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Parameter Guide
10
Reading STOMPBOX Settings into a Patch
Writing Patch Settings into a STOMPBOX
2
MEMO
5
5
This effect sound is mono.
This effect sound is output with two channels.
5
These effects take a mono input and output it on two channels.
* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.
Copyright © 2020 ROLAND CORPORATION
Virtual Expression Pedal System (Internal Pedal / Wave Pedal)
The edit screens show the block configuration (effect chain) of all effects provided by the GT-1000, as well as the output and send/ return. You can edit from this effect chain display by selecting the block that you want to edit.
1
From the edit screen, you can long-press knob [6] to see a list of all parameters of the selected block. You can edit the parameters from this list.
The edit screen (effect chain) appears.
2
1
Use the PAGE [
K
] [
J
] buttons to switch between lists of parameters.
Use the PAGE [
K
] [
J
] buttons to switch
By moving blocks such as effects, output, and send/return, you can freely change the order in which the effects are placed, or arrange them in parallel.
The selected block is enclosed by a thick frame.
* By pressing knob [6] you can turn the selected effect on/off.
Effects that are off are shown in gray.
ON OFF
3
1
The effect chain is shown.
2
3
The selected block moves left or right.
Use the PAGE [
K
] [
J
] buttons to switch between the parameters that you want to edit. The current page is indicated in the lower center of the screen.
* The number of parameters and pages differs depending on the effect.
3
4
Basic Operation
Your preferred settings for each effect can be saved as a “STOMPBOX.”
You can select these saved settings and use them to create your sound just as though you were connecting compact pedal effects.
The STOMPBOX data is common to all patches; this means that all patches using the same STOMPBOX can be edited simultaneously.
1
2
3
K
J
4
The STOMPBOX select window appears.
1
2
3
K
J
4
The STOMPBOX select window appears.
5
6
7
Reference
For details on naming the STOMPBOX, refer to “Editing a name”
5
6
Here you can make settings that are common to the entire GT-1000
(system parameters).
1
1
Use the PAGE [
K
] [
J
] buttons to switch between lists of parameters.
1
2
3
K
J
4
The STOMPBOX select window appears.
5
6
The contents of the STOMPBOX are recalled into the patch.
You can edit the patch without modifying the contents of the
STOMPBOX.
2
A sub-menu appears.
You can use the PAGE [
K
] [
J
] buttons to see additional items.
3
4
Use the PAGE [
K
] [
J
] buttons to switch between lists of parameters.
This is an effect that produces a long sustain by evening out the volume level of the input signal.
Parameter
ON/OFF
TYPE
Value
OFF, ON
BOSS COMP
X-COMP
D-COMP
ORANGE
STEREO COMP
Explanation
Turns this effect on/off.
This models a BOSS CS-3.
This uses MDP (Multi-Dimensional
Processing) to obtain a consistently natural playing feel and sound that responds to the pitch range and dynamics of your phrase.
This models a MXR DynaComp.
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
This selects a stereo compressor.
THRESHOLD
*1
SUSTAIN *2
ATTACK
LEVEL
TONE
RATIO
DIRECT MIX
X-BASS COMP
0–100
0–100
0–100
0–100
-50–+50
1:1–INF:1
0–100
This is a compressor for bass that uses MDP
(Multi-Dimensional Processing).
Adjust this as appropriate for the input signal. When the input signal level exceeds this threshold level, compression will be applied.
Adjusts the range (time) over which lowlevel signals are boosted. Larger values will result in longer sustain.
Adjusts the strength of the attack when picking.
Adjusts the volume.
Adjusts the tone.
Selects the compression ratio.
Adjusts the volume of the direct sound.
*1 Setting available when TYPE is set to X-BASS COM.
*2 Not shown if TYPE is set to X-BASS COMP.
This effect distorts the sound to create long sustain.
Parameter
ON/OFF
TYPE
DRIVE
TONE
LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
Value Explanation
OFF, ON Turns this effect on/off.
Refer to “DISTORTION 1, 2 TYPE” (p. 5)
0–120 Adjusts the depth of distortion.
-50–+50
0–100
-50–+50
Adjusts the tone.
Adjusts the volume of the effect sound.
Adjusts the tone for the low frequency range.
Turning this to the left (counterclockwise) produces a sound with the low end cut; turning it to the right boosts the low end in the sound.
0–100
OFF, ON
0–100
Adjusts the volume of the direct sound.
The tone to one suitable for solos.
Adjusts the volume level when the SOLO SW is
ON.
DISTORTION 1, 2 TYPE
This is a list of distortion types that can be selected for DISTORTION 1, 2
Type Explanation
MID BOOST
This is a booster with unique characteristics in the midrange.
Making the connection before the AIRD PREAMP produces sound suitable for solos.
CLEAN BOOST
This not only functions as a booster, but also produces a clean tone that has punch even when used alone.
TREBLE BOOST
This is a booster that has bright characteristics.
CRUNCH
NATURAL OD
WARM OD
A lustrous crunch sound with an added element of amp distortion.
This is an overdrive sound that provides distortion with a natural feeling.
This is a warm overdrive.
FAT DS
LEAD DS
METAL DS
OCT FUZZ
A distortion sound with thick distortion.
Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.
This is a distortion sound that is ideal for performances of heavy riffs.
A fuzz sound with rich harmonic content.
A-DIST
X-OD
X-DIST
BLUES OD
OD-1
T-SCREAM
TURBO OD
DIST
CENTA OD
RAT
GUV DS
DIST+
This uses MDP technology to obtain ideal distortion in all ranges of the guitar, from low to high.
This is an overdrive that uses MDP to obtain the distortion that’s most appropriate in each pitch range.
This is a distortion that uses MDP to obtain the distortion that’s most appropriate in each pitch range.
This is a crunch sound of the BOSS BD-2.
This produces distortion that faithfully reproduces the nuances of picking.
This models the sound of the BOSS OD-1.
This produces sweet, mild distortion.
This models an Ibanez TS-808.
This is the high-gain overdrive sound of the BOSS OD-2.
This gives a basic, traditional distortion sound.
This models a KLON CENTAUR.
METAL ZONE
HM-2
METAL CORE
‘60S FUZZ
This models a Proco RAT.
This models a Marshall GUV’ NOR.
This models the sound of the MXR DISTORTION+.
This models the sound of the BOSS MT-2.
It produces a wide range of metal sounds, from old style to slash metal.
This models the sound of the BOSS HM-2.
It produces distinctive cranked-up distortion sound with compression.
This is the sound of the BOSS ML-2 which is ideal for high speed metal riffs.
This models a FUZZFACE.
It produces a fat fuzz sound.
MUFF FUZZ
BASS OD
BASS DS
BASS MT
BASS FUZZ
HI BAND DRIVE
X-BASS OD
BASS DRV
BASS DI
This models an Electro-Harmonix Big Muff π.
Overdrive tuned especially for use with basses.
Distortion tuned especially for use with basses.
Wild, radical distortion sound.
Fuzz tuned especially for use with basses.
With this effect, distortion is applied only to the high frequency sounds, and not to the sounds in the low frequency range.
This effect uses MDP to provide ideal distortion in all pitch ranges of the bass, from low to high.
This models a TECH21 SANSAMP BASS DRIVER DI.
This models a MXR Bass D.I.+.
5
6
Effect
This is an amp that uses BOSS’s proprietary cutting-edge AIRD
(Augmented Impulse Response Dynamics) technology to simulate every detail of a guitar amp as a unified instrument, including the response and operation of the guitar amp’s circuit and the interactions between all parts that affect the sound.
Parameter
ON/OFF
TYPE
GAIN
SAG
RESONANCE
LEVEL
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
GAIN SW
SOLO SW
SOLO LEVEL
Value Explanation
OFF, ON Turns this effect on/off.
Refer to “AIRD PREAMP TYPE List” (p. 6)
0–120
-10–+10
-10–+10
Adjusts the distortion of the amp.
Adjusts the amount by which compression changes in response to the power amp.
Adjusts the amount by which dynamics is affected by the interaction between the power amp and the speaker transformer.
0–100
0–100
0–100
0–100
0–100
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.
OFF, ON
LOW,
MIDDLE,
HIGH
OFF, ON
0–100
Turns the bright setting on/off.
* The BRIGHT setting is available only when certain AIRD PREAMP TYPE settings are selected.
Provides for selection from three levels of distortion: LOW, MIDDLE, and HIGH. Distortion will successively increase for settings of LOW, MIDDLE and HIGH.
* The sound of each Type is created on the basis that the Gain is set to MIDDLE. So, normally set it to MIDDLE.
The tone to one suitable for solos.
Adjusts the volume level when the SOLO SW is ON.
AIRD PREAMP TYPE List
Category
TYPE
(ADVANCED AMP)
TYPE (CLASSICS)
TYPE
(ADVANCED AMP)
TYPE (CLASSICS)
Type
TRANSPARENT
NATURAL
BOUTIQUE
SUPREME
MAXIMUM
JUGGERNAUT
X-CRUNCH
X-HI GAIN
X-MODDED
X-DRIVE BASS
CONCERT
Explanation
An amp with a broad frequency range and an extremely flat response.
Good for acoustic guitar.
An unembellished, clean sound that minimizes the amp’s idiosyncrasies, such as its trebly character and boomy low end.
Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps.
Great-feeling crunch sound that responds to the nuances of your picking while taking advantage of the distinctive character of a 4x12” speaker cabinet.
