . . . . . . . . . . . . . 11
Assign Settings (Asgn 1–8: ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Italiano
A variety of alternate tunings
You can choose from alternate tunings such as Drop-D, Open-G, and D-MODAL. Without swapping guitars or changing the string tension, you can instantly switch between
a wide variety of alternate tunings. There’s also a 12-string guitar mode. You can even use “USER” to specify your own tuning.
Español
Cutting-edge modeling guitar powered by COSM
The GP-10 provides a wide range of modeling guitars powered by COSM technology, including Stratocaster, Telecaster, Les Paul, Jazz Guitar, Acoustic Guitar, and Sitar. In
addition, it can also create new dimensions of sound that are unavailable from conventional electric guitars, such as a Wide Range model that gives you a fat sound while
preserving the wide range of a single-coil pickup, and a Bright Humbucker model that keeps the rich mid- and low-range of a humbucker while offering a crisp high end.
Powerful effects and amp modeling
High quality effects and amp modeling are built in. There is also a dedicated “Poly FX” specifically for the GK pickup, which allows you to extract an independent string
signal for each string. This lets you experience completely new sounds that were impossible for a guitar of the past, equipped with a conventional pickup.
Português
PDF Manual (download from the Web)
t Parameter Guide
This explains the parameters and audio signal flow of the GP-10.
t Sound List
This is a list of the sounds built into the GP-10.
t MIDI Implementation
This is detailed information about MIDI messages.
To obtain the PDF manual
1. Enter the following URL in your computer.
http: //www.roland.com/manuals/
2. Choose “GP-10” as the product name.
Before using this unit, carefully read the sections entitled “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (separate sheet “Read Me First” and Owner’s Manual p. 15). 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 of your new unit, read the Owner’s Manual in its entirety. This manual should be saved and kept on hand as a convenient reference.
Copyright © 2014 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.
Nederlands
Owner’s Manual (this document)
Read this first. It explains the basic things you need to know in order to use the GP-10.
Connections
* To prevent malfunction and equipment failure, always turn down the volume, and turn off all the units before making any connections.
GK IN connector
OUTPUT jacks
PHONES jack
AUX IN jack
DC IN jack
Connect a guitar equipped
with a GK pickup (Roland
GK-3/GK-2A) or a GKcompatible guitar such as the
Roland V-Guitar GC-1 to this
connector.
Connect these jacks to
your guitar amp or to PA
(LINE).
Connect a set of headphones (sold
separately) here.
Use a stereo mini-plug cable
to connect your audio player
here.
Connect the included AC
adaptor here.
* When you connect a stereo-mini plug
to this jack, the internal guitar amp
simulator will be automatically on so
that you can also enjoy the powerful
guitar sound with your
headphones. In this case,
the sound from OUTPUT
jacks will have the same
effect.
* If your system is monaural,
use only the L/MONO jack.
* Use only the included
AC adaptor. Using any
other adaptor may cause
overheating and malfunction.
* To adjust the input level of the
AUX IN jack, adjust the volume
of the connected device (audio
player, etc.).
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 DC IN jack,
anchor the power cord using the cord hook,
as shown in the illustration.
Connect the GK-compatible
guitar only with dedicated GK
cable (supplied with Roland GKcompatible devices and optional
GK cables). Use of any other
cable may result in damage or
malfunction.
Security slot (N)
http: //www.kensington.
com/
Turning the Power On/Off
GUITAR IN jack
Use this control if you’re directly inputting a conventional guitar.
This turns the power on/off.
* After you’ve made connections correctly, be sure to turn on
the power in the order of the GP-10 first, and then the
connected system. Powering-on in the incorrect order may
cause malfunctions or damage. When turning the power off,
power-off the connected system first, and then the GP-10.
* This unit is equipped with a protection circuit. A brief interval (a
few seconds) after turning the unit on is required before it will
operate normally.
* Before turning the unit on/off, always be sure to turn the
volume down. Even with the volume turned down, you might
hear some sound when switching the unit on/off. However, this
is normal and does not indicate a malfunction.
* If you use a 1/4” phone plug to make connections, the modeling and alternate tuning functions will
not operate. Only the effect functions will operate.
GUITAR OUT jack
Normal pickup signals of the guitar are output.
USB (
) port
Auto Off function
Use a commercially available USB 2.0 cable to connect this port to your
computer. It can be used to transfer USB MIDI and USB audio data. You must
install the USB driver before connecting the GP-10 to your computer.
Download the USB driver and the GP-10 special software from the Roland
website. For details, refer to Readme.htm which is included in the download.
http: //www.roland.com/support/
The power to this unit will be turned off automatically after a
predetermined amount of time has passed since it was last used
for playing music, or its buttons or controls were operated (Auto
Off function).
If you do not want the power to be turned off automatically,
disengage the Auto Off function (p. 14).
* Any settings that you are in the process of editing will be lost
when the power is turned off. If you have any settings that you
want to keep, you should save them beforehand.
* To restore power, turn the power on again.
EXP 2/CTL 3, 4 jack (Connecting to External Pedals)
If you connect an expression pedal (sold separately: Roland EV-5, FL-500H/L) or footswitch (sold separately: FS-5U, FS-6) to the EXP 2/CTL 3,4 jack, you can use a pedal to
control the volume or to turn effects on/off.
For details on the settings, refer to “Pedal and Switch Settings for Each Patch (Ctl: )” (p. 11), “System Settings for the Pedals and Switches (SysCtl: )” (p. 13).
When connecting EV-5
* Use only the specified
expression pedal (Roland EV-5,
FL-500H/L; sold separately).
By connecting any other
expression pedals, you risk
causing malfunction and/or
damage to the unit.
Exp 2
When Connecting an FS-5U
When Connecting Two FS-5Us
Cable:
Cable:
Stereo 1/4” phone type
1/4” phone type x 2
1/4” phone type
1/4” phone type
Ctl 3
Ctl 4
POLARITY switch
2
Ctl 3
When Connecting an FS-6
Cable:
Stereo 1/4” phone type
Stereo 1/4” phone type
Ctl 4
MODE/POLARITY switch
Ctl 3
Initial Setup
Check the following points before using the GP-10
You must set the GK pickup select switch to the “MIX” position!
If the switch is set to any position other than MIX, the unit won’t operate correctly
(there will be no sound).
Is the GK-pickup correctly installed?
t After reading the instructions in the GK-pickup Owner’s Manual, check the
installation once more.
t On the Roland website, the “How to install the GK pickup” page provides an
explanation and photos on how to attach a GK pickup. Be sure to take a look!
http: //www.roland.com/GK/
Roland GK-3 users
Roland V-Guitar GC-1 users
You must set this to the center (MIX) position!
Before using the GP-10 for the first time, you’ll need to make the following initial
settings.
Value
GK-3
GK-2A
GC-1
PIEZO
Select a parameter
Edit the value
Explanation
Roland GK-3
Roland GK-2A
Roland V-Guitar GC-1
Piezo Pickup (flat response)
Value
PIEZO F
PIEZO G
PIEZO L
PIEZO R
Explanation
Piezo Pickup
Fishman
Graph Tech
L.R. Baggs
RMC
* A piezo pickup is a type of pickup that is mounted on the bridge of the guitar, and
uses a piezoelectric element to detect the vibrations of the strings.
Specifying your guitar’s scale length
Choose “Scale,” and specify your guitar’s scale length (the distance between
the bridge and nut).
3. Press the [EXIT] button to return to the play screen.
MEMO
GK1:Scale
You can use the following button operations to jump to the +/, marks of this document
(p. 13–).
ST
Français
Jump destination
Next , + mark
Previous , + mark
Choose “ST” for a standard Stratocaster type, or choose “LP” for a Les Paul
type. Alternatively, choose the closest value in the range of 500–660 mm.
* This parameter is not shown if you select “GC-1” as the pickup type.
* [J] + [K] mean that you should “hold down [J] and press [K].”
Deutsch
* Choose “GK-2A” if you’re using a commercially available guitar that’s equipped with
GK pickup.
GK-3
Buttons
[J] + [K]
[K] + [J]
GK-3
English
2. Use the [K] [J] buttons to select the desired parameter. Then use the
[VALUE] knob to edit the value.
Buttons
Jump destination
[SYSTEM]
Next + mark
[EXIT] + [SYSTEM] Previous + mark
Choose “GK1: Type,” and specify the type of pickup that’s installed on your guitar.”
GK1:Type
Basic procedure for initial setup
1. Press the [SYSTEM] button.
GK1:Type
Specifying the pickup type
Specifying the distance from the bridge
Choose “Distance 1”–”Distance 6,” and specify the distance
(mm) from the center of the pickup to the bridge saddle.
Specifying the Output System (Sys: Output)
Sys:Output
LINE/PHONES
* If the pickup type is set to “GC-1” or one of the piezotype pickups, this setting is not necessary.
* If headphones are connected, this will automatically be “LINE/PHONES” regardless
of the Output setting.
LINE/PHONES
JC-120
SMALL AMP
COMBO AMP
JC-120 RETURN
COMBO RETURN
If the distance between each string
and the GK pickup is different, the
volume will also be different. The
pickup sensitivity adjustment allows
you to compensate for this difference
in volume.
GK-pickup “
1. Choose “Sens,” and adjust the sensitivity for the 6th string.
GK1:Sens 6
[■■■■■■■■]
50
Play the 6th string as strongly as you ever expect to play it in actual performance, and
use the [VALUE] knob to adjust the sensitivity as high as possible without allowing the
meter to reach the full-scale position.
* If the level meter reaches the full-scale position, the level is excessive. Lower the
sensitivity.
Setting Up the GK Pickups
GK settings are extremely important in order to play the GP-10 with the best possible
sound. You must be sure to make these settings correctly.
MEMO: GK settings
You can store three different sets of GK settings
GK:Setting
(GK Setting: 1–3). If you’re switching between three
different guitars to use with the GP-10, you can
make separate GK settings for each guitar. If you’re
using only one guitar with the GP-10, choose “1” (the default setting).
What is Pickup Sensitivity?
* Depending on the guitar you’re using, the level meter might reach full-scale even
if the sensitivity is at minimum. If this is the case, adjust the distance between the
divided pickup and the string so it’s somewhat greater than the recommendation.
2. In the same way, adjust the sensitivity for the 5th through 1st strings as well.
1
3. Check the volume balance of the six strings.
Play each of the strings 6–1 at normal strength; if a string sounds unusually loud,
lower the sensitivity of that string to minimize any discrepancy in volume between
the strings.
This completes the initial setup. Now you’re ready to play the GP-10!
3
Nederlands
STACK RETURN
Adjusting the pickup sensitivity
Português
STACK AMP
Explanation
This is the appropriate setting when using headphones, or for when the
GP-10 is connected to a keyboard amp, mixer, or digital recorder.
Choose this setting if the GP-10 is connected to the guitar input of a Roland
JC-120 guitar amp.
Choose this setting if the GP-10 is connected to a small guitar amp.
Choose this setting if the GP-10 is connected to the guitar input of a combotype guitar amp (i.e., an amp that contains the amp and speaker in a single
unit) other than the JC-120. Depending on the guitar amp you’re using,
using the “JC-120” setting might produce better results.
Choose this setting if the GP-10 is connected to the guitar input of a stacktype guitar amp (i.e., an amp in which the amp and speaker are separate
units).
Choose this setting if the GP-10 is connected to the JC-120’s RETURN jack.
Choose this setting if the GP-10 is connected to the RETURN jack of a combotype guitar amp.
Choose this setting if the GP-10 is connected to the RETURN jack of a stacktype guitar amp. You should also choose the “STACK RETURN” setting when
using the GP-10 with a guitar power amp and a speaker cabinet.
Español
Value
Italiano
GK1:Distance 1
20.0mm
Choose “Sys: Output,” and specify the device (amp) that’s connected to the OUTPUT
jacks.
Basic Operation Guide
Adjusting the Volume
This adjusts the volume.
Selecting a Patch
Guitar modeling, alternate tuning, and effect settings can be recalled as
99 different “patches” (sounds).
1. Use the [I] [H] pedals or [PATCH] knob to select a patch.
Dual Sync
Patch name
Patch number
Saving a Patch
If you select a different patch or turn off the power after editing the
settings, edited settings will be lost. If you want to keep the data, you
must save it.
1. Press the [WRITE] button.
Write to
#01
Dual Sync
Number
Save-Destination Patch
2. Use the [PATCH/VALUE] knob to select the save-destination.
If you decide to cancel, press the [EXIT] button.
3. Press the [WRITE] button.
4. Edit the name.
You can give names to patches using up to 12 characters.
Patch:Name Edit
Dual Sync
Use the [K] [J] buttons to move the cursor to the character that you
want to edit, and turn the [VALUE] knob to edit the character.
You can also use the following buttons.
Button
INS (MODELING)
DEL (EFFECTS)
CAPS (SYSTEM)
Function
Inserts a blank space at the cursor position.
Deletes the character at the cursor position and shifts all
characters after it to the left.
Alternately switches the letter at the cursor position between
uppercase and lowercase.
* The explanations in this manual include illustrations that depict what
should typically be shown by the display. Note, however, that your unit
may incorporate a newer, enhanced version of the system (e.g., includes
newer sounds), so what you actually see in the display may not always
match what appears in the manual.
Using the Pedals for Control ([CTL 1], [CTL 2] pedals)
By default, the [CTL 1] and [CTL 2] pedals control a function that’s assigned by each patch.
* You are free to assign the pedals to other functions if you like.
& “Pedal and Switch Settings for Each Patch (Ctl: )” (p. 11), “System Settings for the Pedals and Switches
(SysCtl: )” (p. 13)
The controllers of the GK pickup
You can also use the [S1] (DOWN) /[S2] (UP) buttons and the volume knob of the GK
pickup to control the parameters.
5. Press the [WRITE] button twice to save.
Controlling the Volume/Effect (Expression Pedal)
By strongly pressing the toe end of the pedal, you can turn the pedal
effect on and off (PEDAL SW indicator will light/go out).
Pedal effect is off:
t The pedal controls volume (default).
Pedal effect is on:
t The pedal controls the effect (e. g. : wah) that you select with the [PEDAL FX] knob.
* You are free to assign the pedals to other functions if you like.
& “Pedal and Switch Settings for Each Patch (Ctl: )” (p. 11), “System Settings for the Pedals and Switches
(SysCtl: )” (p. 13)
Tuning the Guitar (Tuner Mode)
Press the [I] [H] pedals simultaneously to enter Tuner mode.
* To achieve the alternate tunings as described on the tuning control, tune your
guitar to correct standard tuning (E A D G B E).
* If you want to tune GUITAR IN (the normal guitar input), disconnect the GK IN
connection.
1. Press the [I] [H] pedals simultaneously.
* You can also enter Tuner mode by pressing the [J] button in the Play screen.
2. Play a single open note on the string to be tuned.
The name of the note closest to the pitch of the string played appears
in the display.
. . . . . E
>>>>>>>>█<<<<<<<
3. Tune your instrument so that the center indicator of the display is
lit.
Setting the standard pitch
* When you operate the expression pedal, please be careful not to get your fingers pinched between the
movable part and the panel. In places where small children are present, make sure that an adult provides
supervision and guidance.
Switching the Display
You can use the [K] [J] buttons to switch the screens in the display.
Play (patch select) screen
Select a patch.
& “Selecting a Patch” (p. 4)
Dual Sync
4
. . . . . E
>>>>>>>>█<<<<<<<
Standard pitch setting screen
Here you can change the standard pitch of
the tuner.
In Tuner mode, you can press the [J] button to change the standard pitch of the
tuner.
Pitch
435–445 Hz (default: 440 Hz)
Tuner mode screen
Tune your guitar.
& “Tuning the Guitar (Tuner Mode)” (p. 4)
Tuner:Pitch
A=440Hz
Patch level screen
Adjust the volume of the patch.
& “Patch Volume (Patch: Level)” (p. 11)
Patch:Level
100
Basic Operation Guide
Basic Procedure for Editing the Settings
Editing the GP-10’s settings is a simple and consistent procedure. Before you
continue, please take a moment to learn the basic editing procedures.
2. Use the [K] [J] buttons to select the desired parameter. Then use the [VALUE]
knob to edit the value.
Select a parameter
1. Press the button for the type of item you want to edit.
Edit the value
Modeling/Poly FX/Alternate Tuning Settings&p. 6
GK1:Type
Effects/Patch Settings&p. 9
System Settings (Settings for the Entire GP-10) &p. 13
GK-3
You can use the following button operations to jump to the +/, marks of this document (p.
6–).
Buttons
Jump destination
[MODELING/ALT TUNE],
Next + mark
[EFFECTS],or [SYSTEM]
[EXIT] + buttons above Previous + mark
Buttons Jump destination
[J] + [K] Next , + mark
English
[K] + [J] Previous , + mark
* [J] + [K] mean that you should “hold down [J] and press [K].”
3. Press the [EXIT] button to return to the play screen.
Selecting a Modeling Guitar
& “Modeling Settings (Mdl: )” (p. 6)
Selecting an electric guitar
Value
ON
E. GTR (electric guitar)
& Refer to “Electric Guitar (EG: )” (p. 6)
Selects the pickup position.
Selecting an acoustic
Parameter
Mdl: On/Off
Mdl: Type
AC: Type
Parameter
Mdl: On/Off
Mdl: Type
EB: Type
Selecting a Poly FX
The Poly FX are effects specifically designed for the
GK pickup, which individually extracts the signal of
each string.
Value
ON
E. BASS (bass)
& Refer to “Bass (EB: )” (p. 6)
Selecting a guitar synthesizer
Parameter
Mdl: On/Off
Mdl: Type
Synth: Type
Value
ON
SYNTH (guitar synthesizer)
& Refer to “Synthesizer (Synth: )” (p. 7)
Parameter
Mdl: On/Off
Mdl: Type
PolyFx: Type
Value
ON
POLY FX
& Refer to “Poly FX (PolyFx: )” (p. 8)
Français
Parameter
Mdl: On/Off
Mdl: Type
EG: Type
EG: PU Select
Selecting a bass
Deutsch
Press the [MODELING/ALT TUNE] button and edit the
parameters.
Value
ON
ACOUSTIC (acoustic)
& Refer to “Acoustic (AC: )” (p. 6)
Italiano
Selecting an Alternate Tuning
Press the [MODELING/ALT TUNE] button and edit the parameters.
& “Alternate Tuning Settings (AltTune: )” (p. 8)
* If the Modeling Type is “SYNTH” or “POLY FX,” the Alternate Tuning or12-String Guitar function
cannot be used.
Explanation
Turn this on if you want the sound of a 12-string guitar. It transforms the sound of
12Str: On/Off a 6-string guitar into the sound of a 12-string guitar equipped with an additional
course of strings.
Example: Applying an open-G tuning to a
Telecaster (rear pickup)
Example: Transforming an acoustic guitar
into a 12-string guitar
Parameter
Mdl: On/Off
Mdl: Type
EG: Type
EG: PU Select
AltTune: On/Off
AltTune: Type
Parameter
Mdl: On/Off
Mdl: Type
AC: Type
AltTune: On/Off
12Str: On/Off
Value
ON
ACOUSTIC
MA28
OFF
ON
Português
Value
ON
E. GTR
TE
REAR
ON
OPEN G
Español
Selecting an alternate tuning
Parameter
Explanation
AltTune: On/Off Turns the Alternate Tuning function on/off.
OPEN D, E,
Tuning that produces a major chord when you play the open strings.
G, A
DROP-D is a tuning in which only the 6th string is dropped to D.