An amp that delivers the distinctively great response and tone of a vintage
Marshall, while making it even higher gain.
A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound.
Crunch sound that uses MDP to deliver a crisp tone from all strings.
High-gain sound that uses MDP to obtain high-gain sound with a wide range and a great-feeling sense of separation.
Core sound that uses MDP to preserve the definition of the sound even with extreme gain.
JC-120
TWEED COMBO
This models the sound of the Roland
JC-120.
TWIN COMBO This models a Fender Twin Reverb.
DELUXE COMBO This models a Fender Deluxe Reverb.
This models a Fender Bassman 4 x
10” Combo.
DIAMOND AMP
BRIT STACK
RECTI STACK
MATCH COMBO
BG COMBO
ORNG STACK
BGNR UB METAL
This models a VOX AC30.
This models a Marshall 1959.
Models the sound of the Channel 2
MODERN Mode on the MESA/Boogie
DUAL Rectifier.
This models the sound input to left input on a Matchless D/C-30.
This models the sound of the MESA/
Boogie combo amp.
This models the dirty channel of an
ORANGE ROCKERVERB.
This models the sound that models the high-gain channel of a Bogner
Uberschall.
NATURAL BASS Uncolored clean sound for bass.
High-gain sound for bass, using MDP to provide wide range and a goodsounding sense of separation.
This models the Ampeg SVT.
This effect reduces the noise and hum picked up by guitar pickups.
Since it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound.
Parameter
ON/OFF
THRESHOLD
RELEASE
DETECT
Value Explanation
OFF, ON
0–100
INPUT
NS INPUT
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.
0–100
Adjusts the time from when the noise suppressor begins to function until the noise level reaches “0.”
This controls the noise suppressor based on the volume level for the point specified in Detect.
Input volume from input jack.
* Ordinarily, DETECT should be set to “INPUT.”
Noise suppressor input volume.
* When connected as illustrated below, and you want to prevent a spatial-type effects sound
(such as a delay sound) from being eradicated by the NS, you should set DETECT to “NS INPUT.”
DLY NS
(Spatial-type effect)
Volume after passing through Foot Volume.
* If you want to use FV (Foot Volume) in place of the guitar’s volume control, you need to set
DETECT to “FV OUT.”
FV OUT
INPUT
FV NS
Foot Volume
Effect
Adjusts the tone.
Parameter
ON/OFF
TYPE
Value
OFF, ON
PARAMETRIC
GRAPHIC
Explanation
Turns this effect on/off.
You can adjust the tone character in four bands.
You can adjust the tone character in ten bands.
PARAMETRIC
Adjusts the tonal quality. You can adjust the tone character in four bands.
Parameter Value
LOW GAIN
HIGH GAIN
LEVEL
LOW-MID
FREQ
LOW-MID Q
LOW-MID
GAIN
HIGH-MID
FREQ
HIGH-MID Q
HIGH-MID
GAIN
LOW CUT
HIGH CUT
-20–+20dB
-20–+20dB
-20–+20dB
20.0Hz–16.0kHz
0.5–16
-20–+20dB
20.0Hz–16.0kHz
0.5–16
-20–+20dB
FLAT,
20.0Hz–16.0kHz
20.0Hz–16.0kHz
FLAT
Explanation
Adjusts the tone for the low frequency range.
Adjusts the tone for the high frequency range.
Adjusts the overall volume level of the equalizer.
Specifies the center of the frequency range that will be adjusted by the LOW-
MID GAIN.
Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ.
Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
Specifies the center of the frequency range that will be adjusted by the HIGH-
MID GAIN.
Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ.
Higher values will narrow the area.
Adjusts the low-middle frequency range tone.
This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect.
This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
LEVEL
31.5Hz
63Hz
125Hz
250 Hz
500 Hz
1 kHz
2 kHz
4 kHz
8 kHz
16 kHz
GRAPHIC
Adjusts the tonal quality. You can adjust the tone character in ten bands.
Parameter Value
-20–+20dB
Explanation
Adjusts the overall volume level of the equalizer.
-20–+20dB Adjust the volume of each frequency band.
7
8
Effect
This is a delay with a maximum delay time of 2,000 ms. This effect is a useful way of adding depth to the sound.
Parameter
ON/OFF
TIME
FEEDBACK
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
BPM
Value
OFF, ON
1ms–2000ms,
BPM
`
–
Œ
0–100
20.0Hz–20.0kHz
FLAT
0–120
0–100
40–250
Explanation
Turns this effect on/off.
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.
This sets the frequency at which the high cut filter begins to take effect.
When FLAT is selected, the high cut filter will have no effect.
Adjusts the volume of the delay sound.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC
This produces a variety of delay sounds ranging from simple effects to richly idiosyncratic sounds.
Parameter
ON/OFF
Value Explanation
OFF, ON
MONO
Turns this effect on/off.
This selects which type of delay.
* If you switch patches with the Type set to DUAL and then begin to play immediately after the patches change, you may be unable to attain the intended effect in the first portion of what you perform.
* The stereo effect is cancelled if a mono effect or AIRD PREAMP is connected after a stereo delay effect.
This is a simple mono delay.
PAN
This delay is specifically for stereo output. This allows you to obtain the tap delay effect that divides the delay time, then deliver them to L and
R channels.
EFFECT LEVEL
TAP TIME
OUTPUT R
INPUT
TIME
OUTPUT L
TYPE
STEREO 1
STEREO2
ANALOG
ANALOG ST
TAPE
REVERSE
FEEDBACK
The direct sound is output from the left channel, and the effect sound is output from the right channel.
This is a stereo-in/out delay.
This gives a mild analog delay sound. The delay time can be set within the range of 12 to 1,200 ms.
This gives a mild analog delay sound. The delay time can be set within the range of 12 to 1,200 ms.
The direct sound is output from the left channel, and the effect sound is output from the right channel.
Provides the characteristic wavering sound of the tape echo.
This produces an effect where the sound is played back in reverse.
SHIMMER
DUAL
WARP
Delay with pitch-shifted sound mixed in.
A delay comprising two different delays connected either in series or in parallel.
Produces a dream-like sound.
TWIST
Produces an aggressive sense of rotation. Using this in conjunction with distortion will produce an even wilder sense of rotation.
SPACE ECHO
This models the sound of the Roland RE-201.
TAPE ECHO
PX This models the sound of the Maestro Echoplex.
BIN DRUM
ECHO This models the sound of the Binson Echorec2.
* The COMMON parameters are not shown if TYPE is set to TWIST.
Parameter
TIME
FEEDBACK
HIGH CUT
20.0Hz–
20.0kHz
FLAT
EFFECT LEVEL
0–120
MOD RATE
0–100
MOD DEPTH
DUCK SENS
DUCK PRE
DEPTH
DUCK POST
DEPTH
1ms–2000ms,
BPM
`
–
Œ
DIRECT LEVEL
0–100
BPM
Value
0–100
0–100
0–100
0–100
0–100
40–250
Explanation
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.
This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats.
This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
Adjusts the volume of the delay sound.
Adjusts the modulation rate of the delay sound.
Adjusts the modulation depth of the delay sound.
Adjusts the sensitivity at which the volume is automatically adjusted according to the input.
Higher values allow the adjustment to occur in response to lower volumes.
The volume being “input” to the delay is automatically reduced when the input sound is loud. The amount of reduction increases as this setting approaches 100.
The volume being “output” to the delay is automatically reduced when the input sound is loud. The amount of reduction increases as this setting approaches 100.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC CLOCK”
Parameter
TAP TIME
Value
0–100%
Explanation
Adjusts the delay time of the right channel delay.
This setting adjusts the R channel delay time relative to the L channel delay time (considered as 100%).
Parameter
HEAD
Value
1, 1+2, 1+3,
2+3, 1+2+3
Explanation
Selects the combination playback heads.
Playback heads 2/3 provide delay times that are two times or three times as long as playback head 1.
Effect
Parameter Value
AUTO TRIGGER
OFF, ON
Explanation
If this is ON, the effect is produced according to your performance.
Parameter
PITCH
Value
-24–+24
PITCH BAL
PITCH
FEEDBACK
0–100
0–100
Explanation
Lets you freely specify the amount of pitch shift for the delay.
Adjusts the balance between the pitch-shifted sound that is input to the delay and the direct sound.
Adjusts the amount of feedback for the delay that is applied to the direct sound.
Parameter
MODE
Value
SERIES
PARALLEL
Explanation
This is a delay comprising two different delays connected in series.
D1 D2
This is a delay comprising two delays connected in parallel.
D1
D2
L/R
This delay lets you specify the L and R channels independently.
D1 L
D2 R
D1 TYPE
D2 TYPE
D1 TIME
D2 TIME
D1 FEEDBACK
D2 FEEDBACK
D1 HIGH CUT
D2 HIGH CUT
D1 EFFECT LEVEL
D2 EFFECT LEVEL
MONO
PAN
ANALOG
TAPE
1ms–2000ms,
BPM
`
–
Œ
0–100
20.0Hz–
20.0kHz,
FLAT
0–120
This is a simple mono 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.
This gives a mild analog delay sound.
This setting provides the characteristic wavering sound of the tape echo.
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 amount of feedback of the DELAY
1 (or DELAY 2). A higher value will increase the number of the delay repeats.
This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect.
Adjusts the volume of the DELAY 1 (or DELAY
2).
9
Effect
Parameter
TRIGGER
LEVEL
Value
OFF, ON
0–100
Explanation
If this is ON, the WARP effect is applied.
Adjusts the volume of the effect sound.
Parameter
MODE
TRIGGER
RISE TIME
FALL TIME *1
FADE TIME *2
LEVEL
Value
RISE
RISE
0
0
OFF, ON
0–100
0–100
0–100
0–100
FALL
FADE
Explanation
Rotation stops when you switch TRIGGER from
ON to OFF.
When you switch TRIGGER from ON to OFF, fadeout occurs while continuing the rotation.
The TWIST effect is applied when you turn this
ON.
This parameter adjusts the amount of time it is to take for the effect to transition to the maximum.
Adjusts the time for the rotation to stop when
MODE is set to RISE
0
FALL.
Adjusts the time to fade-out when MODE is set to
RISE
0
FADE.
Adjusts the volume of the effect sound.
*1 Setting available when MODE is set to RISE
0
FALL.
*2 Setting available when MODE is set to RISE
0
FADE.
Parameter
HEAD
WOW &
FLUTTER
Value
1, 1+2, 1+3, 2+3,
1+2+3
Explanation
Selects the combination playback heads.
Playback heads 2/3 provide delay times that are two times or three times as long as playback head 1.
0–100 Adjusts the wow & flutter.
Parameter
WOW &
FLUTTER
Value
0–100
Explanation
Adjusts the wow & flutter.
Parameter
HEAD
SELECTOR
WOW &
FLUTTER
Value
1, 2, 3, 4, 1+2,
2+3, 3+4, 1+3,
2+4, 1+2+3,
2+3+4, 1+2+3+4
Explanation
Selects the combination playback heads.
ECHO, REPEAT,
SWELL
Selects the operating mode of the delay.
Depending on mode that’s selected, the
FEEDBACK will not work in some cases.
0–100 Adjusts the wow & flutter.
In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
Parameter Value Explanation
ON/OFF
TYPE
RATE
DEPTH
PRE-DELAY
EFFECT LEVEL
OFF, ON Turns this effect on/off.
Selection for the chorus mode.
MONO
STEREO 1
STEREO2
DUAL
0–100,
BPM
Œ
0–100
–
`
This chorus effect outputs the same sound from both L channel and R channel.
This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the
R channel.
This is a stereo chorus effect that adds different chorus sounds to L channel and R channel.
This lets you apply chorus independently to the L and R channels.
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.
0.0ms–40.0ms
0–100
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).
Adjusts the volume of the effect sound.
Produces a typical chorus effect.
TRI
WAVEFORM
Produces a deeper sense of modulation.
SINE
LOW CUT
HIGH CUT
DIRECT LEVEL
BPM
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
0–100
40–250
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 direct sound.
Setting this to 0 cuts the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 42) to
“INTERNAL.”
10
Parameter
RATE
RATE 2
DEPTH
DEPTH 2
PRE-DELAY 1
PRE-DELAY 2
EFFECT LEVEL 1
EFFECT LEVEL 2
WAVEFORM
WAVEFORM 2
LOW CUT 1
LOW CUT 2
HIGH CUT 1
HIGH CUT 2
DIRECT LEVEL
BPM
OUTPUT MODE
Value
0–100,
BPM
Œ
–
`
0–100
0.0ms–40.0ms
0–100
Explanation
Adjusts the rate of the chorus effect.
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).
Adjusts the volume of the effect sound.
Produces a typical chorus effect.
TRI
Produces a deeper sense of modulation.
SINE
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
0–100
40–250
MONO
STEREO
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 direct sound.
Setting this to 0 cuts the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER
BPM synchronizes to the external
MIDI devices tempo, making it impossible to set the MASTER
BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK”
This setting is appropriate for mono output.
Produces a rich spaciousness when stereo output is used.
Effect
With FX1, FX2, FX3 and FX4, you can select the effect to be used from the following. You can select the same effect for FX1, FX2, FX3 and
FX4.
* To use FX4, turn FX EXPANSION ( p. 28 ) ON.
Parameter
ON/OFF
TYPE
Value Explanation
OFF, ON Turns this effect on/off.
Refer to FX1/FX2/FX3/FX4 TYPE
FX1/FX2/FX3/FX4 TYPE
This is a list of the effects that can be selected for FX1/FX2/FX3/FX4.
Effect Name Explanation
AC GUITAR SIM
AC RESONANCE
AUTO WAH
This effect simulates the tonal character of an acoustic guitar.
This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.
This changes the filtering over a periodic cycle, providing an automatic wah effect.
CHORUS
CHORUS BASS
In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
CLASSIC-VIBE
COMPRESSOR
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.
This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.
DEFRETTER
This simulates a fretless guitar.
DEFRETTER BASS
This simulates a fretless bass.
DISTORTION
This effect distorts the sound to obtain long sustain.
Generates feedback performance.
FEEDBACKER
FLANGER
FLANGER BASS
The flanging effect gives a twisting, jet-airplane-like character to the sound.
HARMONIST
Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales.
This can create human vowel-like sounds.
HUMANIZER
OCTAVE
OCTAVE BASS
This adds a note one octave lower and a note two octaves lower, creating a richer sound.
OVERTONE
PAN
PHASER
PITCH SHIFTER
RING MOD
ROTARY
SITAR SIM
SLICER
This effect uses MDP technology to add new harmonics to the sound, producing resonance and richness that was not present in the original sound.
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.
By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.
This effect changes the pitch of the original sound (up or down) within a range of two octaves.
This creates a bell-like sound by ring-modulating the guitar sound with the signal from the internal oscillator. The sound can be unmusical and lack distinctive pitches.
This produces an effect like the sound of a rotary speaker.
This simulates the sound of the sitar.
This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.
SLOW GEAR
SLOW GEAR BASS
This produces a volume-swell effect (“violin-like” sound).
SOUND HOLD
S-BEND
TOUCH WAH
You can have sound played on the guitar be held continuously. This effect allows you to perform the melody in the upper registers while holding a note in the lower registers.
Applies intense bending.
You can produce a wah effect with the filter changing in response to the guitar level.
11
Effect
Effect Name
TOUCH WAH BASS
TREMOLO
VIBRATO
Explanation
You can produce a wah effect with the filter changing in response to the bass level.
Tremolo is an effect that creates a cyclic change in volume.
This effect creates vibrato by slightly modulating the pitch.
This effect simulates the tonal character of an acoustic guitar.
Parameter
BODY
LOW
HIGH
LEVEL
Value
0–100
-50–0–+50
-50–0–+50
0–100
Explanation
Adjusts the body resonance.
Specifies the sense of volume for the lowfrequency range.
Specifies the sense of volume for the highfrequency range.
Specifies the volume of the effect.
Parameter
FREQUENCY
RESONANCE
WAVEFORM
DIRECT MIX
Value
0–100
0–100
TRI, SINE
0–100
BPM
40–250
Explanation
Adjusts the center frequency of the Wah effect.
Adjusts the way in which the wah effect applies to the area around the center frequency.
Selects a wave type.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 42) to
“INTERNAL.”
This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.
Parameter
TYPE
RESONANCE
TONE
LEVEL
Value
NATURAL
WIDE
BRIGHT
0–100
-50-+50
0–100
Explanation
A natural and uncolored sound.
Mellow sound that emphasizes the body resonance
Brilliant sound with an extended highfrequency range
Use this knob to adjust the balance between the body resonance effect of the acoustic guitar and the direct sound of the pickup.
Adjusts the tone.
Specifies the volume of the effect.
This changes the filtering over a periodic cycle, providing an automatic wah effect.
Parameter
FILTER MODE
RATE
DEPTH
EFFECT LEVEL
12
Value Explanation
Selects the wah mode.
LPF
HPF
Low pass filter. Passes only the low-frequency region.
High pass filter. Passes only the highfrequency region.
BPF
0–100,
BPM
Œ
0–100
0–100
–
`
Band pass filter. Passes only the specified frequency region.
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 of the effect sound.
In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.
Parameter
ON/OFF
TYPE
RATE
DEPTH
PRE-DELAY *1
Value
OFF, ON
STEREO2
DUAL
PRIME
Explanation
Turns this effect on/off.
Selection for the chorus mode.
MONO
STEREO 1
This chorus effect outputs the same sound from both L channel and R channel.
This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the
R channel.
This is a stereo chorus effect that adds different chorus sounds to L channel and
R channel.
This lets you apply chorus independently to the L and R channels.
This is BOSS’s proprietary chorus sound. It provides spaciousness and depth that were not previously obtainable.
CE-1 CHORUS
The chorus sound of the CE-1.
CE-1 VIBRATO
The vibrato sound of the CE-1.
0–100,
BPM
Œ
0–100
–
`
0.0ms–40.0ms
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).
Parameter
EFFECT LEVEL
Value
0–100
TRI
Explanation
Adjusts the volume of the effect sound.
Produces a typical chorus effect.
WAVEFORM *1
Produces a deeper sense of modulation.
SINE
LOW CUT *1
HIGH CUT *1
DIRECT LEVEL
BPM
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
0–100
40–250
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 direct sound.
Setting this to 0 cuts the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC CLOCK”
*1 Not shown if TYPE is set to CE-1 CHORUS or CE-1 VIBRATO.