DROP D–A The other tunings are the variations that are transposed downward
parallel to Drop D.
Tuning that drops the 6th, 2nd, and 1st string by a whole step to
D-MODAL
AltTune: Type
create an ethnic feel.
Tuning that raises the 6th, 5th, 4th, and 3rd strings by one octave;
NASHVL
like a 12-string guitar’s supplementary strings by themselves.
-12–+12
Raises/lowers the tuning of all strings in semitone steps.
STEP
USER
User tuning in which each string can be specified individually.
Selecting a 12-string guitar
Parameter
Nederlands
Applying Effects
Press the [EFFECTS] button and edit the parameters.
& “Effects Settings” (p. 9)
Amp
Parameter
Explanation
Amp: On/Off Turns the Amp on/off
Amp: Type Type of Amp
FX (Overdrive etc.)
Parameter
FX: On/Off
FX: Type
Explanation
Turns the FX on/off
Type of FX
Wah
Parameter
Wah: On/Off
Wah: Type
Reverb
Explanation
Turns the Wah on/off
Type of Wah
Parameter
Explanation
Reverb: On/Off Turns the Reverb on/off
Reverb: Type
Type of Reverb
Chorus
Equalizer
Parameter
Explanation
Chorus: On/Off Turns the Chorus on/off
Chorus: Mode Type of Chorus
Parameter
EQ: On/Off
Noise suppressor
Delay
Parameter
Delay: On/Off
Delay: Type
Explanation
Turns the Equalizer on/off
Explanation
Turns the Delay on/off
Type of Delay
Parameter
NS: On/Off
Explanation
Turns the noise suppressor on/off
5
Modeling/Poly FX/Alternate Tuning Settings
Modeling Settings (Mdl: )
Press the [MODELING/ALT TUNE] button to edit.
Acoustic (AC: )
Parameter
* The parameters shown depend on the modeling type you’ve selected.
MEMO
For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).
Parameter
On/Off
Type
Explanation
Turns the Modeling on/off (mute).
Type of Modeling
E. GTR
Electric guitar
ACOUSTIC
Acoustic
E. BASS
Bass
SYNTH
Guitar synthesizer
POLY FX
Poly FX
Type
Electric Guitar (EG: )
Parameter
Type
PU Select *1
Tone Type *2
Sens *2
Depth *2
Attack *2
Resonance *2
Direct Level *2
Volume
Tone
*1 Other than FRETLESS
*2 FRETLESS only
6
Explanation
Type of Electric Guitar
This models a Fender Stratocaster, a guitar with three
CLA ST
traditional single-coil pickups.
This models a guitar with three EMG active single-coil
MOD ST
pickups.
This models a Fender Telecaster, a guitar with two single-coil
TE
pickups often used in blues and country music.
This models a Gibson Les Paul Standard, a guitar with two
LP
humbucking pickups often used in rock.
This models a Gibson Les Paul Junior, a guitar with two
P90
single-coil pickups affectionately referred to as “dog ear” or
“soap bar” pickups.
This models a Gibson ES-335 Dot, a well-known semi-hollow
335
body guitar with two humbucking pickups.
This models a Gibson L-4 CES, a hollow body guitar suitable
L4
for jazz, equipped with two humbucking pickups and strung
with flat-wound strings.
This models a Rickenbacker 360, a semi-hollow body guitar
RICK
with two unique single-coil pickups.
This models a Danelectro 56-U3, a guitar with three pickups
LIPS
with a distinctive silver “lipstick-style” appearance.
WIDE
This produces the fat sound typical of a larger number of coil
RANGE
windings than on a conventional single-coil pickup.
A conventional humbucking pickup places two coils side
by side, causing the high frequencies to be cancelled;
BRIGHT
however, this model produces a tone that preserves these
HUM
high frequencies while retaining the characteristics of a
humbucking pickup.
FRETLESS
This models a fretless guitar.
Selects the pickup position.
REAR
Rear pickup
R+C *1
Rear and center pickups
CENTER *1 Center pickup
C+F *1
Center and front pickups
FRONT
Front pickup
R+F *2
Rear and front pickups
ALL *3
All pickups
*1 CLA-ST, MOD-ST, LIPS only
*2 TE, LP, P-90, RICK, 335, L4, BRIGHT HUM, WIDE RANGE only
*3 LIPS only
Selects the fretless tone type.
This controls the input sensitivity of the FRETLESS.
This controls the rate of the harmonics.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Sets the volume. With a setting of 0, there will be no sound.
Adjusts the tone. The standard value is 100; lowering the value creates a
softer tone.
Body *1
Attack *2
PU Select *3
Sens *3
Color *3
Decay *3
BUZZ *3
Attack Level *3
Resonance *4
Sustain *5
Tone
Volume
Explanation
Type of Acoustic
The sound of a Martin D-28. Older model known for its
MA28
exquisitely balanced sound.
The sound of a Martin 000-28. This model features a full lowTRP-0
end resonance and crisp, distinct contour.
The sound of a Gibson J-45. This vintage model features a
GB45
unique, seasoned tone with good response.
The sound of a Gibson B-25. Featuring a compact body, this
GB SML
vintage model is often used in blues.
The sound of a Guild D-40. This model features warm
GLD40
resonance from the body along with a delicate string
resonance.
NYLON
This models a nylon-string guitar.
RESO
This models a Dobro-type resonator guitar.
BANJO
This models a conventional five-string banjo.
This models a Coral electric sitar. The sitar’s distinctive buzz
SITAR
and tonal change are modeled.
Adjusts the body resonation. Raising the value produces more of a sense
of the guitar body in the sound. Lower the value in conditions where
feedback is prone to occur.
Specifies the strength of the attack when you pluck the string strongly. As
this setting is increased, the attack will be sharper, and the sound will be
crisper.
Selects the pickup position.
FRONT
Front pickup
R+F
Rear and front pickups
REAR
Rear pickup
PIEZO
Piezo pickup
Adjusts the input sensitivity.
Adjusts the overall tone quality of the sitar.
Adjusts the time it takes following the attack for the tone to change.
Adjusts the amount of characteristic buzz produced by the buzz bridge
when the strings make contact with it.
Adjusts the volume level of the attack
Adjusts the body resonation. The resonation increases as the value is
raised.
You can specify how the resulting volume will be affected by changes
(loud/soft dynamics) in the guitar string vibrations that are input.
Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Adjusts the tone of the body. The standard value is 0; raising the value
boosts the high range.
Sets the volume. With a setting of 0, there will be no sound.
*1 Other than RESO and BANJO
*2 NYLON and BANJO only
*3 SITAR only
*4 RESO and BANJO only
*5 RESO only
Bass (EB: )
Parameter
Type
Rear Volume *1
Front Volume *1
Tone Type *2
Sens *2
Depth *2
Attack *2
Resonance *2
Direct Level *2
Volume
Tone
*1 JB only
*2 FRETLESS only
Explanation
Type of Bass
JB
This models a Fender Jazz Bass.
PB
This models a Fender Precision Bass.
FRETLESS
This models a fretless bass.
Volume of the rear pickup
Volume of the front pickup
Selects the fretless tone type.
This controls the input sensitivity of the FRETLESS.
This controls the rate of the harmonics.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Sets the volume. With a setting of 0, there will be no sound.
Adjusts the tone.
Modeling/Poly FX/Alternate Tuning Settings
Synthesizer (Synth: )
Parameter
Type
Explanation
Type of Synthesizer
This models the Roland GR-300, the famed analog
GR-300
polyphonic guitar synthesizer of yesteryear.
This is an analog synth modeling sound generated by a DSP
OSC SYNTH
oscillator.
This algorithm creates synth sounds by directly processing
WAVE
the string signal from the Divided pickup. It allows a natural
SYNTH
feeling of playability.
GR-300 (GR300: )
Parameter
Mode
Cutoff
Resonance
EnvModAtck
Pitch Sw
P. Duet
Sweep Rise
Vibrato Sw
Vib Rate
Vib Depth
Setting HEXA-VCO pitch shifts to values such as PITCH+/-12 (up or down
an octave), +/-7 (perfect fifth), or +/-5 (perfect fourth) produces a thicker
sound like that from a synthesizer.
You can add further depth to the sound by setting PITCH FINE to +/-5, thus
slightly shifting the pitch of the HEXA-VCO.
This SWEEP function smoothly changes the amount of pitch shift when the
amount of pitch shift is changed with “Pitch Sw.”
Adjusts the amount of time for the pitch to shift when the “Pitch Sw”
parameter is switched and the sound changes to a higher pitch. When set
to zero, the pitch changes instantly; at higher values, the pitch rises more
slowly.
Adjusts the amount of time for the pitch to shift when the “Pitch Sw”
parameter is switched and the sound changes to a lower pitch. When set
to zero, the pitch changes instantly; at higher values, the pitch falls more
slowly.
You can apply an electronic vibrato effect to the HEXA-VCO.
Adjusts the rate of the vibrato.
Adjusts the depth of the vibrato.
Volume
Filter Type
-12 dB
Filter Slope
-24 dB
Filter Cutoff
FltrCtOffFlw
Fltr Reso
FltrVeloSens
FltrEnvAttck
FltrEnvDecay
FltrEnvSustn
FltrEnvRels
FltrEnvDepth
AmpVeloSens
AmpEnvAttck
AmpEnvDecay
AmpEnvSustn
AmpEnvRels
LFO 1/2 Shape
LFO1/2 RATE
LFO1/2 PtchDpt1/2
LFO1/2 FltDepth
LFO1/2 AmpDepth
Explanation
This creates the waveform that determines the character of the sound, and
also specifies the pitch. The GP-10 has two oscillators: OSC 1 and OSC 2.
SINGLE
Only OSC 1 is used.
DUAL
OSC 1 and OSC 2 are used.
This is oscillator sync.
It generates a complex
waveform by forcibly
OSC 2
SYNC
resetting OSC 2 to the
OSC 1
beginning of its cycle in
synchronization with the
OSC 1 frequency.
This is a ring modulator.
OSC 1
It generates a complex
OSC 2
RING
waveform by multiplying
OSC 1 and OSC 2.
Sets the volume. With a setting of 0, there will be no sound.
LFO1/2 Fade Time
Poly/Mono
Chromatic
Portamento
Porta Rate
Porta Mode
Selects the slope (steepness)
of the low-pass filter.
ex. LPF
Specifies the cutoff frequency.
Specifies how the cutoff frequency will be affected by the note position.
Resonance emphasizes the sound in the region of the filter cutoff
frequency.
Increasing the resonance setting will increase this emphasis, producing a
distinctive sound that is characteristic of synthesizers.
Specifies how the filter envelope depth is affected by your picking
dynamics.
Specifies the attack/decay/sustain level/
release time of the filter envelope.
Specifies the depth and direction of the cutoff frequency change.
Higher values make the cutoff frequency move upward.
Lower values make the cutoff frequency move downward.
Specifies how the volume is affected by your picking dynamics.
Specifies the attack/decay/sustain level/
release time of the amp envelope.
Selects the LFO waveform.
SIN
R Sine wave
SAW UP
T Sawtooth wave
SAW DOWN
Sawtooth wave (negative polarity)
TRI
S Triangle wave
SQR
U Square wave
RANDOM
Random wave
S&H
W Sample and Hold
Determines the speed of the LFO.
Allows the LFO to modulate the pitch, producing a vibrato effect.
Allows the LFO to modulate the FILTER CUTOFF (cutoff frequency),
Allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo
effect.
Specifies the time from when a note is played until the LFO begins to apply.
Specifies the time until the LFO reaches its
maximum amplitude.
If this is set to MONO, only a single note will sound even if you play a chord.
Turn this “ON” if you want to play tones in semitone increments.
If this is “ON,” the pitch will change in semitone steps even when you bend
notes.
Allows you to create a smooth change in pitch from one note to the next.
Adjusts the speed at which the pitch changes.
Selects how portamento is applied.
* This is valid only in POLY mode.
For each string, portamento starts from the pitch of the last
MODE 1
note played on that string
Portamento starts from the pitch of the last note played on
MODE 2
any string
7
Nederlands
Mode
Specifies the depth to which the envelope will modulate the pitch.
Adjusts the volume of the OSC.
Type of filter
BYPASS
The filter is not used.
This type of filter cuts the frequency range that is above the
LPF
cutoff frequency, making the sound more mellow.
This type of filter cuts the frequency range that is below the
HPF
cutoff frequency, emphasizing the high-frequency range.
This type of filter passes only the range of frequencies in the
BPF
region of the cutoff frequency, cutting the other frequencies.
This type of filter boosts the range of frequencies in the
PKG
region of the cutoff frequency.
LFO1/2 Dly Time
OSC synth (OSC: )
Parameter
P. Env Depth 1/2
Level 1/2
Português
Sweep Fall
MEMO
Specifies the attack/decay time of the pitch
envelope.
Español
Sweep Sw
This finely adjusts the pitch. A setting of -50 lowers the pitch one semitone;
+50 raises the pitch by one semitone.
When DUET is set to ON, then in addition to the HEXA-VCO, a sawtooth
wave is played at the same pitches as the source sound, adding greater
breadth to the sound.
P. Env Attck 1/2
P. Env Decay 1/2
Italiano
P. Shift A
P. Shift B
P. Fine A
P. Fine B
Adjusts the pitch more finely than the Pitch parameter.
Specifies the pulse width.
Specifies the amount (depth) of LFO applied to Pulse Width.
Français
EnvModSens
Adjusts the pitch.
Pitch 1/2
Pitch Fine 1/2
PW Width 1/2
PW Mod Rate 1/2
Deutsch
EnvModSw
Waveform 1/2
Explanation
Selects the waveform that is the basis of the sound.
SIN
R Sine wave
SAW
T Sawtooth wave
TRI
S Triangle wave
SQR
U Square wave
PW
V Pulse width
NOISE
Noise
English
Volume
Comp Sw
Explanation
This setting determines whether the HEXA-VCO (sawtooth wave) or the
HEXA-DISTORTION (rectangular wave) is played, or if both are played.
VCO
The HEXA-VCO sound is played.
The HEXA-VCO and HEXA-DISTORTION sounds are played
V+D
simultaneously.
DIST
The HEXA-DISTORTION sound is played.
Sets the volume. With a setting of 0, there will be no sound.
When this is set to ON, the HEXA-VCO’s decay time is extended.
Adjusts the cutoff frequency, setting the brightness (hardness) of the
sound.
Adjusts the resonance (distinctiveness of the sound).
This automatically changes the VCF cutoff frequency according to the
amplitude of the string vibration. This allows you to change the tone with a
wah-like effect each time you pick a string.
This causes the VCF cutoff frequency to change from a
high to low frequency each time the string is picked. This
ON
produces a wah-like effect, with the sound going from high
frequencies to low.
As opposed to the ON setting, this allows you to have the
VCF cutoff frequency change from a low to high frequency
INV
each time the string is picked. This produces a reverse
wah-like effect, with the sound going from high frequencies
to low.
Adjusts the input sensitivity for the envelope modulation function. As the
value is raised, the change from the envelope modulation broadens with
even weaker picking.
Adjusts the attack time for the change in the envelope modulation
produced by picking. Raising the value slows the attack for this change.
This setting allows you to switch A, B and OFF the pitch shift, which
enables the pitch of the HEXA-VCO sound to shift in response
* PITCH SHIFT is applied only to the HEXA-VCO, not the
HEXADISTORTION. Set MODE to VCO or V+D when using the pitch shift
function.
This sets the amount of shift in pitch from the original sound in semitone
increments.
Parameter
Modeling/Poly FX/Alternate Tuning Settings
Parameter
Explanation
Specifies the Hold effect controlled by the [CTL 1] [CTL 2] pedals.
* In order to use the Hold effect, make settings for “Patch: CTL” (p. 11) or
“Sys: CTL” (p. 13).
Notes that are newly played while Hold is on will also be
MODE 1
held.
MODE 2
Newly played notes are not accepted while Hold is on.
While Hold is on, notes newly played on a string that’s being
MODE 3
held are accepted.
Adjust this if simply touching a string causes a note to be unintentionally
triggered. Raising this value will make it more difficult to trigger notes.
Hold Mode
LowVeloCut
Wave synth (WAVE: )
Parameter
Explanation
Selects the wave type on which the synth sound is based.
SAW
Creates a synth sound with a sawtooth waveform.
SQUARE
Creates a synth sound with a square waveform.
Sets the volume. With a setting of 0, there will be no sound.
Adjusts the cutoff frequency at which the filter cuts off the sound’s
harmonic components
Adjusts the resonance (distinctiveness of the sound).
If this is on, the pitch is one octave lower.
Type
Volume
Cutoff
Resonance
Octave
Poly FX (PolyFx: )
Parameter
Explanation
Distortion that allows chords to resonate clearly and
beautifully
A sound with a metallic resonance and a transparent
CRYSTAL
character
RICH MODULATION Rich and spacious modulation sound
SLOW PAD
Deep, fantasy-like pad-type sound
You can produce a wah effect with the filter changing in
TOUCH WAH
response to the guitar level.
DISTORTION
Type
DISTORTION/CRYSTAL/RICH MODULATION/SLOW PAD
(PFxDist: /PFxCrystal: /PFxRichMod: /PFxSlowPad: )
Parameter
GtrVol
Explanation
Adjusts the volume of the guitar input.
Alternate Tuning Settings (AltTune: )
Press the [MODELING/ALT TUNE] button to edit.
* If the Modeling Type is “SYNTH” or “POLY FX,” the Alternate Tuning/12-String
Guitar/String Bend function cannot be used.
Parameter
On/Off
Type
Shift 1–6 *1
Fine 1–6 *1
12-String Guitar Settings (12Str: )
Press the [MODELING/ALT TUNE] button to edit.
Parameter
On/Off
Type
PitchShft 1–6 *1
PitchFine 1–6 *1
Level 1–6 *1
Delay 1–6 *1
String Bend Function Settings (StrBend: )
Press the [MODELING/ALT TUNE] button to edit.
Parameter
On/Off
Depth 1–6
TOUCH WAH (PFxTWah: )
Parameter
Mode
Polar
Sens
Freq
Decay
Peak
ToneType
Comp Sw
Comp Sus
Comp Atk
Volume
8
Explanation
Selects the wah mode.
Low pass filter. This creates a wah effect over a wide frequency
LPF
range.
Band pass filter. This creates a wah effect in a narrow frequency
BPF
range.
Selects the direction in which the filter will change in response to the
input.
DOWN
The frequency of the filter will fall.
UP
The frequency of the filter will rise.
Adjusts the sensitivity at which the filter will change in the direction
determined by the polarity setting. Higher values will result in a stronger
response. With a setting of 0, the strength of picking will have no effect.
Adjusts the center frequency of the Wah effect.
This sets the time needed for the filter to finish its sweep.
Adjusts the way in which the wah effect applies to the area around the
center frequency.
Higher values will produce a stronger tone which emphasizes the wah
effect more. With a value of 50 a standard wah sound will be produced.
Selects the tone type.
Turns the compressor on/off.
Larger values will result in longer sustain.
Adjusts the strength of the picking attack when the strings are played.
Volume
Explanation
Turn this on if you want the sound of a 12-string guitar. It transforms the
sound of a 6-string guitar into the sound of a 12-string guitar equipped
with an additional course of strings.
NORMAL
The conventional tuning of a 12-string guitar.
A user tuning that specifies the pitch of each supplementary
USER
string.
Specifies the amount of shift in semitones for each string.
Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is
half a semitone up.
Adjusts the volume level for each secondary string.