Parameter
RATE
RATE 2
DEPTH
DEPTH 2
PRE-DELAY 1
PRE-DELAY 2
EFFECT LEVEL 1
EFFECT LEVEL 2
Value
0–100,
BPM
Œ
–
`
0–100
0.0ms–40.0ms
0–100
Explanation
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).
Adjusts the volume of the effect sound.
Produces a typical chorus effect.
TRI
WAVEFORM
WAVEFORM 2
Produces a deeper sense of modulation.
SINE
LOW CUT 1
LOW CUT 2
FLAT,
20.0Hz–20.0kHz
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.
Parameter
HIGH CUT 1
HIGH CUT 2
DIRECT LEVEL
BPM
OUTPUT MODE
Effect
Value
20.0Hz–20.0kHz,
FLAT
0–100
40–250
MONO
STEREO
Explanation
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 direct sound.
Setting this to 0 cuts the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC
This setting is appropriate for mono output.
Produces a rich spaciousness when stereo output is used.
Parameter
SWEETNESS
BELL
OUTPUT MODE
Value
0–100
0–100
MONO
STEREO
Explanation
Higher values produce a more enveloping sound.
Higher values produce a more brilliant sound.
This setting is appropriate for mono output.
Produces a rich spaciousness when stereo output is used.
Parameter
PREAMP SW
PREAMP GAIN
PREAMP LEVEL
Value
OFF, ON
0–100
0–100
Explanation
Specifies whether the CE-1’s preamp is simulated (ON) or not simulated (OFF).
Adjusts the gain of the preamp. Higher settings will produce distortion.
Adjusts the volume of the preamp.
13
Effect
This is a chorus effect for bass.
Parameter
ON/OFF
TYPE
RATE
DEPTH
EFFECT LEVEL
LOW CUT *1
HIGH CUT *1
BPM
Value Explanation
OFF, ON Turns this effect on/off.
Selection for the chorus mode.
MONO
STEREO 1
STEREO2
0–100,
BPM
Œ
–
`
This chorus effect outputs the same sound from both L channel and R channel.
This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the
R channel.
This is a stereo chorus effect that adds different chorus sounds to L channel and
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.
0–100
0–100
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
40–250
Adjusts the depth of the chorus effect.
* To use it for doubling effect, set the value to 0.
Adjusts the volume of the effect sound.
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 BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC CLOCK”
Although this resembles a phaser effect, it also provides a unique undulation that you can’t get with a regular phaser.
Parameter
MODE
RATE
DEPTH
EFFECT LEVEL
BPM
Value
CHORUS
VIBRATO
0–100,
BPM
Œ
–
`
0–100
0–100
40–250
Explanation
Direct sound and effect sound are mixed and output.
Only effect sound is output.
Adjusts the rate of the 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 effect.
Adjusts the tone.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER
BPM. To enable setting of the MASTER BPM,
set “SYNC CLOCK” (p. 42) to “INTERNAL.”
This is an effect that produces a long sustain by evening out the volume level of the input signal.
Parameter
ON/OFF
TYPE
Value
OFF, ON
BOSS COMP
X-COMP
D-COMP
ORANGE
STEREO COMP
Explanation
Turns this effect on/off.
This models a BOSS CS-3.
This uses MDP to provide a consistently natural playing feel and sound that responds to the pitch range and dynamics of your phrases.
This models a MXR DynaComp.
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
This selects a stereo compressor.
X-BASS COMP
THRESHOLD
*1
SUSTAIN *2
ATTACK
LEVEL
TONE
RATIO
DIRECT MIX
0–100
0–100
0–100
0–100
-50–+50
1:1–INF:1
0–100
This is a compressor for bass that uses MDP.
Adjust this as appropriate for the input signal. When the input signal level exceeds this threshold level, compression will be applied.
Adjusts the range (time) over which lowlevel signals are boosted. Larger values will result in longer sustain.
Adjusts the strength of the attack when picking.
Adjusts the volume.
Adjusts the tone.
Selects the compression ratio.
Adjusts the volume of the direct sound.
*1 Setting available when TYPE is set to X-BASS COM.
*2 Not shown if TYPE is set to X-BASS COMP.
14
This simulates a fretless guitar.
Parameter
SENS
DEPTH
TONE
EFFECT LEVEL
ATTACK
RESONANCE
DIRECT MIX
Value
0–100
0–100
-50–+50
0–100
0–100
0–100
0–100
This simulates a fretless bass.
Parameter
SENS
ATTACK
TONE
EFFECT LEVEL
DIRECT MIX
Value
0–100
0–100
-50–+50
0–100
0–100
Explanation
This controls the input sensitivity of the defretter.
This controls the rate of the harmonics.
Adjusts the amount of blurring between the notes.
Adjusts the volume of the effect sound.
Adjusts the attack of the picking sound.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the direct sound.
Explanation
This controls the input sensitivity of the defretter.
Adjusts the attack of the picking sound.
Adjusts the amount of blurring between the notes.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
This effect distorts the sound to create long sustain.
Parameter
ON/OFF
TYPE
DRIVE
TONE
LEVEL
BOTTOM
DIRECT MIX
SOLO SW
SOLO LEVEL
Value Explanation
OFF, ON Turns this effect on/off.
Refer to “DISTORTION TYPE” (p. 15)
0–120
-50–+50
0–100
Adjusts the depth of distortion.
Adjusts the tone.
Adjusts the volume of the effect sound.
-50–+50
0–100
OFF, ON
0–100
Adjusts the tone for the low frequency range.
Turning this to the left (counterclockwise) produces a sound with the low end cut; turning it to the right boosts the low end in the sound.
Adjusts the volume of the direct sound.
The tone to one suitable for solos.
Adjusts the volume level when the SOLO SW is
ON.
DISTORTION TYPE
This is a list of distortion types that can be selected for DISTORTION.
Type Explanation
MID BOOST
CRUNCH
This is a booster with unique characteristics in the midrange.
Making the connection before the AIRD PREAMP produces sound suitable for solos.
CLEAN BOOST
This not only functions as a booster, but also produces a clean 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 distortion.
Effect
Type
NATURAL OD
WARM OD
FAT DS
LEAD DS
METAL DS
OCT FUZZ
A-DIST
X-OD
X-DIST
BLUES OD
OD-1
T-SCREAM
TURBO OD
DIST
CENTA OD
RAT
GUV DS
DIST+
METAL ZONE
HM-2
METAL CORE
‘60S FUZZ
MUFF FUZZ
BASS OD
BASS DS
BASS MT
BASS FUZZ
HI BAND DRIVE
X-BASS OD
BASS DRV
BASS DI
Explanation
This is an overdrive sound that provides distortion with a natural feeling.
This is a warm overdrive.
A distortion sound with thick distortion.
Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.
This is a distortion sound that is ideal for performances of heavy riffs.
A fuzz sound with rich harmonic content.
This uses MDP technology to obtain ideal distortion in all ranges of the guitar, from low to high.
This is an overdrive that uses MDP to obtain the distortion that’s most appropriate in each pitch range.
This is a distortion that uses MDP to obtain the distortion that’s most appropriate in each pitch range.
This is a crunch sound of the BOSS BD-2.
This produces distortion that faithfully reproduces the nuances of picking.
This models the sound of the BOSS OD-1.
This produces sweet, mild distortion.
This models an Ibanez TS-808.
This is the high-gain overdrive sound of the BOSS OD-2.
This gives a basic, traditional distortion sound.
This models a KLON CENTAUR.
This models a Proco RAT.
This models a Marshall GUV’ NOR.
This models the sound of the MXR DISTORTION+.
This models the sound of the BOSS MT-2.
It produces a wide range of metal sounds, from old style to slash metal.
This models the sound of the BOSS HM-2.
It produces distinctive cranked-up distortion sound with compression.
This is the sound of the BOSS ML-2 which is ideal for high speed metal riffs.
This models a FUZZFACE.
It produces a fat fuzz sound.
This models an Electro-Harmonix Big Muff π.
Overdrive tuned especially for use with basses.
Distortion tuned especially for use with basses.
Wild, radical distortion sound.
Fuzz tuned especially for use with basses.
With this effect, distortion is applied only to the high frequency sounds, and not to the sounds in the low frequency range.
This effect uses MDP to provide ideal distortion in all pitch ranges of the bass, from low to high.
This models a TECH21 SANSAMP BASS DRIVER DI.
This models a MXR Bass D.I.+.
15
Effect
Generates feedback performance.
* Note that the notes you want to apply feedback to must be played singly and cleanly.
Parameter Value
MODE
TRIGGER
DEPTH *1
RISE TIME *2
OCT RISE TIME
*2
FEEDBACK *2
OCT
FEEDBACK*2
VIB RATE *2
VIB DEPTH *2
NORMAL
OSC
OFF, ON
0–100
0–100
0–100
0–100
0–100
0–100
0–100
Explanation
Analyzes the pitch of the guitar sound being input, and then creates a feedback sound.
An artificial feedback sound will be created internally. When OSC is selected, the effect is activated after a single note is played and the note stabilizes. A feedback effect is created when the effect switches on; the feedback disappears when the OSC effect switches off.
Feedback is applied if this is turned ON.
Adjusts the ease with which feedback will occur when the FEEDBACKER is on.
This determines the time needed for the volume of the feedback sound to reach its maximum from the moment the effect is turned on.
This determines the time needed for the volume of the one octave higher feedback sound to reach its maximum from the moment the effect is turned on.
Adjusts the volume of the feedback sound.
Adjusts the volume of the one octave higher feedback sound.
Adjusts the rate of the vibrato when the
FEEDBACKER is on.
Adjusts the depth of the vibrato when the
FEEDBACKER is on.
*1 MODE=NORMAL only
*2 MODE=OSC only
The flanging effect gives a twisting, jet-airplane-like character to the sound.
Parameter
RATE
DEPTH
RESONANCE
MANUAL
TURBO
WAVEFORM
STEP RATE
SEPARATION
EFFECT LEVEL
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
DIRECT MIX
BPM
Value
0–100,
BPM
0–100
0–100
0–100
OFF, ON
TRI, SINE
OFF,
Œ
0–100,
BPM
Œ
–
–
`
`
Explanation
This sets the rate of the flanging effect.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either
1/2 or 1/4 of that time.
Determines the depth of the flanging effect.
Determines the amount of resonance
(feedback). Increasing the value will emphasize the effect, creating a more unusual sound.
Adjusts the center frequency at which to apply the effect.
If this is “ON,” a more intense effect is produced.
Selects the type of wave.
Adjusts the rate of the step function which varies the rotation in a step-wise manner.
Higher settings make the change occur in smaller steps. Turn this “OFF” if you don’t want to use the step function.
0, 15, 30, 45, 60,
75, 90, 105, 120,
135, 150, 165, 180
0–100
Adjusts the diffusion. The diffusion increases as the value increases.
-100–0
-100–0
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
0–100
40–250
Adjusts the volume of the flanger.
Adjusts the amount of feedback for the low-frequency region.
Adjusts the amount of feedback for the high-frequency region.
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 direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC CLOCK”
16
Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to mute all the other strings and play only one note at a time.
* When you are to play the next string while a certain sound is still playing, mute the previous sound and then play the next one with a clear attack. If the unit cannot detect the attack, it may not sound correctly.
* The sensitivity may vary according to the guitar’s TONE knob and pickup type.
Parameter
VOICE
HR1:HARMONY
HR2:HARMONY
Value Explanation
Selects the number of voices for the pitch shift sound.
1VOICE One-voice pitch-shifted sound output in mono.
2MONO
2STEREO
Two-voice pitch-shifted sound (HR1, HR2) output in mono.
Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.
-2oct–+2oct,
USER
This determines the pitch of the sound added to the input sound, when you are making a harmony.
It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set to USER, this parameter sets the user scale number to be used.
The key setting corresponds to the key of the song (
¾
,
²
) as follows.
Major
KEY
C (Am)–
B (G#m)
Minor
Major
HR1:LEVEL
HR2:LEVEL
HR1:PRE-DELAY
HR2:PRE-DELAY
0–300ms,
BPM
`
–
Œ
HR1:FEEDBACK
DIRECT LEVEL
0–100
0–100
BPM
0–100
40–250
Minor
Adjusts the volume of the harmony sound.
Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally you can leave this set at 0 ms.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the feedback amount of the harmonist sound.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 42) to
“INTERNAL.”
Effect
* Effective with USER selected for HARM parameter.
Parameter Value
A
B
²
B
F
F
¾
G
A
²
D
E
²
C
D
²
E
C– C–C– C– C
D
²
– D
²
–D
²
– D
²
– D
²
D– D–D– D– D
E
²
– E
²
–E
²
– E
²
– E
²
E– E–E– E– E
F– F–F– F– F
F
¾
– F
¾
–F
¾
– F
¾
– F
¾
G– G–G– G– G
A
²
– A
²
–A
²
– A
²
– A
²
A– A–A– A– A
B
²
– B
²
–B
²
– B
²
– B
²
B– B–B– B– B
Specify the note name of the output sound. The minus (-) and plus (+) symbols indicate sounds above or below the specified original note.
Triangles next to the note names indicate octaves.
One downward-pointing triangle indicates a note one octave below the note displayed; two triangles indicates a two-octave drop.
One upward-pointing triangle indicates a note one octave above the note displayed; two triangles indicates a two-octave rise.
17
Effect
This can create human vowel-like sounds.
Parameter
MODE
VOWEL 1
VOWEL 2
SENS *1
RATE
DEPTH
MANUAL *2
LEVEL
BPM
Value Explanation
This sets the mode that switches the vowels.
PICKING
It changes from VOWEL 1 to VOWEL 2 along with the picking. The time spent for the change is adjusted with the rate.
AUTO a, e, i, o, u a, e, i, o, u
0–100
0–100,
BPM
Œ
0–100
0–100
0–100
40–250
–
`
By adjusting the rate and depth, two vowels
(VOWEL 1 and VOWEL 2) can be switched automatically.
Selects the first vowel.
Selects the second vowel.
Adjusts the sensitivity of the humanizer.
When it is set to a lower value, no effect of the humanizer is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the humanizer can be obtained whether the picking is weak or strong.
Adjusts the cycle for changing the two vowels.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the depth of the effect.
This determines the point where the two vowels are switched. When it is set to 50,
VOWEL 1 and VOWEL 2 are switched in the same length of time. When it is set to lower than 50, the time for VOWEL 1 is shorter.
When it is set to higher than 50, the time for
VOWEL 1 is longer.
Adjusts the tone.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 42) to
“INTERNAL.”
*1 Setting available when MODE is set to PICKING.
*2 Setting available when MODE is set to AUTO.
This adds a note one octave lower and a note two octaves lower, creating a richer sound.
Parameter
TYPE
-2OCT *1
-1OCT *1
DIRECT LEVEL
RANGE *2
OCTAVE LEVEL *2
Value
MONO
POLY
0–100
0–100
0–100
0–100
0–100
*1 Setting available when TYPE is set to MONO.
*2 Setting available when TYPE is set to POLY.
This is an OCTAVE effect for bass.
Parameter
-2OCT
-1OCT
DIRECT LEVEL
Value
0–100
0–100
0–100
Explanation
Adds a note one octave lower and a note two octaves lower than the input.
This supports mono input.
Adds a note one octave lower than the input.
This supports polyphonic input.
Adjusts the volume of the sound two octave below.
Adjusts the volume of the sound one octaves below.
Adjusts the volume of the direct sound.
This selects the register to which the effect is applied.
Adjusts the volume of the sound one octave below.
Explanation
Adjusts the volume of the sound two octave below.
Adjusts the volume of the sound one octaves below.
Adjusts the volume of the direct sound.
This effect uses MDP technology to add new harmonics to the sound, producing resonance and richness that was not present in the original sound.
Parameter Value
LOWER LEVEL
UPPER LEVEL
UNISON LEVEL
DIRECT LEVEL
DETUNE
OUTPUT MODE
LOW
HIGH
0–100
0–100
0–100
0–100
0–100
MONO,
STEREO
-50–+50
-50–+50
Explanation
Adjusts the volume of the harmonic one octave below.
Adjusts the volume of the harmonic one octave above.
Adjusts the volume of added sound whose pitch is slightly shifted relative to the direct sound.
Adjusts the volume of the direct sound.
Adjusts the amount of the detune effect that adds depth to the sound.
Selects the type of output.
Adjusts the tonal character of the low-frequency range.
Adjusts the tonal character of the high-frequency range.
18
With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an effect that makes the guitar sound appear to fly back and forth between the speakers.
Parameter Value
RATE
DEPTH
WAVEFORM
EFFECT LEVEL
DIRECT MIX
BPM
0–100,
BPM
Œ
–
`
0–100
0–100
0–100
0–100
40–250
Explanation
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 changes in volume level.
A higher value will steepen wave’s shape.
Adjusts the volume.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set
“SYNC CLOCK” (p. 42) to “INTERNAL.”
By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.
Parameter
TYPE
STAGE *1
RATE
DEPTH
RESONANCE *1
MANUAL *1
Value Explanation
Selects the PHASER type.
PRIME
An original BOSS phaser. This provides modulation that is not obtainable from previous units.
SCRIPT
2, 4, 8, 16,
24STAGE
Models the MXR Phase 90 which was manufactured during the ‘70s.
Selects the number of stages that the phaser effect will use.
0–100,
BPM
Œ
0–100
0–100
0–100
–
`
This sets the rate of the phaser effect.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
Determines the depth of the phaser effect.
Determines the amount of resonance
(feedback). Increasing the value will emphasize the effect, creating a more unusual sound.
Adjusts the center frequency of the phaser effect.
Effect
Parameter
WAVEFORM *1
STEP RATE *1
BI-PHASE *1
SEPARATION *1
LOW DAMP *1
HIGH DAMP *1
LOW CUT *1
HIGH CUT *1
DIRECT MIX
BPM
Value
TRI, SINE
OFF, 0–100,
BPM
Œ
–
OFF, ON
`
Explanation
Selects the type of wave.
This sets the cycle of the step function that changes the rate and depth. When it is set to a higher value, the change will be finer.
Set this to “Off” when not using the Step function.
* 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.
Specifies whether the two phase shift circuits are connected in series (ON) or not
(OFF).
0, 15, 30, 45,
60, 75, 90, 105,
120, 135, 150,
165, 180
Adjusts the diffusion. The diffusion increases as the value increases.
-100–0
-100–0
FLAT,
20.0Hz–
20.0kHz
20.0Hz–
20.0kHz,
FLAT
0–100
40–250
Adjusts the amount of feedback for the lowfrequency region.
Adjusts the amount of feedback for the high-frequency region.