Adjusts the time the sound of each secondary string is delayed relative to
the respective main string.
*1 USER only
Control
*1 DISTORTION only
USER
User tuning in which each string can be specified individually.
Specifies the amount of shift in semitones for each string.
Finely adjusts the pitch of each string. -50 is half a semitone down; +50 is
half a semitone up.
*1 USER only
Gain *1
Adjusts the amount of distortion.
Adjusts the distortion balance between the low and high strings.
GainBal *1
Higher settings make the lower strings distort more.
Lower settings make the higher strings distort more.
Adjusts the amount of separation for chords. Higher settings produce
DISTORTION
chords less muddy.
Adjusts the tonal character of the high-frequency range. Higher settings
CRYSTAL
make the tonal character more metallic.
Color
RICH
Adjusts the depth of the effect. Higher settings make the modulation effect
MODULATION stronger.
SLOW PAD
Adjusts the strength of the attack. Higher settings strengthen the attack.
Tone
Adjusts the brightness of the sound. Higher settings brighten the sound.
Level
Volume
Explanation
Turns the Alternate Tuning function on/off.
OPEN D, E, Tuning that produces a major chord when you play the open
G, A
strings.
DROP-D is a tuning in which only the 6th string is dropped
DROP D–A to D. The other tunings are the variations that are transposed
downward parallel to Drop D.
Tuning that drops the 6th, 2nd, and 1st string by a whole step
D-MODAL
to create an ethnic feel.
Tuning that raises the 6th, 5th, 4th, and 3rd strings by one
NASHVL
octave; like a 12-string guitar’s supplementary strings by
themselves.
-12–+12
Raises/lowers the tuning of all strings in semitone steps.
STEP
Explanation
Turns the String Bend function on/off.
This sets the amount of pitch shift in each string when the bend is set to
100.
The amount of shift from the current pitch is set in semitone increments.
When set to 0, bending causes no shift in the pitch; when set to 100, the
strings’ pitches are shifted by the amount set in Depth 1–6. Normally, this
pitch bend is set to 0, and the setting 0–100 assigned with Control Assign
is used.
* This setting cannot be saved to patches. This is reset to 0 when patches
are switched.
Other Modeling Settings (Mdl: )
Parameter
NS On/Off *1
NS Threshold *1
NS Release *1
String Lv 1–6
String Pan 1–6
Explanation
Turns the noise suppressor on/off.
This effect suppresses noise or hum that is picked up by the guitar’s pickup.
Adjust this according to the level of the noise. Set this to a higher value if
the noise level is high, or to a lower value if the noise level is low. Adjust
this so that the decay of your guitar still sounds natural.
* Setting this higher than necessary may cause no sound to be produced
when the guitar is played at low volume.
Adjusts the time from when the noise suppressor begins to function until
the noise level reaches “0.”
Specifies the output level of each string.
Specifies the left/right pan of each string.
*1 For some modeling types, the noise suppressor parameters are not shown.
Effects/Patch Settings
Effects Settings
Parameter
Press the [EFFECTS] button to edit.
* The parameters shown depend on the type of effect that you select.
MEMO
For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).
Preamp (Amp: )
COSM technology is used to simulate the response of the preamp, the size of the
speakers, and the type of cabinet.
Parameter
On/Off
Gain Sw
Solo Sw
Solo Level
T-Comp
Speaker
Type *1
This models the drive sound of a VOX AC-30TB.
This is a sound that it suited to sixties-style British rock.
VO LEAD
This models the lead sound of the VOX AC-30TB.
This models the sound input to left input on a Matchless D/C-30.
MATCH
A simulation of the modern tube amp widely used in styles from
DRIVE
blues and rock.
This models the lead sound of the MESA/ Boogie combo amp.
BG LEAD
The sound of a tube amp typical of the late ‘70s to ‘80s.
BG DRIVE
This models a MESA/Boogie with TREBLE SHIFT SW on.
This models the sound input to Input I on a Marshall 1959.
MS1959 I
This is a trebly sound suited to hard rock.
The sound of connecting inputs I and II of the guitar amp in parallel,
MS1959 I+II
creating a sound with a stronger low end than I.
R-FIER
This models the sound of the Channel 2 VINTAGE Mode on the
VINTAGE
Mesa/Boogie DUAL Rectifier.
R-FIER
This models the sound of the Channel 2 MODERN Mode on the
MODERN
Mesa/Boogie DUAL Rectifier.
T-AMP LEAD This models a Hughes & Kettner Triamp AMP3.
SLDN
This models a Soldano SLO-100. This is the typical sound of the ‘80s.
5150 DRIVE This models the lead channel of a Peavey EVH 5150.
BGNR UB
This models the heavily distorted sound of a Bogner Uberschall.
METAL
ORNG ROCK
This models an Orange Rockerverb.
REVERB
BASS CLEAN Clean sound suitable for bass.
BASS
Crunch sound with a natural distortion, suitable for bass.
CRUNCH
BASS
High-gain sound suitable for bass.
HiGAIN
Adjusts the distortion of the amp.
Adjusts the volume of the entire preamp.
* Be careful not to raise the Level setting too high.
Adjusts the tone for the low frequency range.
Adjusts the tone for the middle frequency range.
Adjusts the tone for the high frequency range.
Adjusts the tone for the ultra high frequency range.
* The Presence parameter functions as a high-cut filter with some Amp Types.
Turns the bright setting on/off.
* The Bright parameter setting is available only with certain Amp Types.
Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH.
Distortion will successively increase for settings of LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis that the Gain Sw is set to
MIDDLE.
Switches the tone to one suitable for solos.
Adjusts the volume level when the Solo Sw is ON.
Adjusts the sense of compression of the amp.
Selects the speaker type.
“ORIGIN” is the built-in speaker of the amp you selected with Amp: Type.
VO DRIVE
Type
OD/DS (FxODDS: )
Parameter
Explanation
Type of OD/DS
This is a booster with unique characteristics in the midrange.
Making the connection before the amp produces sound suitable
for solos.
This not only functions as a booster, but also produces a clean
CLEAN BOOST
tone that has punch even when used alone.
TREBLE BOOST This is a booster that has bright characteristics.
A lustrous crunch sound with an added element of amp
CRUNCH
distortion.
This is an overdrive sound that provides distortion with a natural
NATURAL OD
feeling.
WARM OD
This is a warm overdrive.
FAT DS
A distortion sound with thick distortion.
Produces a distortion sound with both the smoothness of an
LEAD DS
overdrive along with a deep distortion.
METAL DS
A distortion sound that is ideal for performances of heavy riffs.
OCT FUZZ
A fuzz sound with rich harmonic content.
This is a crunch sound of the BOSS BD-2.
BLUES OD
This produces distortion that faithfully reproduces the nuances
of picking.
This models the sound of the BOSS OD-1.
OD-1
This produces sweet, mild distortion.
T-SCREAM
This models an Ibanez TS-808.
TURBO OD
This is the high-gain overdrive sound of the BOSS OD-2.
DISTORTION
This gives a basic, traditional distortion sound.
RAT
This models a Proco RAT.
GUV DS
This models a Marshall GUV’ NOR.
DST+
This models a MXR DISTORTION+.
MID BOOST
Type
9
Nederlands
Bright
This models a Fender Deluxe Reverb.
Português
Presence
This models a Fender Bassman 4 x 10” Combo.
Explanation
Turns this effect on/off.
Type of FX
OD/DS
This effect distorts the sound to create long sustain.
This is an effect that produces a long sustain by evening out the
COMPRESSOR volume level of the input signal. You can also use it as a limiter to
suppress only the sound peaks and prevent distortion.
LIMITER
The limiter attenuates loud input levels to prevent distortion.
EQ
This adjusts the tone as a equalizer.
T. WAH
A wah effect is produced according to your picking dynamics.
This effect changes the pitch of the original sound (up or down)
PITCH SHIFTER
within a range of two octaves.
Harmonist is an effect where the amount of shifting is adjusted
HARMONIST according to an analysis of the guitar input, allowing you to
create harmony based on diatonic scales.
PEDAL BEND This lets you use the pedal to get a pitch bend effect.
By adding varied-phase portions to the direct sound, the phaser
PHASER
effect gives a whooshing, swirling character to the sound.
The flanging effect gives a twisting, jet-airplane-like character
FLANGER
to the sound.
TREMOLO
Tremolo is an effect that creates a cyclic change in volume.
With the volume level of the left and right sides alternately
changing, when playing sound in stereo, you can get an effect
PAN
that makes the guitar sound appear to fly back and forth
between the speakers.
ROTARY
This produces an effect like the sound of a rotary speaker.
This models a Uni-Vibe.
UNI-V
Although this resembles a phaser effect, it also provides a unique
undulation that you can’t get with a regular phaser.
In this effect, a slightly detuned sound is added to the original
CHORUS
sound to add depth and breadth.
This effect adds delayed sound to the direct sound, giving more
DELAY
body to the sound or creating special effects.
Español
Level
Bass
Middle
Treble
Parameter
On/Off
Italiano
Gain
FX (FX: )
You can select the effect to be used from the following.
Français
Type
*1 This is enabled when the Sys: Output parameter is set to LINE/PHONE.
Deutsch
TWEED
DELUXE
CRUNCH
English
Explanation
Turns this effect on/off.
Type of Amp
NATURL
An unembellished, clean sound that minimizes the amp’s
CLEAN
idiosyncrasies, such as its trebly character and boomy low end.
An amp with a broad frequency range and an extremely flat
FULL RANGE response.
Good for acoustic guitar.
COMBO
Crunch sound that allows the nuances of your picking to be
CRUNCH
expressed even more faithfully than on conventional combo amps.
Great-feeling crunch sound that responds well to picking dynamics
STACK
while retaining all the defining characteristics of a 4 x 12” speaker
CRUNCH
cabinet.
HiGAIN
High-gain sound of a vintage Marshall specially revamped in a way
STACK
that is possible only with COSM modeling technology.
A straight drive sound that works well in a broad range of situations,
POWER
from backing to lead. A sound like this cannot be obtained from any
DRIVE
existing combo amp or stack amp.
EXTREME
A new type of sound that smoothes out the uneven frequency
LEAD
response that is typical of existing large stack amps.
A large stack sound that has been tweaked extensively in the pursuit
CORE METAL
of the ultimate metal sound.
JC-120
This models the sound of the Roland JC-120.
CLEAN TWIN This models a Fender Twin Reverb.
PRO
This models a Fender Pro Reverb.
CRUNCH
Explanation
Selects the simulated mic type.
This is the sound of the Shure SM-57. General dynamic mic used for
DYN57
instruments and vocals. Optimal for use in miking guitar amps.
This is the sound of the Sennheiser MD-421. Dynamic mic with
DYN421
extended low end.
This is the sound of the AKG C451B. Small condenser mic for use
Mic Type *1
CND451
with instruments.
This is the sound of the Neumann U87. Condenser mic with flat
CND87
response.
Simulates a mic with perfectly flat response. Produces a sonic image
FLAT
close to that of listening to the sound directly from the speakers
(on site).
Simulates the distance between the mic and speaker.
Mic Distance
OFF MIC
Microphone is placed at a distance from the speaker.
*1
ON MIC
Microphone is placed so it’s near the speaker.
This simulates the mic position.
Simulates the condition that the mic is set in the middle of the
CENTER
Mic Position *1
speaker cone.
Simulates the condition that the mic is moved away from the center
1–10 cm
of the speaker cone.
Mic Level *1
Adjusts the volume of the mic.
Direct Level *1 Adjusts the volume of the direct sound.
Effects/Patch Settings
Parameter
Type
Drive
Tone
Level
Bottom
D. Level
Solo Sw
Solo Lv
Explanation
Parameter
This models the sound of the BOSS MT-2.
METAL ZONE
It produces a wide range of metal sounds, from old style to
slash metal.
This models a Fuzz Face.
‘60S FUZZ
It produces a fat fuzz sound.
MUFF FUZZ
This models an Electro-Harmonix Big Muff π.
Adjusts the depth of distortion.
Adjusts the tone.
Adjusts the volume of the effect sound.
Adjusts the tone for the low frequency range.
Adjusts the volume of the direct sound.
Switches the tone to one suitable for solos.
Adjusts the volume level when the Solo Sw is ON.
About the Other FX Parameters
Ref.
For details on all FX (effects) parameters, refer to the “Parameter Guide” (PDF
file) which you can download from the Roland website (http: //www.roland.
com/manuals/).”
Explanation
Type of Delay
SINGLE
PAN
STEREO
DUAL-S
This is a simple monaural delay.
This delay is specifically for stereo output. This allows you to
obtain the tap delay effect that divides the delay time, then
deliver them to L and R channels.
The direct sound is output from the left channel, and the effect
sound is output from the right channel.
This is a delay comprising two different delays connected in
series. Each delay time can be set in a range from 1 to 1000 ms.
D1
This is a delay comprising two delays connected in parallel. Each
delay time can be set in a range from 1 to 1000 ms.
D1
DUAL-P
Type
D2
This is a delay with individual settings available for the left and
right channels. Delay 1 goes to the left channel, Delay 2 to the
right.
DUAL-L/R
Wah (Wah: )
You can control the wah effect in real time by adjusting the expression pedal.
* Assign a controller to the expression pedal. Set the Patch: Controller setting EXPPDL ON Func (p. 11)
to “WAH.” If you operate the expression pedal when it’s on, it functions as a wah.
Parameter
On/Off
Type
Pedal Position
Pedal Min
Pedal Max
E. Level
D. Level
Explanation
Turns this effect on/off.
Type of wah
This models the sound of the Cry Baby wah pedal popular in
CRY WAH
the ‘70s.
VO WAH
This models the sound of the VOX V846.
FAT WAH
This is a wah sound featuring a bold tone.
LIGHT WAH
This wah has a refined sound with no unusual characteristics.
This expanded wah features a variable range compatible with
7-STRING WAH
seven-string and baritone guitars.
This completely original effect offers enhancements on the
RESO WAH
characteristic resonances produced by analog synth filters.
Adjusts the position of the wah pedal.
Selects the tone produced when the heel of the expression Pedal is depressed.
Selects the tone produced when the toe of the expression Pedal is depressed.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
Chorus (Chorus: )
In this effect, a slightly detuned sound is added to the original sound to add depth
and breadth.
Parameter
On/Off
Mode
Rate
Depth
Pre Delay
Low Cut
Hi Cut
E. Level
D. Level
Explanation
Turns this effect on/off.
Type of Chorus
This chorus effect outputs the same sound from both L channel
MONO
and R channel.
This is a stereo chorus effect that adds different chorus sounds
STEREO1
to L channel and R channel.
This stereo chorus uses spatial synthesis, with the direct sound
STEREO2
output in the L channel and the effect sound output in the R
channel.
Adjusts the rate of the chorus effect.
* When set to BPM, the value of each parameter will be set according to the
value of the “Patch: Tempo” specified for each patch. This makes it easier to
achieve effect sound settings that match the tempo of the song.
Adjusts the depth of the chorus effect.
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).
This sets the frequency at which the low cut filter begins to take effect. When
FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect. When
FLAT is selected, the high cut filter will have no effect.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
Delay (Delay: )
This effect adds delayed sound to the direct sound, giving more body to the sound or
creating special effects.
Parameter
On/Off
Explanation
Turns this effect on/off.
D1
L
D2
R
This produces an effect where the sound is played back in
reverse.
This gives a mild analog delay sound. The delay time can be set
ANALOG
within the range of 1 to 2000 ms.
This setting provides the characteristic wavering sound of the
TAPE
tape echo. The delay time can be set within the range of 1 to
3400 ms.
MODULATE
This delay adds a pleasant wavering effect to the sound.
Determines the delay time.
* When set to BPM, the value of each parameter will be set according to the
Time
value of the “Patch: Tempo” specified for each patch. This makes it easier to
achieve effect sound settings that match the tempo of the song.
Sets the amount of delay sound returned to the input. A higher value will
Feedback
increase the number of the delay repeats.
Sets the frequency at which the high cut filter begins to take effect. When FLAT is
High Cut
selected, the high cut filter will have no effect.
E. Level
Adjusts the volume of the effect sound.
D. Level
Adjusts the volume of the direct sound.
Adjusts the delay time of the left channel delay. This setting adjusts the L channel
Pan Tap Time *1
delay time relative to the R channel delay time (considered as 100%).
D1/2 Time *2
Determines the delay time.
Adjusts the amount of feedback of the DELAY 1 (or DELAY 2). A higher value will
D1/2 F. Back *2
increase the number of the delay repeats.
This sets the frequency at which the high cut filter begins to take effect. When
D1/2 HiCut *2
FLAT is selected, the high cut filter will have no effect.
D1/2 E. Level *2 Adjusts the volume of the DELAY 1 (or DELAY 2).
Mod Rate *3
Adjusts the modulation rate of the delay sound.
Mod Depth *3 Adjusts the modulation depth of the delay sound.
REVERSE
*1 PAN only
*2 DUAL-S, DUAL-P, DUAL-L/R only
*3 MOD only
Reverb (Reverb: )
This effect adds reverberation to the sound.
Parameter
On/Off
Type
Time
Pre Delay
Low Cut
High Cut
Density
Spring Sns *1
E. Level
D. Level
Explanation
Turns this effect on/off.
Type of Reverb
Simulates an ambience mic (off-mic, placed at a distance from
the sound source) used in recording and other applications.
AMBIENCE
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
ROOM
reverberations.
Simulates the reverberation in a concert hall. Provides clear and
HALL1
spacious reverberations.
Simulates the reverberation in a concert hall. Provides mild
HALL2
reverberations.
Simulates plate reverberation (a reverb unit that uses the
PLATE
vibration of a metallic plate). Provides a metallic sound with a
distinct upper range.
SPRING
This simulates the sound of a guitar amp’s built-in spring reverb.
This reverb adds the wavering sound found in hall reverb to
MODULATE
provide an extremely pleasant reverb sound.
Adjusts the length (time) of reverberation.
Adjusts the time until the reverb sound appears.
This sets the frequency at which the low/high cut filter begins to take effect.
When FLAT is selected, the low/high cut filter will have no effect.
Adjusts the density of the reverb sound.
Adjusts the sensitivity of the spring effect. When the value is set higher, the effect
is obtained even with a weak picking.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
*1 Type = SPRING only
10
D1: DELAY 1
D2: DELAY 2
D2
Effects/Patch Settings
EQ (EQ: )
Patch Settings (Patch: )
Press the [EFFECTS] button to edit.
This adjusts the tone as a equalizer.
Parameter
On/Off
Low Gain
Hi Gain
Low Mid Freq
Low Mid Q
Low Mid Gain
Hi Mid Freq
Hi Mid Q
Hi Mid Gain
Low Cut
Level
Noise Suppressor (NS: )
This effect reduces the noise and hum picked up by guitar pickups.
Parameter
On/Off
Release
Patch Volume (Patch: Level)
Parameter
Level
Patch Tempo Settings (Patch: Tempo)
Parameter
Tempo
GK Set
Min
Max
Pedal and Switch Settings for Each Patch (Ctl: )
For each patch, you can individually specify the functions that are assigned to the [CTL 1], [CTL
2] pedals and the expression pedals. If you want these pedals to always have the same function
regardless of the patch, you can specify this using the system setting “Sys: Controller” (p. 13).
* This is available if the Sys: Controller (p. 13) is set to “PATCH SETTING.”
Parameter
Level
CTL 1–4 Func
GKSW 1–2 Func
EXPSW Func
Settings for Normal Pickup (Nrml PU: )
Parameter
On/Off
Volume
Mode
Volume Balance of the Modeling and the Normal Pickup (Mixer: )
Explanation
Adjusts the Mixer input level of the Modeling.