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 direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 42) to
“INTERNAL.”
*1 Setting available when TYPE is set to PRIME.
19
Effect
This effect changes the pitch of the original sound (up or down) within a range of two octaves.
Parameter
VOICE
PS1:PITCH
PS2:PITCH
DIRECT LEVEL
PS1:MODE
PS2:MODE
PS1:FINE
PS2:FINE
PS1:PRE-DELAY
PS2:PRE-DELAY
Value Explanation
Selects the number of voices for the pitch shift sound.
1VOICE One-voice pitch-shifted sound output in mono.
2MONO
2STEREO
Two-voice pitch-shifted sound (PS1, PS2) output in mono.
Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels.
-24–+24
Adjusts the amount of pitch shift (the amount of interval) in semitone steps.
0–100 Adjusts the volume of the direct sound.
Selection for the pitch shifter mode.
FAST,
MEDIUM,
SLOW
MONO
-50–+50
The response is slower in the order of FAST, MEDIUM and SLOW, but the modulation is lessened in the same order.
MONO is used for inputting single notes.
* You may be unable to produce the intended effect when playing chords (two or more notes played simultaneously).
Make fine adjustments to the interval. The amount of the change in the Fine 100 is equivalent to that of the Pitch 1.
0ms–300ms,
BPM
`
–
Œ
Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at 0 ms.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either
1/2 or 1/4 of that time.
PS1:LEVEL
PS2:LEVEL
PS1:FEEDBACK
0–100
0–100
Adjusts the volume of the pitch shifter.
BPM
40–250
Adjusts the feedback amount of the pitch shift sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC CLOCK”
This creates a bell-like sound by ring-modulating the guitar sound with the signal from the internal oscillator.
The sound can be unmusical and lack distinctive pitches.
Parameter Value
INTELLIGENT
FREQUENCY
FREQ MOD RATE
0–100,
BPM
Œ
–
`
FREQ MOD
DEPTH
EFFECT LEVEL
DIRECT MIX
BPM
OFF, ON
0–100
0–100
0–100
0–100
40–250
Explanation
If this is ON, the oscillator frequency changes according to the pitch of the input sound, producing a pitched sound. In this case, the expected effect does not occur if the pitch of the guitar sound is not detected correctly.
We recommend that you use this with singlenote playing.
Adjusts the frequency of the internal oscillator.
Adjusts the rate at which the internal oscillator is modulated.
* 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 to which the internal oscillator is modulated.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 42) to
“INTERNAL.”
20
This produces an effect like the sound of a rotary speaker.
Parameter
SPEED SELECT
SLOW RATE
FAST RATE
EFFECT LEVEL
RISE TIME
FALL TIME
MIC DISTANCE
ROTOR/HORN
DRIVE
DIRECT MIX
BPM
Value
SLOW, FAST
0–100,
BPM
Œ
–
`
0–100,
BPM
Œ
–
`
0–100
0–100
0–100
0–100
100:0–0:100
0–100
0–100
40–250
Explanation
This parameter changes the simulated speaker’s rotating speed (SLOW or FAST).
This parameter adjusts the SPEED SELECT of rotation when set to “SLOW.”
This parameter adjusts the SPEED SELECT of rotation when set to “FAST.”
Adjusts the volume.
This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from “SLOW” to “FAST.”
This parameter adjusts the time it takes for the rotation SPEED SELECT to change when switched from “FAST” to “SLOW.”
Adjusts the distance between the horn/ rotor and the mic.
Adjusts the volume balance between the horn and rotor.
Adjusts the amount of distortion in the preamp.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER BPM, set “SYNC CLOCK”
Effect
This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.
Parameter
PATTERN
RATE
TRIGGER
BPM
Value
P1–P20
0–100,
BPM
Œ
–
`
OFF, ON
EFFECT LEVEL
0–100
ATTACK
DUTY
DIRECT MIX
0–100
1–99
0–100
40–250
Explanation
Select the slice pattern that will be used to cut the sound.
Adjust the rate at which the sound will be cut.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER
BPM” specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
When you switch this from OFF to ON, the rhythm pattern returns to its beginning.
5
When the patch is written, the TRIGGER parameter is stored in the OFF state.
Adjusts the volume of the effect sound.
Adjusts the volume of the attacks for the slice pattern.
Adjusts the duration of the sound for the slice pattern.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external
MIDI devices tempo, making it impossible to set the MASTER BPM. To enable setting of the MASTER
BPM, set “SYNC CLOCK” (p. 42) to “INTERNAL.”
This simulates the sound of the sitar.
Parameter
SENS
DEPTH
TONE
EFFECT LEVEL
RESONANCE
BUZZ
DIRECT MIX
Value
0–100
0–100
-50–+50
0–100
0–100
0–100
0–100
Explanation
Adjusts the sensitivity of the sitar. When it is set to a lower value, no effect of the sitar is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the sitar can be obtained whether the picking is weak or strong.
This adjusts the amount of effect applied.
This adjusts the tone. The high end is boosted as the value increases.
Adjust the volume of the sitar sound.
This adjusts the undulation of the resonance.
Adjusts the amount of characteristic buzz produced by the “buzz bridge” when the strings make contact with it.
Adjusts the volume of the direct sound.
This produces a volume-swell effect (“violin-like” sound).
Parameter
SENS
RISE TIME
LEVEL
Value
0–100
0–100
0–100
Explanation
Adjusts the sensitivity of the slow gear. When it is set to a lower value, the effect of the slow gear can be obtained only with a stronger picking, while no effect is obtained with a weaker picking. When the value is set higher, the effect is obtained even with a weak picking.
Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.
Adjusts the volume of the effect sound.
You can have sound played on the guitar be held continuously. This effect allows you to perform the melody in the upper registers while holding a note in the lower registers.
* This function will not work properly when two or more notes are played simultaneously.
Parameter Value
TRIGGER
RISE TIME
OFF, ON
0–100
Explanation
Switches the hold sound on and off. Normally, this is controlled with the CTL pedals.
5
It is assumed that this parameter will be assigned to the footswitch.
5
Patches are written with the HOLD parameter set to Off.
Adjusts how rapidly the Sound Hold sound is produced.
21
Effect
Parameter Value
EFFECT LEVEL
0–120
Explanation
Adjusts the volume of the hold sound.
Applies intense bending.
Parameter
TRIGGER
PITCH
RISE TIME
FALL TIME
Value
OFF, ON
Explanation
The effect is applied when you switch this from
OFF to ON.
When the patch is written, this parameter is stored in the OFF state.
-3oct, -2oct, -1oct,
+1oct, +2oct,
+3oct, +4oct
Adjusts the amount of pitch shift in octave steps.
0–100
0–100
This parameter adjusts the amount of time it is to take for the effect to transition to the maximum.
This parameter adjusts the amount of time it is to take for the effect to transition to the original.
You can produce a wah effect with the filter changing in response to the guitar/bass level.
Parameter
FILTER MODE
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT MIX
Value Explanation
Selects the wah mode.
LPF
HPF
Low pass filter. Passes only the low-frequency region.
High pass filter. Passes only the high-frequency region.
BPF
Band pass filter. Passes only the specified frequency region.
Selects the direction in which the filter will change in response to the input.
DOWN The frequency of the filter will fall.
UP
0–100
0–100
0–100
0–100
0–100
0–100
The frequency of the filter will rise.
Specifies the sensitivity with which the filter moves in the direction specified 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 rate at which the filter is moved.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
Tremolo is an effect that creates a cyclic change in volume.
Parameter
RATE
DEPTH
WAVEFORM
0–100
0–100
EFFECT LEVEL
0–100
TRIGGER
OFF, ON
RISE TIME
DIRECT MIX
BPM
Value
0–100,
BPM
Œ
–
`
0–100
0–100
40–250
Explanation
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 changes in volume level. A higher value will steepen wave’s shape.
Adjusts the volume.
Turns the tremolo on/off.
Specifies the time from when trigger turns on until the specified tremolo effect is obtained.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the
MASTER BPM. To enable setting of the
MASTER BPM, set “SYNC CLOCK” (p. 42) to
“INTERNAL.”
This effect creates vibrato by slightly modulating the pitch.
Parameter
RATE
DEPTH
COLOR
EFFECT
LEVEL
TRIGGER
RISE TIME
DIRECT MIX
BPM
Value
0–100,
BPM
Œ
–
`
0–100
0–100
0–100
OFF, ON
0–100
0–100
40–250
Explanation
Adjusts the rate of the vibrato.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER
BPM” specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song.
* If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time.
Adjusts the depth of the vibrato.
Higher settings produce a more complex modulation.
Adjusts the volume.
This selects on/off of the vibrato.
This sets the time passing from the moment the
Trigger is turned on until the set vibrato is obtained.
Adjusts the volume of the direct sound.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
* When you have an external MIDI device connected, the MASTER BPM synchronizes to the external MIDI devices tempo, making it impossible to set the MASTER BPM. To enable
setting of the MASTER BPM, set “SYNC CLOCK” (p.
22
This effect adds reverberation to the sound.
Parameter
ON/OFF
TYPE
Value Explanation
OFF, ON Turns this effect on/off.
This selects the reverb type. Various different simulations of space are offered.
HALL 1
Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
HALL 2
Simulates the reverberation in a concert hall. Provides mild reverberations.
PLATE
ROOM1
ROOM2
AMBIENCE
SPRING
SHIMMER
DUAL
TERA ECHO
Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.