Adjusts the Mixer input level of the normal pickup.
Adjusts the volume balance of the Modeling and the normal pickup.
FX Chain
1. Press the [EFFECTS] button several times to access the “FX Chain” screen.
2. Use the [K] [J] buttons to select an effect (underline), and use the [VALUE] knob
to move the selected effect left or right.
Select an effect (underline)
Move the selected effect left
or right
*1 Other than EXPSW Func
*2 Other than GKSW 1, 2 Func, CTL 3, 4
*2 Other than SysCtl
* M: Modeling, N: Normal pickup
* Uppercase means that the effect is on; lowercase means that the effect is off. You can hold down
the [EFFECTS] button to switch an effect on/off.
* FV cannot be turned off.
11
Nederlands
You can change the order in which the effects are connected.
EXP 1 off Func
EXP 1 on Func
EXP 2 Func
GKVOL Func
Português
Parameter
Mdl In Lv
N. PU In Lv
Balance
Español
Cable Sim
Explanation
Normal pickup on/off (mute)
Adjusts the volume of the normal pickup.
Compensates the sound of the normal pickups when a GK guitar is
connected. With a GK pickup, the signal of the normal pickup is connected
via a cable of approximately 20 cm, so there will be more high frequencies
than a conventional guitar cable. By setting this parameter appropriately for
the length of guitar cable you normally use, you can get closer to a natural
guitar sound. If you connect your guitar to the GUITAR IN jack (normal guitar
input), set this to “OFF.”
Explanation
Settings for the GP-10’s [CTL 1], [CTL 2] pedals, external footswitches (CTL 3,
CTL 4), the GK pickup’s [S1], [S2] buttons, and the expression pedal switch.
OFF
Off
PU SEL UP *1
Switches the pickup of the modeling guitar.
PU SEL DOWN *1
12-STRING ON/OFF Switches the 12-string guitar function on/off.
ALT TUNE ON/OFF
Switches the alternate tuning function on/off.
MODELING ON/OFF Switches the modeling function on/off.
NORMAL PU ON/OFF Switches the normal pickup input on/off.
AMP SOLO SW
FX ON/OFF
EQ ON/OFF
WAH ON/OFF,
Switches AMP or each effect on/off.
CHORUS ON/OFF
DELAY ON/OFF
REVERB ON/OFF
HOLD
“HOLD” for the OSC synth
Sets the tempo to the timing at which you press the
TAP TEMPO *1
pedal.
LED ON/OFF *2
LED on/off
This sets the behavior of the value each time the switch is operated.
The normal state is Off (minimum value), with the
MOMENTARY
switch On (maximum value) only while the footswitch
is depressed.
The setting is toggled On (maximum value) or Off
TOGGLE
(minimum value) with each press of the footswitch.
Settings for the GK pickup’s GK volume, the GP-10’s expression pedal (when
the pedal switch is OFF and when it is ON), and the external expression pedal.
OFF
Off
FOOT VOL
Foot volume (volume pedal)
PATCH LEVEL
Adjusts the volume of the patch.
MODELING VOL
Adjusts the volume of the modeling.
NORMAL PU VOL
Adjusts the volume of the normal pickup.
Adjusts the volume balance of the Modeling and the
MIXER
normal pickup.
STRING BEND *3
Adjusts the pitch of the modeling.
Controls the principal parameter for each modeling.
MODELING
* For details on the parameter, refer to the “Parameter
Guide” (PDF).
FX
AMP
Controls the principal parameter for each effect.
WAH
CHORUS
* For details on the parameter, refer to the “Parameter
DELAY
Guide” (PDF).
REVERB
EQ
Italiano
Curve
Explanation
Sets the volume when the heel of the EXP Pedal is
depressed.
Sets the volume when the toe of the EXP Pedal is
depressed.
You can select how the actual volume changes relative to
the amount the pedal is pressed.
Adjusts the volume.
Explanation
If you swap guitars depending on the patch, set “SYSTEM – GK: Setting” to
“Patch Setting,” and select the GK Set (1–3) you specified for the guitar that
you use.
Français
Parameter
Explanation
Specifies the tempo for tempo-synchronized effects.
GK Set Selection for the Patch (Patch: GK Set)
Parameter
Foot Volume (FV: )
This is a volume control effect. Normally, this is controlled with the Expression Pedal.
Explanation
Specifies the volume of the patch.
Deutsch
Threshold
Explanation
Turns this effect on/off.
Adjust this parameter as appropriate for the volume of the noise. If the noise level
is high, a higher setting is appropriate. If the noise level is low, a lower setting is
appropriate. Adjust this value until the decay of the guitar sound is as natural as
possible.
* High settings for the threshold parameter may result in there being no sound
when you play with your guitar volume turned down.
Adjusts the time from when the noise suppressor begins to function until the
noise level reaches “0.”
MEMO
For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).
English
Hi Cut
Explanation
Turns this effect on/off.
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
Specifies the center of the frequency range that will be adjusted by the Low-Mid
Gain.
Adjusts the width of the area affected by the EQ centered at the Low-Mid
Frequency. Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Specifies the center of the frequency range that will be adjusted by the High-Mid
Gain.
Adjusts the width of the area affected by the EQ centered at the High-Mid
Frequency. Higher values will narrow the area.
Adjusts the high-middle frequency range tone.
This sets the frequency at which the low cut filter begins to take effect. When
FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect. When
FLAT is selected, the high cut filter will have no effect.
Adjusts the overall volume level of the equalizer.
Effects/Patch Settings
Example setting
When a specific patch is selected, use the expression pedal to control the
volume of the modeling
Select the patch whose settings you want to edit, then make the following
parameter settings.
Button
[SYSTEM]
[EFFECTS]
Parameter
SysCtl: EXP1on Fnc
Ctl: EXP1on Func
Value
PATCH SETTING
MODELING VOL
Assign Settings (Asgn 1–8: )
Target
Target Min
Target Max
Source
Explanation
Turns Assign 1–8 on/off.
Selects the parameter that will be controlled. For details on the parameters,
refer to the explanations of each parameter in this manual.
Specifies the range of change for the parameter. The values will depend on
the parameter that’s assigned by Target.
Selects the controller to which the function will be assigned.
[CTL 1] [CTL 2] pedals of this unit and external footswitch
CTL 1–CTL 4
(CTL 3, CTL 4)
GK S1,
[S1] [S2] buttons of the GK pickup
GK S2
GK VOL
Volume knob of the GK pickup
EXP1 SW
Expression pedal switch
EXP1 ON
Expression pedal when the expression pedal switch is on
EXP1 OFF
Expression pedal when the expression pedal switch is off
EXP2
External expression pedal
Internal pedal
The virtual expression pedal will begin
operating when started by the specified
INT PDL
trigger (Int Pedal Trig), modifying the
parameter specified by “Target.”
For details on the parameters that can be assigned to the
internal pedal, refer to “Int Pedal Time” and “Int Pedal Curve.”
Wave pedal
The virtual expression pedal will cyclically modify the
parameter specified by “Target” in a fixed wave form.
WAVE PDL
Select one of the following to specify the change produced
by the wave pedal.
WPdWavFrm *2
Src Mode
S. Range Min
S. Range Max
Int Pdl Trig *1
Int Pdl Time *1
Control change number from an external MIDI device
The value will normally be off (minimum value), and will
be on (maximum value) only while the control is being
MOMENTARY operated.
* If you want to use the internal pedal or wave pedal, set
to “MOMENTARY.”
The value will toggle between off (minimum) and on
TOGGLE
(maximum) each time the control is operated.
Within the operating range of the source, this specifies the range that will
control the target parameter.
The target parameter will be controlled within the range specified. Normally,
you should leave Range Min at “0” and Range Max at “127.”
Specifies how the motion of the internal pedal will be triggered.
PATCH
Triggered when you switch patches.
CHANGE
CTL 1–4
Triggered when you operate the [CTL] pedal.
EXP1 SW
Triggered when you operate the expression pedal switch.
Triggered when you move the expression pedal to
EXP1 OFF LOW
minimum.
Triggered when you depress the expression pedal through
EXP1 OFF MID
the center value.
Triggered when you move the expression pedal to
EXP1 OFF HI
maximum.
Triggered when you move the expression pedal to
EXP1 ON LOW
minimum while the expression pedal switch is on.
Triggered when you depress the expression pedal through
EXP1 ON MID
the center value while the expression pedal switch is on.
Triggered when you move the expression pedal to
EXP1 ON HI
maximum while the expression pedal switch is on.
EXP2
Triggered when you move the external expression pedal.
GK S1
Triggered when you operate the [S1]/[S2] button of the GK
pickup.
GK S2
Specifies the time over which the internal pedal will move from the released
(heel) position to the depressed (toe) position.
Select one of the following curves to specify the change
produced by the internal pedal.
LINEAR
SLOW RISE
Int Pdl Curve *1
LINEAR,
SLOW RISE,
FAST RISE
Wav Pdl Rate *2
Specifies the time for one cycle of the wave pedal.
12
SAW, TRI, SIN
SAW
TRIANGLE
SINE
Example setting
Make smoothly bend up one octave when you press the [CTL 1] pedal
Select the patch whose settings you want to edit, and then make the following
parameter settings.
Button
[SYSTEM]
[EFFECTS]
FAST RISE
Parameter
SysCtl: CTL1 Func
Fx: Type
Asgn1: On/Off
Asgn1: Target
Asgn1: Target Min
Asgn1: Target Max
Asgn1: Source
Asgn1: Src Mode
Asgn1: S. Range Min
Asgn1: S. Range Max
Asgn1: Int Pdl Trig
Asgn1: Int Pdl Time
Asgn1: Int Pdl Curve
Value
PATCH SETTING
PEDAL BEND
ON
FXP.BND: POSITION
0
100
INT PDL
MOMENTARY
0
127
CTL 1
20
(Adjust the time over which the pitch rises an octave.)
LINEAR
(You can select a different curve to modify the way in
which the change occurs.)
For guitar solos, you want to be able to step on the [CTL 1] pedal to switch
AMP to solo mode
Button
[SYSTEM]
[EFFECTS]
CC#1–31,
CC#64–95
Explanation
*1 Source=INT PDL only
*2 Source=WAVE PDL only
For each parameter, you can specify, in detail, which controller will control which parameter.
You can use Assign 1–8 to make eight different sets of settings.
* This is available if the Sys: Controller (p. 13) is set to “PATCH SETTING.”
Parameter
On/Off
Parameter
Parameter
Sys: CTL 1 Func
Asgn1: On/Off
Asgn1: Target
Asgn1: Target Min
Asgn1: Target Max
Asgn1: Source
Asgn1: Src Mode
Asgn1: S. Range Min
Asgn1: S. Range Max
Asgn2: On/Off
Asgn2: Target
Asgn2: Target Min
Asgn2: Target Max
Asgn2: Source
Asgn2: Src Mode
Asgn2: S. Range Min
Asgn2: S. Range Max
Value
PATCH SETTING
ON
AMP: SOLO SW
OFF
ON
CTL 1
TOGGLE
0
127
ON
AMP: GAIN SW
LOW
MID
CTL 1
TOGGLE
0
127
System Settings
Press the [SYSTEM] button to edit.
MEMO
For details on +/, marks, refer to “Basic Procedure for Editing the Settings” (p. 5).
Specifying the Output System (Sys: Output)
Parameter
Output
Explanation
Refer to “Specifying the Output System (Sys: Output)” (p. 3).
Settings of the GK Pickups (GK: )
Parameter
Connect
Buttons
[SYSTEM]
Buttons
[SYSTEM]
PU Direction *1
Sw Position *1
Dwn Tune Shift
Nrml PU Gain
System Settings for the Pedals and Switches (SysCtl: )
Parameter
C1–4 Pat. Up
C1–4 Pat. Dwn
GKSW1–2PUp
GKSW1–2PDwn
C1–4 Pat. Sel
EXP 1 off Fn
EXP 1 on Fnc
EXP 2 Func
GKVOL Func
Asgn Hld Sw
Specifies the distance of the increment/decrement from the current patch
number when PATCH UP/DOWN is selected and you press the pedal or switch.
Specifies the patch number to which you will move directly when PATCH SEL is
selected and you press the pedal or switch.
Settings for the GK pickup’s GK volume, the GP-10’s expression pedal (when the
pedal switch is OFF and when it is ON), and external expression pedals.
Choose this if you want the function of the pedals to change for
each patch.
PATCH
SETTING
* For details on other values, refer to “Pedal and Switch Settings
for Each Patch (Ctl: )” (p. 11).
Specifies whether the state of the expression pedal and GK volume will be (ON)
or will not be (OFF) reflected by the next patch when you switch patches.
Tuner Settings (Tuner: )
Parameter
Pitch
Sound
Function
Explanation
Specifies the reference pitch.
MUTE
Sound will not be output while tuning.
While tuning, the sound from the GK IN connector/GUITAR IN
jack will be output without change.
BYPASS
All modelings and effects will be off.
Allows you to tune while hearing the current effect/modeling
EFFECT
sound.
From the Play screen, pressing the [I] and [H] pedals
ENABLE
simultaneously will enter Tuner mode.
From the Play screen, pressing the [I] and [H] pedals
simultaneously will not enter Tuner mode.
DISABLE
* From the Play screen, pressing the [J] button will enter Tuner
mode.
13
Nederlands
Mode
Explanation
If this is “OFF,” guitar performance data will not be transmitted from MIDI OUT.
In this mode, one channel per string is used, thus using a total of six
MONO
channels.
Mode
In this mode, the messages for all six strings are transmitted over a
POLY
single channel.
When using string bending or other such techniques to gradually change the pitch
Chromatic
with the guitar or bass, you can set the GP-10 so that the pitch of the MIDI messages
being output changes in semitone increments.
Specifies the pedal to which the Hold function is assigned.
OFF
The Hold pedal is not assigned.
Hold Pedal
CTL 1
The [CTL 1] pedal is the Hold pedal.
CTL 2
The [CTL 2] pedal is the Hold pedal.
Specifies whether expression pedal operations transmit pitch bend messages.
OFF
Pitch bend is not transmitted.
Pedal Bend
DOWN
Bend-down data is transmitted.
UP
Bend-up data is transmitted.
Bend Range Specifies the maximum range of change for pitch bend messages.
Data Thin
If this is “ON,” pitch bend data will be thinned-out to reduce the volume of MIDI data.
Specifies the MIDI channel used to transmit guitar performance data. If Mode is set
String Ch
to “MONO,” the data will be transmitted using six channels starting with the channel
you specify here.
Adjusts the sensitivity of the tone’s volume (velocity) change.
Dynamics
The further you raise this setting, the more easy it becomes to produce higher values
for velocity.
Adjusts the velocity change curve of the tone.
FEEL1 is the mode that gives sounds the broadest variation in volume
based on the picking dynamics. As the setting number is increased,
FEEL1–4 it becomes easier to produce high volume sounds even with weaker
Play Feel
picking. This allows you to play with consistent volume, whether you tap
the strings or use rough picking.
In this mode, sounds are played at a fixed volume regardless of the
NO DYNA
picking strength.
Adjust this if simply touching a string causes a note to be unintentionally triggered.
Low Velo Cut
Raising this value will make it more difficult to trigger notes.
Português
CTL 1–4 Func
GKSW 1–2 Func
EXPSW Func
Explanation
Settings for the GP-10’s [CTL 1], [CTL 2] pedals, external footswitches (CTL 3, CTL
4), the GK pickup’s [S1], [S2] buttons, and the expression pedal switch.
PATCH
Choose this if you want the function of the pedals and switches
SETTING
to change for each patch.
Moves from the current patch number to a number that is larger
PATCH UP
by the value of the Patch Up setting.
Moves from the current patch number to a number that is
PATCH DOWN
smaller by the value of the Patch Down setting.
Moves to the patch that is specified by the Patch Select.
PATCH SEL
* For details on other values, refer to “Pedal and Switch Settings
for Each Patch (Ctl: )” (p. 11).
TUNER ON/
Turn the tuner on/off.
OFF
This sets the behavior of the value each time the switch is operated.
The normal state is Off (minimum value), with the switch On
MOMENTARY
(maximum value) only while the footswitch is depressed.
The setting is toggled On (maximum value) or Off (minimum
TOGGLE
value) with each press of the footswitch.
Guitar Performance MIDI Output Settings (MIDI: )
Parameter
On/Off
Español
Specifies the functions that are assigned to the [CTL 1], [CTL 2] pedals and the expression pedal.
With the factory settings, “PATCH SETTING” is selected; each pedal is assigned the most suitable
function for that patch. If you want the pedals to operate in the same way regardless of which patch
is selected, choose something other than “PATCH SETTING.”
What does it mean to Re-Guitar/Re-Amp?
This is the technique in which an original signal unprocessed by modeling or
effects is recorded on the DAW, allowing you to modify the modeling sound
or amp sound later to create the final result. This gives you the freedom to
change the sound after you’ve finished recording.
Italiano
*1 This is not shown if “GC-1” is selected as the pickup type.
*2 This setting applies if the PU TYPE is set to “PIEZO–.”
*3 This parameter is not shown if you select “GC-1” or one of the piezo-type pickups as the pickup
type.
Explanation
Adjusts the volume of the digital audio signal from USB (computer).
Adjusts the volume of the digital audio signal output to USB (computer).
Specifies the routing for USB audio. You can record the sound of the GP-10
into your DAW, play back the recorded sound from your DAW and monitor
it on the GP-10, or re-guitar/re-amp your recording. For details, refer to the
“Parameter Guide” (PDF).
Français
Piezo Tone L *2
Piezo Tone H *2
Value
PATCH DOWN
PATCH UP
10
10
Deutsch
PU Phase *1
Parameter
SysCtl: CTL 1 Func
SysCtl: CTL 2 Func
SysCtl: C1 Pat. Down
SysCtl: C2 Pat. Up
USB Audio Settings (USBAudio: )
Parameter
In Lv
Out Lv
Routing
Explanation
Refer to “Setting Up the GK Pickups” (p. 3).
Refer to “Specifying your guitar’s scale length” (p. 3).
Refer to “Specifying the distance from the bridge” (p. 3).
Refer to “Adjusting the pickup sensitivity” (p. 3).
This sets the phase for the divided pickup and normal pickup. Set this to
“NORMAL,” and if the low-frequency range is cut, set this to “INVERSE.”
This sets the direction for the divided pickup’s installation.
NORMAL Positioned such that the cable exits near the 6th string.
REVERSE Positioned such that the cable exits near the 1st string.
Adjusts the low-frequency range.
Adjusts the high-frequency range.
This exchanges the function for the GK-3’s, GK-2A’s or GC-1’s [S1], [S2] buttons
(REVERSE).
If the guitar you’re using has been tuned down, specify the number of
chromatic steps by which it has been down-tuned.
Adjusts the input level of the normal pickup.
Value
DELAY ON/OFF
In all patches, use the [CTL 1], [CTL 2] pedals to increase/decrease the patch
number by ten
Settings of the GK set 1–3 (GK 1–3: )
Parameter
Type
Scale *1
Distance 1–6 *3
Sens 1–6
Parameter
SysCtl: CTL 1 Func
English
Setting
Explanation
The GP-10 comes equipped with a function that automatically determines
whether or not a GK connection exists and switches the internal settings
accordingly. This makes it possible for you to all functions other than a
Modeling/Alternate Tuning (effects, tuner, etc.) when you’ve connected only
to the GUITAR INPUT. You should ordinarily use AUTO (default). In cases where
the auto-detect function does not operate correctly, (for example, when you
are using a Divided pickup other than the GK-3), change the setting.
The presence of a GK connection is detected automatically and the
AUTO
internal settings are switched accordingly.
OFF
Settings appropriate for a GUITAR INPUT connection are always used.
ON
Settings appropriate for a GK connection are always used.
Refer to “MEMO: GK settings” (p. 3) and “GK Set Selection for the Patch (Patch:
GK Set)” (p. 11).
Example setting
In all patches, switch delay on/off by pressing the [CTL] pedal
Make the following parameter settings.
Patch Operations
Adjusting the Display’s Contrast (Sys: Contrast)
Parameter
Contrast
Explanation
Adjusts the contrast of the display.
Panel Lock Settings (Sys: Knob Lock)
Parameter
Knob Lock
Explanation
If this is ON, patch selection using the [PATCH/VALUE] knob is disabled. This
prevents the patch number from being changed if your toe contacts the
[PATCH/VALUE] knob when you operate the pedal.
Auto Off Settings (Sys: Auto Off )
Parameter
Auto Off
Explanation
The GP-10 can turn off its power automatically. The power will turn off
automatically when 10 hours have passed since you last played or operated
the unit.
With the factory settings, this function is turned “ON” (power-off in 10 hours).
If you want to have the power remain on all the time, turn it “OFF.”
Limiting the Patches Selectable in the Play Screen (Sys: Patch Extent)
Parameter
Patch Extent
Min
Max
Explanation
If this is “ON,” the patches that can be selected in the Play screen are limited
to the range you specify. You can use this to prevent unwanted patches from
being selected during a live performance.
Example: If you want to select only patch numbers 20–35, specify as follows.
t Patch Extent: ON
t Min: 20
t Max: 35
Adjusting the Expression Pedal (Calibration)
The GP-10’s expression pedal has been set for optimal operation at the factory.
However, extended use and certain operating environments can result in the pedal
going out of adjustment.
If you encounter problems such as the expression pedal’s ON/OFF switch not
functioning or the volume pedal not fully cutting off the sound, you can use the
following procedure to readjust the pedal.
1. Press the [SYSTEM] button several times to select the “Calibration.”
The display shows “Set EXP1 to MIN.”
2. Move the heel of the expression pedal all the way down, then release the pedal
and press the [WRITE] button.
The display shows “Set EXP1 to MAX.”
3. Move the toe of the expression pedal all the way down, then release the pedal
and press the [WRITE] button.
A value indicating the current stiffness (EXP1Sw: Threshold) of the expression pedal switch
appears in the display.
Value: 1–16 (default: 8)
4. Use the [VALUE] knob to adjust the stiffness (THRESHOLD) of the expression
pedal switch.
The lower the value, the more easily the switch will respond, even when pressed lightly.
* These values are not initialized when you execute Factory Reset.
Restoring the Factory Settings (Factory Reset)
Restoring the GP-10’s system settings (System parameters) to their original factory
default settings is referred to as “Factory Reset.”
1. Press the [SYSTEM] button several times until the “Factory Reset” appears.
2. Use the [VALUE] knob to specify the areas that will be returned to their factoryset state.
Value
SYSTEM + PATCH
PATCH
Explanation
System parameter settings + User patch settings
User patch settings
3. Press the [WRITE] button.
Confirmation screen appears.
If you decide to cancel, press the [EXIT] button.
4. If you want to proceed with the factory reset, press the [WRITE] button.
Patch Operations
& For details on saving a patch (Write), refer to “Saving a Patch” (p. 4).
Exchanging Patches (Exchange)
Initializing a Patch (Initialize)
You can exchange patches with one another, rearranging the patches.
This operation initializes a patch.
1. Select an exchange-source patch.
1. Select the patch that you want to initialize.
2. Press the [WRITE] button.
2. Press the [WRITE] button.
3. Use the [K] [J] buttons until “Exchange” appears in the display.
Exchange with#90
Init Patch
Number
Exchange-destination patch
4. Turn the [VALUE] knob to select the exchange-destination patch.
5. Press the [WRITE] button; the patches will be exchanged.
Inserting a Patch (Insert)
To insert a patch, choose “Insert” in step 3 of the Exchange procedure.
Example: If you insert patch 1 at patch 30, patch 30 and subsequent patches shift
upward by one patch (patch 30 becomes patch 31).
* When you execute Insert, the last patch (patch 99) is deleted.
Insert to
#90
Init Patch
14
Number
Insert-destination patch
3. Use the [K] [J] buttons until “Initialize” appears in the display.
Initialize
#01
Dual Sync
Number
Patch to be initialized
4. Press the [WRITE] button; the patch will be initialized.
USING THE UNIT SAFELY
WARNING
WARNING
To completely turn off power to the unit, pull out
the plug from the outlet
Use only the supplied AC adaptor and the correct
voltage
Even with the power switch turned off, this
unit is not completely separated from its
main source of power. When the power
needs to be completely turned off, turn
off the power switch on the unit, then
pull out the plug from the outlet. For this reason, the
outlet into which you choose to connect the power
cord’s plug should be one that is within easy reach and
readily accessible.
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.
CAUTION
Take care so as not to get fingers pinched
When handling the following moving
parts, take care so as not to get fingers,
etc., pinched. An adult should always be in
charge of handling these items.
t Expression pedal (p. 4)
Concerning the Auto Off function
English
The power to this unit will be turned
off automatically after a predetermined
amount of time has passed since it was last
used for playing music, or its buttons or
controls were operated (Auto Off function).
If you do not want the power to be turned off
automatically, disengage the Auto Off function (p. 14).
Deutsch
Français
IMPORTANT NOTES
t Depending on the material and temperature of the
surface on which you place the unit, its rubber feet
may discolor or mar the surface.
You can place a piece of felt or cloth under the
rubber feet to prevent this from happening. If you
do so, please make sure that the unit will not slip or
move accidentally.
t 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.
t When you operate the expression pedal, please be
careful not to get your fingers pinched between
the movable part and the panel. In places where
small children are present, make sure that an adult
provides supervision and guidance.
t ASIO is a trademark and software of Steinberg
Media Technologies GmbH.
t This product contains eCROS integrated software
platform of eSOL Co.,Ltd. eCROS is a trademark of
eSOL Co., Ltd. in Japan.
t Roland, BOSS, COSM, V-Guitar, and METAL ZONE
are either registered trademarks or trademarks of
Roland Corporation in the United States and/or
other countries.
t The product names mentioned in this document
are registered trademarks or trademarks of their
respective owners. In this manual, these names
are used because it is the most practical way of
describing the sounds that are simulated using
COSM technology.
Español
Maintenance
t Use only the specified expression pedal (Roland
EV-5, FV-500H/L; sold separately). By connecting
any other expression pedals, you risk causing
malfunction and/or damage to the unit.
Italiano
Placement
Português
Repairs and Data
Nederlands
t Before sending the unit away for repairs, be sure to
make a backup of the data stored within it; or you
may prefer to write down the needed information.
Although we will do our utmost to preserve the
data stored in your unit when we carry out repairs,
in some cases, such as when the memory section
is physically damaged, restoration of the stored
content may be impossible. Roland assumes no
liability concerning the restoration of any stored
content that has been lost.
Additional Precautions
t Any data stored within the unit can be lost as the
result of equipment failure, incorrect operation,
etc. To protect yourself against the irretrievable
loss of data, try to make a habit of creating regular
backups of the data you’ve stored in the unit.
t Roland assumes no liability concerning the
restoration of any stored content that has been lost.
t Never strike or apply strong pressure to the display.
15
Troubleshooting
Problem
No sound/Low volume
The volume level of the instrument
connected to AUX IN jack is too low
Items to check
Is the [OUTPUT LEVEL] knob turned down completely?
Could the volume of the GK pickup be turned down?
Could the select switch of the GK pickup be set to
“GUITAR”?
Could the expression pedal be released?
Could the Patch: Level be turned down?
Are the GP-10 and other devices connected properly?
If there are no sounds through USB, are the USBAudio:
settings correct?
Could you be using a connection cable that contains
a resistor?
Was the GK pickup sensitivity setting adjusted correctly
for each string?
Oscillation occurs
Patches not switching
[PATCH/VALUE] knob does not work
Can’t enter Tuner mode
Can’t use a controller (pedal or button) to
vary a parameter
Set the switch of the GK pickup to “MIX.”
—
p. 4, p. 11
p. 2
Adjust the settings to the appropriate values.
p. 13
Use a connection cable that does not contain a resistor.
Perform the adjustment.
The effect produced using the expression pedal is
different for each sound (patch).
Check the effect of each patch beforehand.
—
In the effect settings, could a gain value or volumerelated parameter be set too high?
Is some screen other than the Play screen shown in
the display?
Could Sys: Knob Lock be “ON”? If it is ON, patch
selection using the [PATCH/VALUE] knob is disabled.
Could Tuner: Function be set to “Disable”? If it is set to
Disable, pressing the [I] and [H] pedals simultaneously
does not enter Tuner mode.
Could you be using the internal pedal as the
assignment’s Source parameter?
Meaning
It is possible that the contents of memory have been damaged.
Decrease the value.
With the GP-10, you cannot switch patches in any screen other than the Play screen. Press the
[EXIT] button one or more times to return to the Play screen.
An unusually large amount of MIDI data was received, and could not
be processed.
A problem has occurred in the system.
Set Tuner: Tuner Function to “Enable.”
p. 14
If you specify “INT PDL” or “WAVE PDL” as the Source parameter of the assignment, the Target
effect parameter you’ve assigned will vary automatically. If you want to use a controller to
vary a parameter, temporarily turn the Switch parameter “OFF” for that assignment to stop
the internal pedal.
p. 12
Action
Please execute a Factory Reset.
If this does not resolve the problem, contact your dealer or a nearby Roland service center.
Reduce the amount of MIDI messages that are being transmitted.
Contact your dealer or a nearby Roland service center.
Power Supply AC adaptor
Current Draw 350 mA
Accessories
Options (sold
separately)
Maximum height:
251 (W) x 207 (D) x 93 (H) mm
9-15/16 (W) x 8-3/16 (D) x 3-11/16 (H) inches
1.9 kg (excluding AC adaptor)
4 lbs 4 oz
Model with included GK pickup
Model for separately sold GK pickup
AC adaptor
AC adaptor
Owner’s Manual
Owner’s Manual
Leaflet “USING THE UNIT SAFELY”
Leaflet “USING THE UNIT SAFELY”
Divided pickup (Roland GK-3)
GK cable (3 m, 10 feet)
Divided pickup: Roland GK-3
GK cable: Roland GKC-5 (5 m), GKC-10 (10 m)
GK parallel cable (GK pickup #" GK connector x 2): Roland GKP-2
Unit selector: Roland US-20
Footswitch: FS-5U
Dual footswitch: FS-6
Expression pedal: Roland EV-5, FV-500L/500H
* In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
16
—
p. 14
BOSS GP-10: Guitar Processor
251 (W) x 207 (D) x 71 (H) mm
9-15/16 (W) x 8-3/16 (D) x 2-13/16 (H) inches
p. 9
Turn Sys: Knob Lock “OFF.”
Main Specifications
Weight
p. 3
—
MEMORY DAMAGED!
Dimensions
—
Is the GK pickup attached correctly?
Message
System Error!
—
Depress the expression pedal.
Try raising the Patch: Level.
Check the connections with the other devices.
Error Message List
MIDI Buffer Full!
Page
—
—
Refer to the manual of your GK pickup, and attach the GK pickup correctly.
On the Roland website, the “GK-3 Installation Tips” page provides an explanation and photos
on how to attach a GK pickup. Be sure to take a look!
http: //www.roland.com/GK/
Volume is uneven among the strings
When using the GP-10’s pedal effects or
expression pedal, the result is different for
each patch
Action
Adjust the knob to an appropriate setting.
Raise the volume of the GK pickup to an appropriate level.
For EU Countries
For China
Information
AFRICA
REUNION
MARCEL FO-YAM Sarl
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
Paul Bothner(PTY)Ltd.
Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: (021) 799 4900
ASIA
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road,
Yangpu Shanghai 200090, CHINA
TEL: (021) 5580-0800
Toll Free: 4007-888-010
Roland Shanghai Electronics
Co.,Ltd. (BEIJING OFFICE)
3F, Soluxe Fortune Building
63 West Dawang Road,
Chaoyang Beijing, CHINA
TEL: (010) 5960-2565/0777
Toll Free: 4007-888-010
HONG KONG
Tom Lee Music
11/F Silvercord Tower 1
30 Canton Rd
Tsimshatsui, Kowloon,
HONG KONG
TEL: 852-2737-7688
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 852-2333-1863
INDIA
Rivera Digitec (India) Pvt. Ltd.
411, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
TEL: (022) 2493 9051
INDONESIA
PT. Citra Intirama
Ruko Garden Shopping Arcade
Unit 8 CR, Podomoro City
Jl.Letjend. S.Parman Kav.28
Jakarta Barat 11470, INDONESIA
TEL: (021) 5698-5519/5520
KAZAKHSTAN
Alatau Dybystary
141 Abylai-Khan ave, 1st floor,
050000 Almaty, KAZAKHSTAN
TEL: (727) 2725477
FAX: (727) 2720730
KOREA
Cosmos Corporation
27, Banpo-daero, Seocho-gu,
Seoul, KOREA
TEL: (02) 3486-8855
MALAYSIA/SINGAPORE
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
TAIWAN
ROLAND TAIWAN ENTERPRISE
CO., LTD.
9F-5, No. 112 Chung Shan
North Road Sec. 2 Taipei 104,
TAIWAN R.O.C.
TEL: (02) 2561 3339
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your
country as shown below.
THAILAND
GUATEMALA
Theera Music Co. , Ltd.
100-108 Soi Verng
Nakornkasem, New Road,
Sumpantawong, Bangkok
10100, THAILAND
TEL: (02) 224-8821
Casa Instrumental
Calzada Roosevelt 34-01,zona
11 Ciudad de Guatemala,
GUATEMALA
TEL: (502) 599-2888
VIET NAM
VIET THUONG CORPORATION
386 CACH MANG THANG TAM ST.
DIST.3, HO CHI MINH CITY,
VIET NAM
TEL: (08) 9316540
OCEANIA
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue, Dee Why
West. NSW 2099, AUSTRALIA
For Australia
TEL: (02) 9982 8266
For New Zealand
TEL: (09) 3098 715
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires, ARGENTINA
TEL: (011) 4508-2700
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, HONDURAS
TEL: (504) 553-2029
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamentin,
MARTINIQUE F.W.I.
TEL: 596 596 426860
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.,
MEXICO
TEL: (55) 5668-6699
Faly Music
Sucursal Capu Blvd. Norte N.3213
Col. Nueva Aurora Cp.72070
Puebla, Puebla, MEXICO
TEL: 01 (222) 2315567 o 97
FAX: 01 (222) 2266241
Gama Music S.A. de C.V.
Madero Pte. 810 Colonia Centro
C.P. 64000 Monterrey, Nuevo
León, MEXICO
TEL: 01 (81) 8374-1640 o 8372-4097
www.gamamusic.com
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, BARBADOS
TEL: (246) 430-1100
Proscenia
Morelos No. 2273
Col. Arcos Sur
C.P. 44120 Guadalajara, Jalisco,
MEXICO
TEL: 01(33) 3630-0015
BRAZIL
NICARAGUA
BARBADOS
Roland Brasil Ltda.
Rua San Jose, 211
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 384-2180
COLOMBIA
CENTRO MUSICAL S.A.S.
Parque Industrial del Norte
Bodega 130
GIRARDOTA - ANTIOQUIA,
COLOMBIA
TEL: (454) 57 77 EXT 115
COSTA RICA
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL: (305) 5926866
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Roberto Pastoriza #325
Sanchez Naco Santo Domingo,
DOMINICAN REPUBLIC
TEL: (809) 683 0305
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - ECUADOR
TEL: (593-4) 2302364
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final Alameda
Juan Pablo II, Edificio No.4010
San Salvador, EL SALVADOR
TEL: 262-0788
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, NICARAGUA
TEL: (505) 277-2557
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
PARAGUAY
WORLD MUSIC
Jebai Center 2018, Centro
CIUDAD DE ESTE, PARAGUAY
TEL: (595) 615 059
PERU
AUDIONET DISTRIBUCIONES
MUSICALES SAC
Jr. Ramon Dagnino N°201- Jesús
María
DISTRITO DE JESUS MARIA
LIMA, PERU
TEL: 9 983 47 301 - 51 433 80 83
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria TRINIDAD W.I.
TEL: (868) 638 6385
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
import #7 zona Industrial de
Turumo Caracas, VENEZUELA
TEL: (212) 244-1122
EUROPE
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
BOSNIA AND
HERZEGOVINA
Mix-AP Music
78000 Banja Luka, Veselina
Maslese 3,
BOSNIA AND HERZEGOVINA
TEL: 65 403 168
CROATIA
ART-CENTAR
Degenova 3.
HR - 10000 Zagreb, CROATIA
TEL: (1) 466 8493
EUROMUSIC AGENCY
K. Racina 1/15
HR - 40000 CAKOVEC, CROATIA
Tel: 40-370-841
CZECH REPUBLIC
CZECH REPUBLIC
DISTRIBUTOR s.r.o
Pod Bání 8
180 00 Praha 8, CZECH REP.
TEL: 266 312 557
DENMARK/ESTONIA/
LATVIA/LITHUANIA
Roland Scandinavia A/S
Skagerrakvej 7, DK-2150
Nordhavn, DENMARK
TEL: 39166200
FINLAND
Roland Scandinavia As, Filial
Finland
Vanha Nurmijarventie 62
01670 Vantaa, FINLAND
TEL: (0) 9 68 24 020
GERMANY/AUSTRIA
ROLAND Germany GmbH.
Adam-Opel-Strasse 4, 64569
Nauheim, GERMANY
TEL: 6152 95546-00
GREECE/CYPRUS
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
2045. Törökbálint, FSD Park 3. ép.,
HUNGARY
TEL: (23) 511 011
IRELAND
Roland Ireland
E2 Calmount Park, Calmount
Avenue, Dublin 12,
Republic of IRELAND
TEL: (01) 4294444
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937781
MACEDONIA
MK MJUZIK
Bratstvo Edinstvo 9
2208 Lozovo, MACEDONIA
TEL: 70 264 458
MONTENEGRO
MAX-AP
P. Fah 92
Przno, Kamenovo bb
86000 Budva, MONTENEGRO
TEL: 33 452-820
NORWAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo,
NORWAY
TEL: 2273 0074
POLAND
IRAN
ROLAND POLSKA SP. Z O.O.
ul. Katy Grodziskie 16B
03-289 Warszawa, POLAND
TEL: (022) 678 9512
MOCO INC.
Jadeh Makhsous Karaj (K-9),
Nakhe Zarin Ave.
Jalal Street, Reza Alley No.4
Tehran 1389716791, IRAN
TEL: (021)-44545370-5
PORTUGAL
Roland Iberia SL.
Branch Office Porto
Edifício Tower Plaza
Rotunda Eng. Edgar Cardoso 23,
4-B
4400-676 Vila Nova de Gaia,
PORTUGAL
TEL: (+351) 22 608 00 60
ROMANIA
Pro Music Concept SRL
440221 Satu Mare
B-dul Independentei nr. 14/a.,
ROMANIA
TEL: (0361) 807-333
RUSSIA
Roland Music LLC
Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: (495) 981-4967
SERBIA
Music AP
Sutjeska br. 5 XS - 24413 PALIC,
SERBIA
TEL: (0) 24 539 395
SLOVAKIA
DAN Distribution, s.r.o.