Simulates the reverberation in a small room. Provides warm reverberations.
Simulates the reverberation of a room larger than ROOM1.
Simulates an ambience mic (off-mic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.
This simulates the sound of a guitar amp’s built-in spring reverb.
Simulates reverberation with a distinctively sparkling high-frequency range.
Allows you to use two reverbs simultaneously.
This effect uses MDP technology to create a unique ambience and a spaciousness that changes according to your picking dynamics.
Parameter
TIME *1
TONE
DENSITY *1
EFFECT LEVEL
PRE-DELAY
LOW CUT *1
HIGH CUT *1
LOW DAMP *1
HIGH DAMP *1
MOD RATE *1
MOD DEPTH *1
DUCK SENS *1
Value
0.1s–10.0s
-50–0–+50
1–10
0–100
0ms–200ms
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
-50–0–+50
-50–0–+50
0–100
0–100
0–100
Explanation
Adjusts the length (time) of reverberation.
Adjusts the tonal character of the reverb.
Adjusts the density of the reverb sound.
Adjusts the volume of the reverb sound.
Adjusts the time until the reverb sound appears.
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 amount of attenuation for the low frequency region.
Adjusts the amount of attenuation for the high frequency region.
Adjusts the speed at which the reverb sound is modulated.
Adjusts the depth to which the reverb sound is modulated.
Adjusts the sensitivity at which the volume is automatically adjusted according to the input. Higher values allow the adjustment to occur in response to lower volumes.
Effect
Parameter
DUCK PRE
DEPTH *1
DUCK POST
DEPTH *1
DIRECT LEVEL
Value
0–100
0–100
0–100
Explanation
When the input sound is loud, this automatically reduces the volume that is being input to the reverb and delay. As this setting approaches 100, the input volume reduction is applied more deeply.
When the input sound is loud, this automatically reduces the volume that is being output from the reverb and delay.
As this setting approaches 100, the output volume reduction is applied more deeply.
Adjusts the volume of the direct sound.
*1 This is not shown if TYPE is set to TERA ECHO.
Parameter
PITCH 1
PITCH 2
LEVEL 1
LEVEL 2
Value
-24–+24
0–100
Explanation
Adjusts the amount of pitch shift.
Adjusts the volume of the pitch shifter.
Parameter
TYPE1
TYPE2
TIME1
TIME2
TONE 1
TONE 2
EFFECT LEVEL 1
EFFECT LEVEL 2
DENSITY1
DENSITY2
PRE-DELAY 1
PRE-DELAY 2
LOW CUT 1
LOW CUT 2
HIGH CUT 1
HIGH CUT 2
Value
HALL, PLATE,
ROOM
0.1–10.0s
-50–+50
Explanation
This selects the reverb type.
Adjusts the length (time) of reverberation.
Adjusts the tonal character of the reverb.
0–100 Adjusts the volume of the reverb sound.
1–10 Adjusts the density of the reverb sound.
0ms–200ms
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz,
FLAT
Adjusts the time until the reverb sound appears.
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.
23
Effect
Parameter
MODE
SPREAD TIME
FEEDBACK
EFFECT LEVEL
TONE
DIRECT LEVEL
TRIGGER
Value Explanation
Selects the mode of the effect sound.
MONO
STEREO 1
The L and R channels will both output the same sound.
The R channel outputs the direct sound, and the
L channel outputs the effect sound.
STEREO2
0–100
0–100
0–100
-50–+50
0–100
OFF, ON
The effect is applied separately to the L and R channels.
Adjusts the length of the effect sound.
Adjusts the decay of the effect sound.
Adjusts the volume of the effect sound.
Adjusts the tone.
Adjusts the volume of the direct sound.
The effect sound is held when you turn this on.
5
Patches are written with the parameter set to Off.
Parameter
WAH TYPE
PEDAL
POSITION
PEDAL MIN
PEDAL MAX
EFFECT LEVEL
DIRECT MIX
Value Explanation
Selects the type of wah.
CRY WAH
VO WAH
FAT WAH
LIGHT WAH
7STRING WAH
This models the sound of the CRY BABY wah pedal popular in the ‘70s.
This models the sound of the VOX V846.
This is a wah sound featuring a bold tone.
This wah has a refined sound with no unusual characteristics.
This expanded wah features a variable range compatible with seven-string and baritone guitars.
RESO WAH
BASS WAH
0–100
0–100
0–100
0–100
0–100
This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters.
This wah has been specially adapted for use in the bass registers.
Inclusion of the low-frequency range in the wah sound produces a robust wah effect, with no dilution of the sound.
Adjusts the position of the wah pedal.
* This parameter is used after it’s been assigned to an expression pedal or similar controller.
Selects the tone produced when the heel of the EXP Pedal is depressed.
Selects the tone produced when the toe of the
EXP Pedal is depressed.
Adjusts the volume of the effect sound.
Adjusts the volume of the direct sound.
You can control the wah effect or get a pitch bend effect in real time by adjusting the GT-1000’s expression pedal or the expression pedal connected to the CTL 4, 5/EXP 2 jack or CTL 6, 7/EXP 3 jack.
Parameter
ON/OFF
TYPE
Value
OFF, ON
PEDAL BEND
WAH
Explanation
Turns this effect on/off.
This lets you use the pedal to get a pitch bend effect.
* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.
You can control the wah effect in real time by adjusting the GT-1000’s expression pedal or the expression pedal connected to the CTL 4, 5/EXP 2 jack or CTL 6, 7/EXP 3 jack.
Parameter
PITCH MIN
PITCH MAX
Value
-24–+24
-24–+24
PEDAL
POSITION
0–100
EFFECT
LEVEL
DIRECT MIX
0–100
0–100
Explanation
Specifies the pitch when the pedal is returned.
This sets the pitch at the point where the EXP
Pedal is all the way down.
Adjusts the pedal position for pedal bend.
This parameter is used after it’s been assigned to an expression pedal or similar controller.
Adjusts the volume of the pitch bend sound.
Adjusts the volume of the direct sound.
This is a volume control effect.
Normally, this is controlled with the GT-1000’s expression pedal or the expression pedal connected to the CTL 4, 5/EXP 2 jack or CTL 6, 7/EXP
3 jack.
Parameter Value
VOLUME MIN
0–100
VOLUME MAX
0–100
Explanation
Sets the volume when the heel of the EXP Pedal is depressed.
Selects the volume when the toe of the EXP
Pedal is depressed.
You can select how the actual volume changes relative to the amount the pedal is pressed.
Volume
VOLUME
CURVE
PEDAL
POSITION
SLOW1,
SLOW2,
NORMAL,
FAST
0–100
FAS
T
NO
RM
AL
SLO
W
2
SLO
W
1
When the pedal is fully raised
Adjusts the volume.
When the pedal is fully advanced
24
Within the effect chain, the point where the signal is split into channels “A” and “B” is called the “divider,” and the point where the two signals are recombined is called the “mixer.”
You can use the divider to switch between channels “A” and “B,” to assign strongly picked notes and softly picked notes to different channels, or to assign different frequency bands of your guitar sound to different channels.
The mixer lets you adjust the volume balance of channels “A” and “B,” place them in the stereo field, or slightly delay the sound of channel
“B” to produce a spacious sound.
DIVIDER 1 DIVIDER 3 DIVIDER 2
Effect
Here’s how to exchange the preamp settings between channels A and B.
1
2
3
MIXER 3 MIXER 2 MIXER 1
Parameter
MODE
CH SELECT *1
A:DYNAMIC *2
B:DYNAMIC *2
A:DYNA SENS *2
B:DYNA SENS *2
A:FILTER *2
B:FILTER *2
Value
SINGLE
DUAL
A, B
OFF
POLAR+
POLAR-
0–100
OFF
LPF
A:CUTOFF FREQ *2
B:CUTOFF FREQ *2
HPF
100Hz,
125Hz,
160Hz,
200Hz,
250Hz,
315Hz,
400Hz,
500Hz,
630Hz,
800Hz,
1.00kHz,
1.25kHz,
1.60kHz,
2.00kHz,
2.50kHz,
3.15kHz,
4.00kHz
Cutoff frequency
*1 Setting available when MODE is set to SINGLE.
*2 Setting available when MODE is set to DUAL.
Explanation
Use only one channel, either “A” or “B.”
Use the two channels “A” and “B.”
Selects the channel to use.
DYNAMIC will not be used.
Only notes picked more strongly than the
DYNA SENS setting will be output.
Only notes picked more softly than the
DYNA SENS setting will be output.
Specifies the picking sensitivity.
The filter will not be used.
Only the region below the cutoff frequency will be output.
Only the region above the cutoff frequency will be output.
Parameter Value
STEREO
MODE
PAN L/R
A LEVEL
B LEVEL
0–100
A/B BALANCE
100:0–0:100
SPREAD
0–100
Explanation
Channels “A” and “B” will be mixed and output in stereo.
Channels “A” and “B” will be assigned respectively to the L and R OUTPUT jacks.
Adjusts the volume of the channel.
Adjusts the volume balance of channels “A” and “B.”
* This is shown only if DIVIDER MODE is set to “DUAL.”
Slightly delays the sound of channel “B” to make the sound more spacious.
* This is shown only if DIVIDER MODE is set to “DUAL.”
25
Effect
You can connect an external effects processor between the SEND jack and RETURN jack, and use it as one of the GT-1000’s effects processors.