Povazská 18.
SK - 940 01 Nové Zámky,
SLOVAKIA
TEL: (035) 6424 330
SPAIN
Roland Systems Group EMEA, S.L.
Paseo García Faria, 33-35
08005 Barcelona, SPAIN
TEL: 93 493 91 00
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Mårbackagatan 31, 4 tr.
SE-123 43 Farsta, SWEDEN
TEL: (0) 8 683 04 30
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen, SWITZERLAND
TEL: (061) 975-9987
TURKEY
ZUHAL DIS TICARET A.S.
Galip Dede Cad. No.33
Beyoglu, Istanbul, TURKEY
TEL: (0212) 249 85 10
UKRAINE
EURHYTHMICS Ltd.
P.O.Box: 37-a.
Nedecey Str. 30
UA - 89600 Mukachevo,
UKRAINE
TEL: (03131) 314-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, SWANSEA SA7
9FJ, UNITED KINGDOM
TEL: (01792) 702701
MIDDLE EAST
BAHRAIN
Moon Stores
No.1231&1249 Rumaytha
Building Road 3931,
Manama 339, BAHRAIN
TEL: 17 813 942
EGYPT
Al Fanny Trading Office
9, EBN Hagar Al Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: (022)-417-1828
ISRAEL
Halilit P. Greenspoon &
Sons Ltd.
8 Retzif Ha'alia Hashnia St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
JORDAN
MUSIC HOUSE CO. LTD.
FREDDY FOR MUSIC
P. O. Box 922846
Amman 11192, JORDAN
TEL: (06) 5692696
KUWAIT
EASA HUSAIN AL-YOUSIFI &
SONS CO.
Al-Yousifi Service Center
P.O.Box 126 (Safat) 13002,
KUWAIT
TEL: 00 965 802929
LEBANON
Chahine S.A.L.
George Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
TEL: (01) 20-1441
OMAN
TALENTZ CENTRE L.L.C.
Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: 2478 3443
QATAR
AL-EMADI TRADING &
CONTRACTING CO.
P.O. Box 62, Doha, QATAR
TEL: 4423-554
SAUDI ARABIA
Adawliah Universal
Electronics APL
Behind Pizza Inn
Prince Turkey Street
Adawliah Building,
PO BOX 2154,
Al Khobar 31952,
SAUDI ARABIA
TEL: (03) 8643601
SYRIA
Technical Light & Sound Center
PO Box 13520 Bldg No.49
Khaled Abn Alwalid St.
Damascus, SYRIA
TEL: (011) 223-5384
U.A.E.
Adawliah Universal
Electronics APL
Omar bin alkhattab street, fish
round about, nayef area, deira,
Dubai, U.A.E.
TEL: (04) 2340442
NORTH AMERICA
CANADA
Roland Canada Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4, CANADA
TEL: (604) 270 6626
Roland Canada Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6,
CANADA
TEL: (905) 362 9707
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
As of Nov. 1, 2013 (ROLAND)
Parameter Guide
PHASER (FxPhasr: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
FLANGER (FxFlngr: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
TREMOLO (FxTrml: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
PAN (FxPan: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
ROTARY (FxRot: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
UNI-V (FxUni-V: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
CHORUS (FxChorus: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
DELAY (FxDly: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Signal Flow (Simplified Version) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Functions Available for Each Modeling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Convenient Functions When Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Alternate Tuning (AltTune: Type). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
FX Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
FX (Fx: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
OD/DS (FxODDS: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
COMPRESSOR (FxComp: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
LIMITER (FxLmtr: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
EQ (FxEQ: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
T. WAH (FxT. Wah: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
PITCH SHIFTER (FxPS: ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
HARMONIST (FxHrm: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
PEDAL BEND (FxP. Bnd: ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Stereo/Mono Support for Each Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Control Function List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
USB Routing (USBAudio: Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Assign Target List (Asgn 1–8: Target) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Signal Flow (Simplified Version)
GP-10
Modeling Tone (Modeling/Synth/Poly FX)
GK IN
Divided
PU
Modeling
(E.GTR/ACOUSTIC/
E.BASS)
AltTune/
12Str/
StrBend
GR-300/OSC/WAVE
Poly Fx
FX Chain
Normal
PU
Modeling
On/Off
Normal PU
On/Off
GUITAR
IN
FX
CHO
PHONES
EQ
Mixer
(Balance)
NS
WAH
AMP
FV
DLY
REV
PATCH OUTPUT
LEVEL LEVEL
OUTPUT
MULTI EFFECTS
(You can change the order in which the effects are connected)
GUITAR
OUT
AUX IN
Functions Available for Each Modeling
MODELING TYPE
E. GTR
ACOUSTIC
E. BASS
GR-300
SYNTH OSC SYNTH
WAVE SYNTH
DISTORTION
CRYSTAL
POLYFX RICH MODULATION
SLOW PAD
TOUCH WAH
ALT. TUNE
(
(
(
–
–
–
–
–
–
–
–
12Str
(
(
(
–
–
–
–
–
–
–
–
StrBend
(
(
(
–
–
–
–
–
–
–
–
NS
Not available when FRETLESS
Not available when NYLON or SITAR
Not available when FRETLESS
–
–
–
–
–
–
–
–
Str Level
(
(
(
(
(
(
(
(
(
(
(
Str Pan
(
Available when NYLON, RESO, BANJO, or SITAR
(
(
(
(
(
(
(
(
(
Convenient Functions When Editing
When moving from the Play screen to Effect/System settings, you can jump to a specific parameter by pressing the following buttons simultaneously.
Buttons
[K]
Hold down [K] [J] and press [EFFECTS]
[J]
Jump destination
FxChain:
Ctl: CTL1 Func
Asgn1: On/Off
Buttons
[K]
Hold down [K] [J] and press [SYSTEM]
[J]
Jump destination
Sys: Patch Extent
SysCtl: CTL1 Func
USBAudio: Routing
Owner’s Manual p. 8
Alternate Tuning (AltTune: Type)
The strings of the guitar are tuned as follows depending on the type you select.
Type
OPEN D
OPEN E
OPEN
OPEN G
OPEN A
DROP D
DROP D²
DROP C
DROP
DROP B
DROP B²
DROP A
D-MODAL
NASHVL
-12 STEP
-11 STEP
-10 STEP
-9 STEP
-8 STEP
-7 STEP
-6 STEP
-5 STEP
-4 STEP
-3 STEP
-2 STEP
-1 STEP
+1 STEP
+2 STEP
+3 STEP
+4 STEP
+5 STEP
+6 STEP
+7 STEP
+8 STEP
+9 STEP
+10 STEP
+11 STEP
+12 STEP
USER
6
D
E
D
E
D
C¾|D²
C
B
A¾|B²
A
D
E (+1 OCT)
E
F
F¾|G²
G
G¾|A²
A
A¾|B²
B
C
C¾|D²
5
A
B
G
A
A
G¾|A²
G
F¾|G²
F
E
A
A (+1 OCT)
A
A¾|B²
B
C
¾
C |D²
D
D¾|E²
E
F
F¾|G²
D
D¾|E²
F
F¾|G²
G
G¾|A²
A
A¾|B²
B
C
C¾|D²
D
D¾|E²
E
G
G¾|A²
A¾|B²
B
C
C¾|D²
D
D¾|E²
E
F
F¾|G²
G
G¾|A²
A
4
D
E
D
E
D
C¾|D²
C
B
A¾|B²
A
D
D (+1 OCT)
D
D¾|E²
E
F
¾
F |G²
G
G¾|A²
A
A¾|B²
B
C
C¾|D²
D¾|E²
E
F
F¾|G²
G
G¾|A²
A
A¾|B²
3
F¾|G²
G¾|A²
G
A
G
F¾|G²
F
E
D¾|E²
D
G
G (+1 OCT)
G
G¾|A²
A
A¾|B²
B
C
C¾|D²
D
D¾|E²
E
F
F¾|G²
G¾|A²
A
A¾|B²
B
C
¾
C |D²
D
D¾|E²
B
E
C
F
¾
²
¾
C |D
F |G²
D
G
-24–+24 of the normal tuning
2
A
B
B
C¾|D²
B
A¾|B²
A
G¾|A²
1
D
E
D
E
E
D¾|E²
D
C¾|D²
G
F¾|G²
A
B
B
C
C¾|D²
A¾|B²
D¾|E²
E
F
F¾|G²
G
G¾|A²
C
B
D
E
E
F
F¾|G²
G
G¾|A²
A
A¾|B²
B
C
C¾|D²
A
A¾|B²
C
C¾|D²
D
D¾|E²
E
F
¾
F |G²
G
G¾|A²
A
A¾|B²
B
D
D¾|E²
F
F¾|G²
G
G¾|A²
A
A¾|B²
B
C
C¾|D²
D
D¾|E²
E
Tuning of the secondary strings when the 12Str: Type is NORMAL (interval from the primary strings)
Type
12STR
6
+12
5
+12
4
+12
3
+12
2
0
1
0
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All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.
2
FX Parameter
COMPRESSOR (FxComp: )
FX (Fx: )
You can select the effect to be used from the following.
Parameter
On/Off
Explanation
Turns this effect on/off.
Type of FX
OD/DS
Distorts the sound to create long sustain.
Produces a long sustain by evening out the volume level of the
COMPRESSOR input signal. You can also use it as a limiter to suppress only the
sound peaks and prevent distortion.
LIMITER
Attenuates loud input levels to prevent distortion.
EQ
Adjusts the tone as a equalizer.
T. WAH
A wah effect is produced according to your picking dynamics.
Changes the pitch of the original sound (up or down) within a
PITCH SHIFTER
range of two octaves.
An effect where the amount of shifting is adjusted according to
HARMONIST
an analysis of the guitar input, allowing you to create harmony
based on diatonic scales.
PEDAL BEND
Type
PHASER
FLANGER
TREMOLO
PAN
ROTARY
UNI-V
CHORUS
DELAY
Lets you use the pedal to get a pitch bend effect.
By adding varied-phase portions to the direct sound, the phaser
effect gives a whooshing, swirling character to the sound.
Gives a twisting, jet-airplane-like character to the sound.
Creates a cyclic change in volume.
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.
Produces an effect like the sound of a rotary speaker.
Models a Uni-Vibe.
Although this resembles a phaser effect, it also provides a
unique undulation that you can’t get with a regular phaser.
A slightly detuned sound is added to the original sound to add
depth and breadth.
Adds delayed sound to the direct sound, giving more body to
the sound or creating special effects.
OD/DS (FxODDS: )
Parameter
Explanation
Type of OD/DS
A booster with unique characteristics in the midrange.
Making the connection before the amp produces sound suitable
for solos.
This not only functions as a booster, but also produces a clean
CLEAN BOOST
tone that has punch even when used alone.
TREBLE BOOST This is a booster that has bright characteristics.
A lustrous crunch sound with an added element of amp
CRUNCH
distortion.
An overdrive sound that provides distortion with a natural
NATURAL OD
feeling.
WARM OD
A warm overdrive.
FAT DS
A distortion sound with thick distortion.
Produces a distortion sound with both the smoothness of an
LEAD DS
overdrive along with a deep distortion.
METAL DS
A distortion sound that is ideal for performances of heavy riffs.
OCT FUZZ
A fuzz sound with rich harmonic content.
A crunch sound of the BOSS BD-2.
BLUES OD
This produces distortion that faithfully reproduces the nuances
of picking.
Models the sound of the BOSS OD-1.
OD-1
Produces sweet, mild distortion.
T-SCREAM
Models an Ibanez TS-808.
TURBO OD
High-gain overdrive sound of the BOSS OD-2.
DIST
Gives a basic, traditional distortion sound.
RAT
Models a Proco RAT.
GUV DS
Models a Marshall GUV’ NOR.
DST+
Models a MXR DISTORTION+.
Models the sound of the BOSS MT-2.
METAL ZONE
It produces a wide range of metal sounds, from old style to
slash metal.
Models a Fuzz Face.
‘60S FUZZ
It produces a fat fuzz sound.
MUFF FUZZ
Models an Electro-Harmonix Big Muff π.
Adjusts the depth of distortion.
Adjusts the tone.
Adjusts the volume of the effect sound.
Adjusts the tone for the low frequency range.
Adjusts the volume of the direct sound.
Switches the tone to one suitable for solos.
Adjusts the volume level when the Solo Sw is ON.
MID BOOST
Type
Drive
Tone
Level
Bottom
D. Level
Solo Sw
Solo Lv
For an explanation of the parameters other than the FX parameters, refer to the
owner’s manual.
Parameter
Type
Explanation
BOSS COMP
Hi-BAND
LIGHT
D-COMP
ORANGE
FAT
MILD
Sustain
Attack
Tone
Level
Models a BOSS CS-3.
A compressor that adds an even stronger effect in the high end.
A compressor with a light effect.
Models a MXR DynaComp.
Modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.
When applied heavily, this compressor effect provides a fat tone with
a boosted midrange.
When applied heavily, this compressor effect produces a sweet tone
with the high end cut.
STEREO
Selects a stereo compressor.
COMP
Adjusts the range (time) over which low-level signals are boosted. Larger values will
result in longer sustain.
Adjusts the strength of the picking attack when the strings are played. Higher
values result in sharper attack, creating a more clearly defined sound.
Adjusts the volume.
Adjusts the tone.
LIMITER (FxLmtr: )
Parameter
Type
Attack
Threshold
Ratio
Release
Level
Explanation
BOSS
Selects a stereo limiter.
LIMITER
RACK 160D Models a dbx 160X.
VTG RACK U Models a UREI 1178.
Adjusts the strength of the picking attack when the strings are played. Higher
values result in sharper attack, creating a more clearly defined sound.
Adjust this as appropriate for the input signal from your guitar. When the input
signal level exceeds this threshold level, limiting will be applied.
Selects the compression ratio used with signals in excess of the threshold level.
Adjusts the release time.
Adjusts the volume.
EQ (FxEQ: )
Parameter
Low Gain
Hi Gain
LowMid Freq
LowMid Q
LowMid Gain
Hi Mid Freq
Hi Mid Q
Hi Mid Gain
Low Cut
Hi Cut
Level
Explanation
Adjusts the low frequency range tone.
Adjusts the high frequency range tone.
Specifies the center of the frequency range that will be adjusted by the LowMid
Gain.
Adjusts the width of the area affected by the EQ centered at the LowMid Freq.
Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Specifies the center of the frequency range that will be adjusted by the Hi Mid
Gain.
Adjusts the width of the area affected by the EQ centered at the Hi Mid Freq.
Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Sets the frequency at which the low cut filter begins to take effect. When FLAT is
selected, the low cut filter will have no effect.
Sets the frequency at which the high cut filter begins to take effect. When FLAT is
selected, the high cut filter will have no effect.
Adjusts the overall volume level of the equalizer.
T. WAH (FxT. Wah: )
Parameter
Mode
Polar
Sens
Freq
Peak
E. Level
D. Level
Explanation
LPF
Creates a wah effect over a wide frequency range.
BPF
Creates a wah effect in a narrow frequency range.
DOWN
The frequency of the filter will fall.
UP
The frequency of the filter will rise.
Adjusts the sensitivity at which the filter will change in the direction determined by
the polarity setting.
Higher values will result in a stronger response. With a setting of 0, the strength of
picking will have no effect.
Adjusts the center frequency of the Wah effect.
Adjusts the way in which the wah effect applies to the area around the center
frequency.
Higher values will produce a stronger tone which emphasizes the wah effect more.
With a value of 50 a standard wah sound will be produced.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
3
FX Parameter
PITCH SHIFTER (FxPS: )
PHASER (FxPhasr: )
Parameter
Parameter
Voice
Mode1
Mode2 *1
Pitch1
Pitch2 *1
Fine1
Fine2 *1
P. Delay1
P. Delay2 *1
F. Back1
E. Level1
E. Level2 *1
D. Level
Explanation
1-VOICE
One-voice pitch-shifted sound output in monaural.
2-MONO
Two-voice pitch-shifted sound (PS1, PS2) output in monaural.
Two-voice pitch-shifted sound (PS1, PS2) output through left and
2-STEREO
right channels.
FAST,
The response is slower in the order of FAST, MEDIUM and SLOW, but
MEDIUM,
the modulation is lessened in the same order.
SLOW
MONO
MONO is used for inputting single notes.
* You may be unable to produce the intended effect when playing
chords (two or more notes played simultaneously).
Adjusts the amount of pitch shift (the amount of interval) in semitone steps.
Make fine adjustments to the interval. The amount of the change in the Fine 100 is
equivalent to that of the Pitch 1.
Adjusts the time from when the direct sound is heard until the pitch shifted sounds
are heard. Normally you can leave this set at 0 ms.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the feedback amount of the pitch shift sound.
Adjusts the volume of the pitch shifter.
HARMONIST (FxHrm: )
Voice
Harm1
harm2 *1
P. Delay1
P. Delay2 *1
F. Back1
E. Level1
E. Level2 *1
Rate
Depth
Manual
Reso
Step Rate
E. Level
D. Level
Adjusts the volume of the direct sound.
*1: Setting not available when Voice is set to 1-VOICE.
Parameter
Type
Explanation
1-VOICE
One-voice pitch-shifted sound output in monaural.
2-MONO
Two-voice pitch-shifted sound (PS1, PS2) output in monaural.
Two-voice pitch-shifted sound (PS1, PS2) output through left and
2-STEREO
right channels.
Determines the pitch of the sound added to the input sound, when you are making
a harmony.
It allows you to set it by up to 2 octaves higher or lower than the input sound.
When the scale is set to USER, this parameter sets the user scale number to be used.
Adjusts the time from when the direct sound is heard until the pitch shifted sounds
are heard. Normally you can leave this set at 0 ms.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the feedback amount of the pitch shift sound.
Adjusts the volume of the pitch shifter.
FLANGER (FxFlngr: )
Parameter
Rate
Depth
Manual
Reso
Separatn
Low Cut
E. Level
D. Level
Major
Minor
Major
Explanation
Sets the rate of the flanging effect.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Determines the depth of the flanging effect.
Adjusts the center frequency at which to apply the effect.
Determines the amount of resonance (feedback). Increasing the value will
emphasize the effect, creating a more unusual sound.
Adjusts the diffusion. The diffusion increases as the value increases.
Sets the frequency at which the low cut filter begins to take effect. When “Flat” is
selected, the low cut filter will have no effect.
Adjusts the volume of the flanger.
Adjusts the volume of the direct sound.
TREMOLO (FxTrml: )
Parameter
Wave Shape
The key setting corresponds to the key of the song (#, b) as follows.
MastrKey
Explanation
4STAGE
A four-phase effect. A light phaser effect is obtained.
8STAGE
An eight-phase effect. It is a popular phaser effect.
12STAGE
A twelve-phase effect. A deep phase effect is obtained.
BiPHASE
The phaser with two phase shift circuits connected in series.
Sets the rate of the phaser effect.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Determines the depth of the phaser effect.
Adjusts the center frequency of the phaser effect.
Determines the amount of resonance (feedback). Increasing the value will
emphasize the effect, creating a more unusual sound.
Sets the cycle of the step function that changes the rate and depth. When it is set
to a higher value, the change will be finer. Set this to “Off” when not using the Step
function.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the volume of the phaser.
Adjusts the volume of the direct sound.
Rate
Depth
E. Level
Explanation
Adjusts changes in volume level. A higher value will steepen wave’s shape.
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the depth of the effect.
Adjusts the volume.
PAN (FxPan: )
Minor
D. Level
Adjusts the volume of the direct sound.
*1: Setting not available when Voice is set to 1-VOICE.
PEDAL BEND (FxP. Bnd: )
Parameter
Pitch
Position
E. Level
D. Level
Explanation
Sets the pitch at the point where the EXP Pedal is all the way down.
Adjusts the pedal position for pedal bend.
This parameter is used after it’s been assigned to an EXP Pedal or similar controller.
Adjusts the volume of the pitch bend sound.
Adjusts the volume of the direct sound.
Parameter
Explanation
Varies the volume level on the left and right according to the settings
for Wave Shape, Rate, and Depth.
MANUAL
Output uses the volume balance set with Manual Position.
Adjusts
changes
in volume level.
Wave Shape
*1
A higher value will steepen wave’s shape.
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
Rate *1
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Depth
Adjusts the depth of the effect.
M. Position *2 Adjusts the volume balance between the left and right channels.
E. Level
Adjusts the volume.
Type
AUTO
*1: Setting available when Type is set to AUTO.
*2: Setting available when Type is set to MANUAL.
4
FX Parameter
ROTARY (FxRot: )
Parameter
SpeedSelct
Rate Slow
Rate Fast
Rise Time
Fall Time
Depth
E. Level
Explanation
Changes the simulated speaker’s rotating speed (SLOW or FAST).
Adjusts the Speed Select of rotation when set to “SLOW.”
This parameter adjusts the speed select of rotation when set to “FAST.”
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the time it takes for the rotation Speed Select to change when switched
from “SLOW” to “FAST.”
Adjusts the time it takes for the rotation Speed Select to change when switched
from “FAST” to “SLOW.”
Adjusts the amount of depth in the rotary effect.
Adjusts the volume.
UNI-V (FxUni-V: )
Parameter
Rate
Depth
E. Level
Explanation
Adjusts the rate of the UNI-V effect.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the depth of the UNI-V effect.
Adjusts the volume.
CHORUS (FxChorus: )
Parameter
Explanation
This chorus effect outputs the same sound from both L channel and
R channel.
A stereo chorus effect that adds different chorus sounds to L channel
STEREO1
and R channel.
This stereo chorus uses spatial synthesis, with the direct sound
STEREO2
output in the L channel and the effect sound output in the R channel.
Adjusts the rate of the chorus effect.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the depth of the chorus effect.
* To use it for doubling effect, set the value to 0.
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).
Sets the frequency at which the low cut filter begins to take effect. When “Flat” is
selected, the low cut filter will have no effect.
Sets the frequency at which the high cut filter begins to take effect. When “Flat” is
selected, the high cut filter will have no effect.
Adjusts the volume of the effect sound.
MONO
Mode
Rate
Depth
Pre Dly
Low Cut
Hi Cut
E. Level
DELAY (FxDly: )
Parameter
Type
Time
Feedback
High Cut
Pan Tap
Time *1
E. Level
D. Level
Explanation
MONO
A simple monaural delay.
Provides a tap delay effect that divides the delay time between the
PAN
left and right channels.
Adjusts the delay time.
* When set to BPM, the value of each parameter will be set according to the value
of the “MASTER BPM” specified for each patch. This makes it easier to achieve
effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is
then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the volume that is returned to the input.
Higher settings will result in more delay repeats.
Sets the frequency at which the high cut filter begins to take effect. When “FLAT” is
selected, the high cut filter will have no effect.
Adjusts the delay time of the left channel delay. This setting adjusts the L channel
delay time relative to the R channel delay time (considered as 100%).
Adjusts the volume of the delay sound.
Adjusts the volume of the direct sound.
*1: Setting available when Type is set to PAN.
5
Stereo/Mono Support for Each Effect
: This effect sound is mono.
: These effects take a mono input and output it on two channels.
: This effect sound is output with two channels.
Type
AMP
FX
OD/DS
COMPRESSOR
LIMITER
EQ
T. WAH
PITCH SHIFTER
HARMONIST
PEDAL BEND
PHASER
FLANGER
TREMOLO
PAN
ROTARY
UNI-V
CHORUS
DELAY
WAH
CHORUS
DELAY
REVERB
EQ
MIXER
6
(
(
except STEREO COMP
–
–
(
except 2-STEREO
except 2-STEREO
(
(
–
–
–
–
(
MONO
MONO
(
MONO
except PAN, STEREO, and DUAL-L/R
–
–
–
–
–
–
–
–
–
2-STEREO only
2-STEREO only
–
–
–
–
–
(
–
STEREO 1, STEREO 2
PAN
–
STEREO 1, STEREO 2
PAN, STEREO only
(
–
–
–
–
STEREO COMP only
(
(
–
–
–
–
–
(
(
(
–
–
–
–
–
–
DUAL-L/R only
–
(
(
Control Function List
In “Pedal and Switch Settings for Each Patch (Ctl: )” (Owner’s Manual p. 11) and “System Settings for the Pedals and Switches (SysCtl: )” (Owner’s Manual p. 13), you can use the EXP 1
off Func, EXP 1 on Func, EXP 2 Func, and GKVOL Func settings to assign the following parameters and control them.
Type
FOOT VOL
PATCH LEVEL
E. GTR
ACOUSTIC
E. BASS
MODELING VOL
SYNTH
PolyFx
GR-300
OSC SYNTH
WAVE SYNTH
DISTORTION
CRYSTAL
RICH MODULATION
SLOW PAD
TOUCH WAH
NORMAL PU VOL
MIXER BALANCE
STRING BEND CTL
E. GTR
ACOUSTIC
E. BASS
SYNTH
MODELING CTL
PolyFx
FX CTL
AMP GAIN
WAH
CHORUS E. LEVEL
DELAY E. LEVEL
REVERB E. LEVEL
EQ HI MID FREQ
GR-300
OSC SYNTH
WAVE SYNTH
DISTORTION
CRYSTAL
RICH MODULATION
SLOW PAD
TOUCH WAH
OD/DS
COMPRESSOR
LIMITER
EQ
T. WAH
PITCH SHIFTER
HARMONIST
PEDAL BEND
PHASER
FLANGER
TREMOLO
PAN
ROTARY
UNI-V
CHORUS
DELAY
Parameter
FV: Level
Patch: Level
EG: Volume
AC: Volume
EB: Volume
GR300: Volume
OSC: Volume
WAVE: Volume
PolyFx: GtrVol
PFxTWah: Volume
NrmlPU: Volume
Mixer: Balance
StrBend: Control
EG: Tone
AC: Tone
EB: Tone
GR300: Cutoff
OSC: FilterCutoff
WAVE: Cutoff
PFxDist: Gain
PFxCrystal: Color
PFxRichMod: Color
PFxSlowPad: Color
PFxTWah: Peak
FxODDS: Drive
FxComp: Sustain
FxLmtr: Threshold
FxEQ: Hi Mid Frq
FxT. Wah: Peak
FxPS: E. Level1
FxHrm: E. Level1
FxP. Bnd: Position
FxPhasr: Rate
FxFlngr: Rate
FxTrml: Rate
FxPan: Rate
FxRot: SpeedSelct
FxUni-V: Rate
FxChorus: E. Level
FxDly: E. Level
Amp: Gain
Wah: Pdl Position
Chorus: E. Level
Delay: E. Level
Reverb: E. Level
EQ: Hi Mid Freq
FxPS: E. Level2
FxHrm: E. Level2
7
Owner’s Manual p. 13
USB Routing (USBAudio: Routing)
STANDARD
RE-GUITAR/AMP
Use this setting if you’re playing guitar while playing back a song from your computer.
Only the sound of the GP-10 is output to the computer.
Use this setting if you want the original sound of the guitar without modeling or
effects to be input to the GP-10 so that you can re-guitar or re-amp.
USBAudio: OUT Lv
GK
SETTING
GK IN
MODELING
ALT TUNE
PC GK 1–6 IN
PC IN
FX CHAIN
NORMAL PU IN
USBAudio: OUT Lv
GK
SETTING
GK IN
MODELING
ALT TUNE
PC IN
FX CHAIN
NORMAL PU IN
OUTPUT
LEVEL
OUTPUT
LEVEL
PC GK 1–6 OUT
OUTPUT
USBAudio: IN Lv
PC GK 1–6 IN
OUTPUT
PC GK 1–6 OUT
PC OUT
PC OUT
MIX
RE-GUITAR/AMP
Use this setting if you’re playing guitar while playing back a song from your computer.
The sound of the GP-10 and the backing from the computer are mixed and output to
the computer.
Use this setting to re-guitar along with backing that’s played back from your computer.
USBAudio: OUT Lv
GK
SETTING
GK IN
MODELING
ALT TUNE
PC GK 1–6 IN
USBAudio: OUT Lv
PC IN
FX CHAIN
NORMAL PU IN
GK
SETTING
GK IN
MODELING
ALT TUNE
PC IN
FX CHAIN
NORMAL PU IN
OUTPUT
LEVEL
PC GK 1–6 OUT
OUTPUT
LEVEL
OUTPUT
USBAudio: IN Lv
PC GK 1–6 IN
PC OUT
PC GK 1–6 OUT
OUTPUT
USBAudio: IN Lv
PC OUT
DRY-GUITAR
DIRECT OFF
Use this setting if you want to “re-guitar” or “re-amp” your guitar sound after you’ve
recorded it.
The original sound of the guitar without modeling or effects is output to the computer.
The individual strings are output as six separate channels from the modeling signal
route, and the original sound from the normal guitar route is also output.
Use this setting if you want the signal processed by plug-in effects on your DAW to be
output to the GP-10’s OUTPUT.
The output of the GP-10 is output only to your computer.
USBAudio: OUT Lv
PC GK 1–6 IN
GK IN
GK
SETTING
GK IN
MODELING
ALT TUNE
PC IN
USBAudio: IN Lv
PC GK 1–6 IN
PC IN
OUTPUT
LEVEL
OUTPUT
LEVEL
PC GK 1–6 OUT
MODELING
ALT TUNE
FX CHAIN
NORMAL PU IN
FX CHAIN
NORMAL PU IN
GK
SETTING
PC GK 1–6 OUT
OUTPUT
USBAudio: IN Lv
OUTPUT
PC OUT
PC OUT
What is RE-GUITAR/RE-AMP?
These are techniques in which the original sound of the guitar without modeling
or effects is recorded on your DAW so that you can create the final guitar sound
afterward.
Have you ever experienced either of these regrets or failures after recording an
effect-processed guitar?
• You played well, but you’re not happy with the sound.
• The guitar sound no longer stands out when combined with other parts in
your DAW software.
As long as you still have the original sound, you can use re-guitaring or reamping to reshape the sound of your original performance as many times as
you like, letting you record a truly satisfactory sound and performance into your
DAW.
If you want to record the original sound of your guitar without modeling or
effects, choose “DRY-GUITAR,” and then use “RE-GUITAR/AMP I” or “RE-GUITAR/
AMP II” to re-record it.
8
Owner’s Manual p. 12
Assign Target List (Asgn 1–8: Target)
Category
MDL:
EG:
AC:
EB:
SYNTH:
GR300:
Target
ON/OFF
TYPE
TYPE
CLST PU SEL
MDS PU SEL
TE PU SEL
LP PU SEL
P90 PU SEL
335 PU SEL
L4 PU SEL
RICK PU SEL
LIPS PU SEL
WIDERNG PUSEL
BRGHTHM PUSEL
FRTLS T. TYPE
FRTLS SENS
FRTLS DEPTH
FRTLS ATTACK
FRTLS RESO
FRTLS D. LEVEL
VOLUME
TONE
TYPE
BODY
ATTACK
SITR PU SEL
SITAR SENS
SITAR COLOR
SITAR DECAY
SITAR BUZZ
SITR ATTCK LV
BNJ RESONANCE
RES RESONANCE
RESO SUSTAIN
TONE
VOLUME
TYPE
JB REAR VOL
JB FRONT VOL
FRTLSS T. TYPE
FRTLSS SENS
FRTLSS DEPTH
FRTLSS ATTACK
FRTLSS RESO
FRTLSS DLEVEL
VOLUME
TONE
TYPE
MODE
VOLUME
COMP SW
CUTOFF
RESONANCE
ENVMODSW
ENVMODSENS
ENVMODATCK
PITCH SW
P. SHIFT A
P. FINE A
P. SHIFT B
P. FINE B
P. DUET
SWEEP SW
SWEEP RISE
SWEEP FALL
VIBRATO SW
VIB RATE
VIB DEPTH
Category
OSC:
WAVE:
Target
MODE
VOLUME
WAVEFORM1
PITCH1
PITCH FINE1
PW WIDTH1
PW MOD RATE1
P. ENV ATTCK1
P. ENV DECAY1
P. ENV DEPTH1
LEVEL 1
WAVEFORM2
PITCH2
PITCH FINE2
PW WIDTH2
PW MOD RATE2
P. ENV ATTCK2
P. ENV DECAY2
P. ENV DEPTH2
LEVEL 2
FILTER TYPE
FILTER SLOPE
FILTERCUTOFF
FLTRCTOFFFLW
FLTRRESO
FLTRVELOSENS
FLTRENVATTCK
FLTRENVDECAY
FLTRENVSUSTN
FLTRENVRELS
FLTRENVDEPTH
AMPVELOSENS
AMPENVATTCK
AMPENVDECAY
AMPENVSUSTN
AMPENVRELS
LFO1 SHAPE
LFO1 RATE
LFO1PTCHDPT1
LFO1PTCHDPT2
LFO1FLTDEPTH
LFO1AMPDEPTH
LFO1DLY TIME
LFO1FADETIME
LFO2 SHAPE
LFO2 RATE
LFO2PTCHDPT1
LFO2PTCHDPT2
LFO2FLTDEPTH
LFO2AMPDEPTH
LFO2DLY TIME
LFO2FADETIME
POLY/MONO
CHROMATIC
PORTAMENTO
PORTA RATE
PORTA MODE
HOLD MODE
LOWVELOCUT
TYPE
VOLUME
CUTOFF
RESONANCE
OCTAVE
Category
POLYFX:
ALTTUNE:
12STR:
STRBEND:
MDL: NS
Target
TYPE
GTRVOL
PFXDIST: GAIN
PFXDIST: GAINBAL
PFXDIST: COLOR
PFXDIST: TONE
PFXDIST: LEVEL
PFXCRYSTAL: COLOR
PFXCRYSTAL:TONE
PFXCRYSTAL: LEVEL
PFXRICHMOD: COLOR
PFXRICHMOD: TONE
PFXRICHMOD: LEVEL
PFXSLOWPAD: COLOR
PFXSLOWPAD: TONE
PFXSLOWPAD: LEVEL
PFXTWAH: MODE
PFXTWAH: POLAR
PFXTWAH: SENS
PFXTWAH: FREQ
PFXTWAH: DECAY
PFXTWAH: PEAK
PFXTWAH: TONETYPE
PFXTWAH: COMP SW
PFXTWAH: COMPSUS
PFXTWAH: COMPATK
PFXTWAH: VOLUME
ON/OFF
TYPE
SHIFT 6
SHIFT 5
SHIFT 4
SHIFT 3
SHIFT 2
SHIFT 1
FINE 6
FINE 5
FINE 4
FINE 3
FINE 2
FINE 1
ON/OFF
TYPE
PITCHSHFT6
PITCHSHFT5
PITCHSHFT4
PITCHSHFT3
PITCHSHFT2
PITCHSHFT1
PITCHFINE6
PITCHFINE5
PITCHFINE4
PITCHFINE3
PITCHFINE2
PITCHFINE1
LEVEL 6
LEVEL 5
LEVEL 4
LEVEL 3
LEVEL 2
LEVEL 1
DELAY 6
DELAY 5
DELAY 4
DELAY 3
DELAY 2
DELAY 1
ON/OFF
DEPTH 6
DEPTH 5
DEPTH 4
DEPTH 3
DEPTH 2
DEPTH 1
CONTROL
ON/OFF
THRESHLD
RELEASE
9
Assign Target List (Asgn 1–8: Target)
Category
MDL: STRING LV
MDL: STRING PAN
AMP:
FX:
FXODDS:
FXPHASR:
FXFLNGR:
FXTRML:
FXPAN:
FXROT:
FXUNI-V:
FXCOMP:
10
Target
6
5
4
3
2
1
6
5
4
3
2
1
ON/OFF
TYPE
GAIN
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
GAIN SW
SOLO SW
SOLO LEVEL
T-COMP
SPEAKER TYPE
MIC TYPE
MIC DISTANCE
MIC POSITION
MIC LEVEL
DIRECT LEVEL
ON/OFF
TYPE
TYPE
DRIVE
TONE
LEVEL
BOTTOM
D. LEVEL
SOLO SW
SOLO LV
TYPE
RATE
DEPTH
MANUAL
RESO
STEPRATE
E. LEVEL
D. LEVEL
RATE
DEPTH
MANUAL
RESO
SEPARAT
LOW CUT
E.LEVEL
D. LEVEL
WAVESHAPE
RATE
DEPTH
E. LEVEL
TYPE
WAVE SHAPE
RATE
DEPTH
M. POSITION
E. LEVEL
SPEEDSELCT
RATE SLOW
RATE FAST
RISE TIME
FALL TIME
DEPTH
E. LEVEL
RATE
DEPTH
E. LEVEL
TYPE
SUSTAIN
ATTACK
TONE
LEVEL
Category
FXLMTR:
FXEQ:
FXCHORUS:
FXPS:
FXHRM:
FXDLY:
FXT. WAH:
FXP. BND:
WAH:
CHORUS:
Target
TYPE
ATTACK
THRESHOLD
RATIO
RELEASE
LEVEL
LOW GAIN
HI GAIN
LOWMID FRQ
LOWMID Q
LOWMID GAIN
HI MID FRQ
HI MID Q
HI MID GAIN
LOW CUT
HI CUT
LEVEL
MODE
RATE
DEPTH
PRE DLY
LOW CUT
HI CUT
E. LEVEL
D. LEVEL
VOICE
MODE1
PITCH1
FINE1
P. DELAY1
F. BACK1
E. LEVEL1
MODE2
PITCH2
FINE2
P. DELAY2
E. LEVEL2
D. LEVEL
VOICE
HARM1
P. DELAY1
F. BACK1
E. LEVEL1
HARM2
P. DELAY2
E. LEVEL2
MASTER KEY
D. LEVEL
TYPE
TIME
FEEDBACK
HIGH CUT
PANTAPTIME
E. LEVEL
D. LEVEL
MODE
POLAR
SENS
FREQ
PEAK
E. LEVEL
D. LEVEL
PITCH
POSITION
E. LEVEL
D. LEVEL
ON/OFF
TYPE
PDL POSITION
PEDAL MIN
PEDAL MAX
E. LEVEL
D. LEVEL
ON/OFF
MODE
RATE
DEPTH
PREDELAY
LOW CUT
HI CUT
E. LEVEL
D. LEVEL
Category
DELAY:
REVERB
EQ:
NS:
FV:
NRMLPU:
MIXER:
PATCH:
CTL:
Target
ON/OFF
TYPE
TIME
FEEDBACK
HIGH CUT
E. LEVEL
D. LEVEL
PANTAPTIME
D1 TIME
D2 TIME
D1 F. BACK
D2 F. BACK
D1 HICUT
D2 HICUT
D1 E. LEVEL
D2 E. LEVEL
MOD RATE
MOD DEPTH
ON/OFF
TYPE
TIME
PRE DELAY
LOW CUT
HIGH CUT
DENSITY
SPRINGSNS
E. LEVEL
D. LEVEL
ON/OFF
LOW GAIN
HI GAIN
LOWMID FRQ
LOWMID Q
LOWMID GAIN
HI MID FRQ
HI MID Q
HI MID GAIN
LOW CUT
HI CUT
LEVEL
ON/OFF
THRESHOLD
RELEASE
MIN
MAX
CURVE
LEVEL
ON/OFF
VOLUME
CABLE SIM
MDL IN LV
N. PU IN LV
BALANCE
LEVEL
TEMPO
TUNER SW
Signal Flow
Audio
Control
GP-10
US# MIDI
EXP2/CTL3, 4
EXP1/EXP1 SW
CTL1, 2, ,
Control/
Assign
Guitar to
MIDI
Modeling Tone
(Modeling/Synth/Poly FX)
GK IN
GK
Setting
Divided
PU
Modeling
(E.GTR/ACOUSTIC/
&#"44
AltTune/
12Str/
4US#FOE
GR-300/OSC/WAVE
Poly Fx
GKSW
GKVOL
GKConnect
TUNER
FX Chain
Modeling
On/Off
Normal
PU
Normal PU
Setting
GUITAR
IN
Cable
Simulator
Normal PU
On/Off
FX
CHO
PHONES
EQ
Mixer
(Balance)
NS
WAH
AMP
FV
MULTI EFFECTS
(You can change the order in which the effects are connected)
DLY
REV
OUTPUT
TUNER SW
r#YPASS
r&''&$5
r.65&
PATCH
LEVEL
OUTPUT
LEVEL
GUITAR
OUT
AUX IN
01
Sound List /
No.
01
02
Name
DUAL SYNC
DropD HiGAIN
Modeling Type
TYPE
Modeling ON/OFF
Normal PU ON/OFF
PREAMP
CTL1
CTL2
EXP1 SW
EXP1 OFF
EXP1 ON
SYNTH
E. GTR
OSC SYNTH
LP
ON
ON
ON
OFF
BG DRIVE
CORE METAL
OSC PITCH1
ALT TUNE ON/OFF
WAH ON/OFF
STR BEND ON/OFF
FOOT VOL
FOOT VOL
WAH
STRING BEND CTL
03
GR-300 LEAD
SYNTH
GR-300
ON
OFF
NATURAL CLEAN
GR-300 PITCH SW
WAH ON/OFF
FOOT VOL
WAH
04
05
06
07
08
09
10
11
SEQ.TAP&HOLD
AG 12str
LP & MS1959
SYNTH BASS
POLY DIST
D-MODAL AG
SITAR
SWEEP CLEAN
SYNTH
ACOUSTIC
E. GTR
SYNTH
POLY FX
ACOUSTIC
ACOUSTIC
SYNTH
OSC SYNTH
MA28
LP
WAVE SYNTH
DISTORTION
MA28
SITAR
OSC SYNTH
ON
ON
ON
ON
ON
ON
ON
ON
ON
OFF
OFF
ON
ON
OFF
OFF
ON
DELUXE CRUNCH
FULL RANGE
MS1959
BASS HiGAIN
NATURAL CLEAN
FULL RANGE
FULL RANGE
NATURAL CLEAN
TAP TEMPO
DELAY ON/OFF
OD/DS ON/OFF
CHORUS ON/OFF
FLANGER ON/OFF
ALT TUNE ON/OFF
CHORUS ON/OFF
OSC PITCH1
FLANGER ON/OFF
ALT TUNE TYPE
NORMAL PU ON/OFF
CHORUS ON/OFF
OSC SYHTH HOLD
12-STRING ON/OFF
STRBEND CONTROL
DELAY ON/OFF
DELAY ON/OFF
CHORUS ON/OFF
REVERB ON/OFF
OSC SYNTH HOLD
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
12-STRING ON/OFF
WAH ON/OFF
WAH
WAH
WAH
WAH
WAH
WAH
OFF
WAH
12
SYN PDL BEND
SYNTH
OSC SYNTH
ON
OFF
CLEAN TWIN
PHASER ON/OFF
OSC SYNTH HOLD
WAH ON/OFF
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
OSC PITCH1
OSC PITCH2
WAH ON/OFF
FOOT VOL
WAH
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
STR BEND ON/OFF
WAH ON/OFF
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
WAH
13
SYMPHO DRIVE
SYNTH
OSC SYNTH
ON
ON
R-FIER MODERN
PHASER ON/OFF
14
15
16
17
18
19
20
21
22
23
24
25
BASS CLEAN
SEPARATE WAY
7CAPO 12str
FRETLESS LD
SLOW PAD FLT
POLY T. WAH
SWEEP DRIVE
335 FUSION
HARMO IN C
5th MIX SOLO
FOOT ARMING
FUNK GT SET
E. BASS
SYNTH
E. GTR
E. GTR
POLY FX
POLY FX
SYNTH
E. GTR
E. GTR
SYNTH
E. GTR
E. GTR
PB
OSC SYNTH
MOD ST
FRETLESS
SLOW PAD
TOUCH WAH
OSC SYNTH
335
BRIGHT HUM
WAVE SYNTH
BRIGHT HUM
CLA ST
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF
ON
OFF
ON
OFF
OFF
ON
OFF
OFF
BASS CLEAN
NATURAL CLEAN
JC-120
NATURAL CLEAN
DELUXE CRUNCH
NATURAL CLEAN
STACK CRUNCH
PRO CRUNCH
POWER DRIVE
BG LEAD
POWER DRIVE
NATURAL CLEAN
AMP TYPE
Normal PU ON/OFF
ALT TUNE ON/OFF
PITCH SHIFTER ON/OFF
DELAY FEEDBACK
OD/DS ON/OFF
PHASER ON/OFF
OD/DS ON/OFF
EG TYPE
Normal PU ON/OFF
AMP SOLO SW
LIMITER ON/OFF
OSC SYNTH HOLD
AMP SOLO SW
DELAY ON/OFF
CHORUS ON/OFF
OSC SYNTH HOLD
STRBEND CONTROL
CHORUS ON/OFF
LIMITER ON/OFF
DELAY ON/OFF
NORMAL PU ON/OFF
CHORUS ON/OFF
HARMONIST ON/OFF
PITCH SHIFTER
ALT TUNE ON/OFF
FX TYPE
26
HYPER WAH
SYNTH
OSC SYNTH
ON
ON
MS1959 +
DELAY ON/OFF
PHASER ON/OFF
WAH ON/OFF
FOOT VOL
27
28
29
30
31
32
ORNG CRUNCH
ForSLIDE OPE
PORTA OSC R
A.DLY CRUNCH
LEAD CTL1=-2
TX BLUES MOD
E. GTR
E. GTR
SYNTH
E. GTR
E. GTR
E. GTR
TE
LP
OSC SYNTH
P90
BRIGHT HUM
CLA ST
ON
ON
ON
ON
ON
ON
OFF
OFF
ON
OFF
OFF
ON
ORNG ROCK REVERB
MS1959
COMBO CRUNCH
COMBO CRUNCH
HiGAIN STACK
TWEED
CHORUS ON/OFF
ALT TUNE TYPE
FXROT SPEEDSELCT
DELAY ON/OFF
OD/DS ON/OFF
OD/DS ON/OFF
SYN BASS MIX
SYNTH
WAVE SYNTH
ON
ON
BASS HiGAIN
FOOT VOL
WAH
34
35
36
SYNC SEQ.
OSC CRYSTAL
HI RESO MIX
SYNTH
SYNTH
ACOUSTIC
OSC SYNTH
OSC SYNTH
SITAR
ON
ON
ON
ON
ON
ON
TWEED
NATURAL CLEAN
NATURAL CLEAN
FOOT VOL
FOOT VOL
FOOT VOL
WAH
WAH
WAH
37
BLUES HARP
SYNTH
OSC SYNTH
ON
ON
STACK CRUNCH
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
FX ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAVE SYNTH OCTAVE
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
OD/DS ON/OFF
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
33
TREMOLO
ALT TUNE ON/OFF
OSC PORTAMENTO
CHORUS ON/OFF
ALT TUNE ON/OFF
MIXER BALANCE
CHORUS ON/OFF
REVERB ON/OFF
TAP TEMPO
OSC PORTAMENTO
REVERB ON/OFF
OSC PITCH1
OSC PITCH2
WAH
WAH
WAH
WAH
WAH
WAH
WAH
WAH
WAH
WAH
STRBEND CONTROL
WAH
WAH
OSC PITCH2
WAH
WAH
WAH
FXFLANGER MANUAL
WAH
WAH
FOOT VOL
WAH
WAH ON/OFF
FOOT VOL
WAH
WAH ON/OFF
WAH ON/OFF
FOOT VOL
FOOT VOL
WAH
WAH
STRBEND CONTROL
ALT TUNE ON/OFF
FOOT VOL
OFF
WAH ON/OFF
FOOT VOL
FOOT VOL
OSC FLTR RESO
FOOT VOL
FOOT VOL
OSC FLTR RESO
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
WAH
DELAY ON/OFF
OD/DS ON/OFF
FLANGER ON/OFF
ALT TUNE ON/OFF
OSC SYNTH HOLD
REVERB ON/OFF
OSC PITCH2
MDL STRING LEVEL6
AMP SOLO SW
38
BASS SEQ.
SYNTH
OSC SYNTH
ON
ON
CORE METAL
TAP TEMPO
39
40
TE > OPEN G
L4 BALLADE
E. GTR
E. GTR
TE
L4
ON
ON
OFF
OFF
COMBO CRUNCH
NATURAL CLEAN
41
RICK 12str
E. GTR
RICK
ON
OFF
CLEAN TWIN
42
CRYSTAL BELL
POLY FX
CRYSTAL
ON
ON
NATURAL CLEAN
ALT TUNE ON/OFF
EG TYPE
CHORUS ON/OFF
DELAY ON/OFF
POLYFX TYPE
43
LASER BEAM
SYNTH
OSC SYNTH
ON
OFF
NATURAL CLEAN
DELAY ON/OFF
44
SOFT BRASS
SYNTH
OSC SYNTH
ON
OFF
NATURAL CLEAN
OSC PITCH2
NORMAL PU ON/OFF
OD/DS ON/OFF
EQ ON/OFF
OSC SYNTH HOLD
45
SQR BELL
SYNTH
OSC SYNTH
ON
ON
COMBO CRUNCH
FX ROTARY SPEEDSELECT
DELAY ON/OFF
LED ON/OFF
46
47
48
49
WIDE MOD CLN
LP+STACK
SuperModlate
SLOW PAD
POLY FX
E. GTR
POLY FX
POLY FX
RICH MODULATION
LP
RICH MODULATION
SLOW PAD
ON
ON
ON
ON
OFF
OFF
ON
OFF
NATURAL CLEAN
MS1959
JC-120
FULL RANGE
COMPRESSOR ON/OFF
OD/DS ON/OFF
POLY FX TYPE
PHASER ON/OFF
DELAY ON/OFF
DELAY ON/OFF
WAH ON/OFF
DELAY ON/OFF
WAH ON/OFF
WAH ON/OFF
EQ ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH
WAH
NORMAL PU VOL
WAH
WAH
FOOT VOL
WAH
No.
50
51
52
53
54
55
Name
CHO STRINGS
SYN MIX SOLO
STRINGS
EXP PDL FLOW
COSMIC DRIVE
LATE 60s SET
Modeling Type
TYPE
Modeling ON/OFF
Normal PU ON/OFF
PREAMP
CTL1
CTL2
EXP1 SW
EXP1 OFF
EXP1 ON
SYNTH
SYNTH
SYNTH
SYNTH
SYNTH
E. GTR
OSC SYNTH
WAVE SYNTH
OSC SYNTH
OSC SYNTH
OSC SYNTH
CLA ST
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
OFF
NATURAL CLEAN
POWER DRIVE
CLEAN TWIN
BG LEAD
MS1959
MS1959
MODELING ON/OFF
PITCH SHIFTER ON/OFF
DELAY ON/OFF
NORMAL PU ON/OFF
DELAY ON/OFF
FX TYPE
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
WAH
WAH
WAH
WAH
WAH
WAH
56
JAZZ GUITAR
E. GTR
L4
ON
OFF
NATURAL CLEAN
DELAY ON/OFF
WAH ON/OFF
FOOT VOL
WAH
57
GB45 BASIC
ACOUSTIC
GB45
ON
ON
TWEED
ALT TUNE ON/OFF
WAH ON/OFF
MIXER BALANCE
WAH
58
12st FRETLSS
E. GTR
FRETLESS
ON
OFF
NATURAL CLEAN
ALT TUNE ON/OFF
WAH ON/OFF
FOOT VOL
WAH
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
MONO SYN DRV
RT CRYSTAL
FRETLSS BASS
BUBBLE CRNCH
HVY FUNK DRV
TWAH STRINGS
MA28 SET
B-BENDER TL
LIP & DADGAD
NICE NYLON
12str RICK
BANJO0CTL=G
[Gt] SuperCln
[Gt] JAZZ CLN
[Gt] RetroTrm
[Gt] Ukcrunch
[Gt] FiltrFzz
[Gt] OD1+1959
[Gt] RT CRNCH
[Gt] SHOEGAZE
[Gt] GATE REV
[Gt] CTL BEND
SYNTH
POLY FX
E. BASS
SYNTH
SYNTH
SYNTH
ACOUSTIC
E. GTR
E. GTR
ACOUSTIC
E. GTR
ACOUSTIC
–
–
–
–
–
–
–
–
–
–
OSC SYNTH
CRYSTAL
FRETLESS
OSC SYNTH
WAVE SYNTH
OSC SYNTH
MA28
TE
LIPS
NYLON
RICK
BANJO
–
–
–
–
–
–
–
–
–
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
ON
OFF
OFF
ON
ON
ON
ON
OFF
OFF
OFF
ON
OFF
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
POWER DRIVE
NATURAL CLEAN
BASS CLEAN
STACK CRUNCH
EXTREME LEAD
NATURAL CLEAN
DELUXE CRUNCH
DELUXE CRUNCH
COMBO CRUNCH
FULL RANGE
VO DRIVE
FULL RANGE
JC-120
NATURAL CLEAN
DELUXE CRUNCH
VO LEAD
COMBO CRUNCH
MS1959
MATCH DRIVE
COMBO CRUNCH
BGNR UB METAL
EXTREME LEAD
OD/DS ON/OFF
DELAY ON/OFF
DELAY ON/OFF
DELAY ON/OFF
WAVE SYNTH OCTAVE
DELAY ON/OFF
12-STRING ON/OFF
AMP SOLO SW
EG TYPE
DELAY ON/OFF
CHORUS ON/OFF
REVERB ON/OFF
CHORUS ON/OFF
REVERB ON/OFF
DELAY ON/OFF
CHORUS ON/OFF
CHORUS ON/OFF
DELAY ON/OFF
FX ROTARY SPEEDSELECT
REVERB ON/OFF
PITCH SHIFTER
FX P. BND POSITION
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
NORMAL PU ON/OFF
LED ON/OFF
WAH ON/OFF
REVERB ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
LED ON/OFF
WAH ON/OFF
WAH ON/OFF
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
WAH
WAH
WAH
WAH
WAH
WAH
MIXER BALANCE
STRING BEND CTL
WAH
REVERB E.LEVEL
WAH
WAH
WAH
WAH
WAH
WAH
WAH
WAH
WAH
DELAY TIME
WAH
WAH
81
[Gt] CLEAN 1
–
–
OFF
ON
NATURAL CLEAN
82
[Gt] CLEAN 2
–
–
OFF
ON
JC-120
DELAY ON/OFF
NORMAL PU ON/OFF
FLANGER ON/OFF
TAP TEMPO
PHASER ON/OFF
OD/DS ON/OFF
OD/DS ON/OFF
CHORUS ON/OFF
12-STRING ON/OFF
NORMAL PU ON/OFF
DELAY ON/OFF
NORMAL PU ON/OFF
FX ROTARY SPEEDSELECT
OD/DS ON/OFF
OD/DS ON/OFF
DELAY ON/OFF
T. WAH ON/OFF
ALT TUNE ON/OFF
EG TYPE
ALT TUNE ON/OFF
ALT TUNE ON/OFF
DELAY ON/OFF
ALT TUNE ON/OFF
LIMITER ON/OFF
DELAY ON/OFF
TREMOLO ON/OFF
LIMITER ON/OFF
OD/DS ON/OFF
OD/DS ON/OFF
REVERB ON/OFF
DELAY ON/OFF
FX PITCH SHIFTER PITCH1
FX P. BND POSITION
OD/DS ON/OFF
DELAY ON/OFF
CHORUS ON/OFF
83
[Gt] CLEAN 3
–
–
OFF
ON
CLEAN TWIN
PHASER ON/OFF
84
[Gt] CRUNCH 1
–
–
OFF
ON
COMBO CRUNCH
85
[Gt] CRUNCH 2
–
–
OFF
ON
DELUXE CRUNCH
86
[Gt] CRUNCH 3
–
–
OFF
ON
VO DRIVE
87
[Gt] DRIVE 1
–
–
OFF
ON
POWER DRIVE
88
[Gt] DRIVE 2
–
–
OFF
ON
BG LEAD
89
[Gt] DRIVE 3
–
–
OFF
ON
MS1959
90
91
92
93
94
95
96
97
98
99
[Gt] BEND +/Init Patch
Init Patch
Init Patch
Init Patch
Init Patch
Init Patch
Init Patch
Init Patch
Init Patch
–
E. GTR
E. GTR
E. GTR
E. GTR
E. GTR
E. GTR
E. GTR
E. GTR
E. GTR
–
CLA ST
CLA ST
CLA ST
CLA ST
CLA ST
CLA ST
CLA ST
CLA ST
CLA ST
OFF
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
EXTREME LEAD
NATURAL CLEAN
NATURAL CLEAN
NATURAL CLEAN
NATURAL CLEAN
NATURAL CLEAN
NATURAL CLEAN
NATURAL CLEAN
NATURAL CLEAN
NATURAL CLEAN
OD/DS ON/OFF
DELAY ON/OFF
OD/DS ON/OFF
DELAY ON/OFF
OD/DS ON/OFF
DELAY ON/OFF
OD/DS ON/OFF
DELAY ON/OFF
OD/DS ON/OFF
DELAY ON/OFF
OD/DS ON/OFF
DELAY ON/OFF
DELAY ON/OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
CHORUS ON/OFF
WAH ON/OFF
FOOT VOL
WAH
DELAY ON/OFF
DELAY ON/OFF
AMP TYPE
AMP LEVEL
WAH ON/OFF
FOOT VOL
WAH
WAH ON/OFF
FOOT VOL
WAH
CHORUS ON/OFF
WAH ON/OFF
FOOT VOL
WAH
CHORUS ON/OFF
WAH ON/OFF
FOOT VOL
WAH
CHORUS ON/OFF
WAH ON/OFF
FOOT VOL
WAH
CHORUS ON/OFF
WAH ON/OFF
FOOT VOL
WAH
CHORUS ON/OFF
WAH ON/OFF
FOOT VOL
WAH
CHORUS ON/OFF
WAH ON/OFF
FOOT VOL
WAH
FX P. BND PITCH
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
FX ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
WAH ON/OFF
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
FOOT VOL
P. BND POSITION
WAH
WAH
WAH
WAH
WAH
WAH
WAH
WAH
WAH
Copyright © 2014 BOSS CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.
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