Parameter Value
ADJUST
0–100
Explanation
Adjusts the phase between the GT-1000’s internal processing and an external effect unit connected to the SEND/RETURN jacks.
You can adjust this if the MODE parameter is set to NORMAL or DIRECT MIX.
Parameter
PLAY LEVEL
Value
0–100
Explanation
Specifies the loop playback level.
The sound that is input to SEND/RETURN within the effect chain will be output to the SEND jack. The sound that is input via the RETURN jack will be input to SEND/RETURN within the effect chain.
Parameter
ON/OFF
Value
OFF, ON
STEREO LINK
OFF, ON
NORMAL
Explanation
Turns the SEND/RETURN on/off.
If this is on, you can use the two sets of SEND and RETURN jacks to connect a stereo effect unit.
The input to SEND/RETURN within the effect chain will be output to the SEND jack, and the input from the RETURN jack will be output following SEND/RETURN.
Use this setting if you want to connect an external effects processor in series within the
GT-1000’s effect chain.
MODE
DIRECT MIX
SEND RETURN
The input to SEND/RETURN within the effect chain will be output to the SEND jack, and the input from the RETURN jack and the input to
SEND/RETURN (the direct sound) will be mixed and output following SEND/RETURN.
Use this when you want to mix the GT-1000’s effects sounds together with the sound with the external effects device applied to it.
SEND LEVEL
RETURN
LEVEL
BRANCH OUT
SEND RETURN
The input to SEND/RETURN within the effect chain will be output to the SEND jack. The input from the RETURN jack will be ignored.
For example, by placing SEND/RETURN in the
GT-1000’s effect chain in front of reverb or delay, this allows you to use the SEND jack as a dry out.
0–200
0–200
SEND
Adjusts the volume of the output to the external effects device.
Adjusts the volume of the input from the external effects device.
* You can adjust this if the MODE parameter is set to NORMAL or DIRECT MIX.
26
Parameter
STEREO LINK
L:SP TYPE
R:SP TYPE *1
L:MIC TYPE
R:MIC TYPE *2
L:MIC DISTANCE
R:MIC DISTANCE *2
L:MIC POSITION
R:MIC POSITION *2
L:MIC LEVEL
R:MIC LEVEL *2
Value Explanation
OFF, ON
If this is OFF, L and R can be independently positioned in the chain; if this is ON, they are positioned as a set (stereo).
Select the speaker type.
OFF This turns off the speaker simulator.
ORIGINAL
1x8”
This is the built-in speaker of the amp you selected with AIRD PREAMP TYPE.
This is a compact open-back speaker cabinet with one 8-inch speaker.
1x10”
1x12”
2x12”
4x10”
4x12”
8x12”
B1x15"
This is a compact open-back speaker cabinet with one 10-inch speaker.
This is a compact open-back speaker cabinet with one 12-inch speaker.
This is a general open-back speaker cabinet with two 12-inch speakers.
This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.
This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.
This is a double stack of two cabinets, each with four 12-inch speakers.
This is a compact open-back speaker cabinet with one 15-inch speaker.
B1x18"
B2x15"
B4x10"
B8x10"
This is a compact open-back speaker cabinet with one 18-inch speaker.
This is a general open-back speaker cabinet with two 15-inch speakers.
This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.
This is a double stack of two cabinets, each with four 10-inch speakers.
USER1–16
CENTER
1cm–10cm
You can create an original SP TYPE by using a dedicated tool to load IR (Impulse Response) data into the GT-1000.
Download the dedicated tool from the BOSS website.
http://www.boss.info/support/
This setting selects the simulated mic type.
DYN57
This is the sound of the SHURE SM-57.
General dynamic mic used for instruments and vocals. Optimal for use in miking guitar amps.
DYN421
CND451
This is the sound of the SENNHEISER MD-421.
Dynamic mic with extended low end.
This is the sound of the AKG C451B. Small condenser mic for use with instruments.
CND87
FLAT
This is the sound of the NEUMANN U87.
Condenser mic with flat response.
Simulates a mic with perfectly flat response.
Produces a sonic image close to that of listening to the sound directly from the speakers (on site).
SHORT,
MEDIUM,
LONG
Simulates the distance between the mic and speaker.
The distance from the speakers is farther in the order of SHORT<MEDIUM<LONG.
This simulates the mic position.
Simulates the condition that the mic is set in the middle of the speaker cone.
Simulates the condition that the mic is moved away from the center of the speaker cone.
0–100 Adjusts the volume of the mic.
Effect
Parameter
L:DIRECT MIX
R:DIRECT MIX *2
Value
0–100
Explanation
Adjusts the volume of the direct sound.
*1 This is shown only if OUTPUT SELECT is set to “RECORDING.”
*2 This is shown only if OUTPUT SELECT is set to “LINE/PHONES.”
27
Effect
These settings are applied to the overall patch.
Parameter Value
PATCH LEVEL
0–200
BPM
40–250
Explanation
Adjusts the volume of the patch.
Adjusts the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that occur each minute
This sets the key for the FX HARMONIST.
Major
KEY
C (Am)–
B (G#m)
Minor
Major
Minor
By connecting your guitar amp’s channel switching jack to the
GT-1000’s AMP CONTROL jack, you can then use Amp Control to switch the amp channel. This combining of the GT-1000 and the amp channels allows you to get an even wider variety of distortion sounds.
Parameter
BASS MODE
INPUT
SETTING
FX
EXPANSION
MAIN CH
SELECT
SUB CH
SELECT
Value
OFF, ON
SYSTEM,1–10
OFF, ON
L, R
L, R
Explanation
If this is ON, effects that affect the pitch are optimized for bass.
Selects the guitar (input level) that is connected to the INPUT jack.
This lets you specify for each patch the guitar that will be connected.
If you select SYSTEM, the settings of SETTING (p.
If this is ON, the number of FX blocks increases by one, allowing you to use FX4. The output of the
GT-1000 is set to mono.
Selects the channel used for MAIN OUT.
This is shown only if FX EXPANSION is ON and the
MAIN SP.SIMULATOR's STEREO LINK is OFF.
Selects the channel used for SUB OUT.
This is shown only if FX EXPANSION is ON and the
SUB SP.SIMULATOR's STEREO LINK is OFF.
AMP CTL1
AMP CTL2
Since the Amp Control setting is handled as one of the effects parameters saved to each individual patch, it allows you to switch guitar amp channels with each patch.
Guitar Amplifier
(Channel switching jack)
OFF
GT-1000
(AMP CONTROL jack)
Guitar Amplifier
(Channel switching jack)
ON
CARRYOVER
OFF, ON
BASS MODE
OFF, ON
28
GT-1000
(AMP CONTROL jack)
You can specify whether the effect sound is carried-over when you switch patches.
If this is ON, effects that affect the pitch are optimized for bass.
The control mode setting lets you choose how you want to operate the effects.
Parameter
MEMORY
(Memory mode)
MANUAL
(Manual mode)
Explanation
This mode lets you recall and use the patches that are saved in the unit.
Use number switches [1]–[5] to switch patches.
* With the factory settings, long-pressing the [CTL3] switch puts the unit in manual mode.
* Even in memory mode, you can select functions other than patch recall.
This mode lets you use number switches [1]–[5] to operate the functions that are assigned to them by each patch or by the settings for the entire system.
When you select manual mode, a portion of the PLAY screen changes.
PEDALBOARD
(Pedalboard mode)
This mode lets you use the unit in the same way as you would use several compact effect units placed side by side.
Each switch turns an effect on/off.
In pedalboard mode, there is no concept of patches or memories; the content of your editing is remembered without requiring you to execute a Write operation.
The play screen of pedalboard mode
Here you can specify the parameters that are controlled by all of the top panel footswitches, the expression pedal (EXP1), and expression pedals or footswitches that are connected to the rear panel CTL4, 5/
EXP2 jack and CTL6, 7/EXP3 jack.
FUNCTION ([BANK
H
], [BANK
I
], [1]–[5] switch, EXP1 switch,
CTL1–7)
Value
OFF
BANK DOWN
BANK UP
1
2
*1 *2
*1 *2
*1 *2
*1 *2
Explanation
No assignment.
Switches to the previous BANK number.
* Cannot be selected for [BANK
H
] or [1]–[5] switches
Switches to the next BANK number.
* Cannot be selected for [BANK
I
] or [1]–[5] switches
Selects patch number 1.
* Can be selected only for switch [1]
Selects patch number 2.
* Can be selected only for switch [2]
Value
3
4
5
*1 *2
*1 *2
*1 *2
Explanation
Selects patch number 3.
* Can be selected only for switch [3]
Selects patch number 4.
* Can be selected only for switch [4]
Selects patch number 5.
* Can be selected only for switch [5]
Switches to the next patch number.
Switches to the previous patch number.
Increases the patch volume level by 10 units.
EQ 2
EQ 3
EQ 4
DLY1
DLY2
DLY3
DLY4
MST DLY
CHO
FX1
FX2
FX3
FX4
AMP CTL 1
AMP CTL 2
CMP
DS1
DS1 SOLO
DS2
DS2 SOLO
AMP-1
AMP-1 SOLO
AMP-2
AMP-2 SOLO
NS 1
NS 2
EQ 1
FX1 TRIGGER
FX2 TRIGGER
FX3 TRIGGER
FX4 TRIGGER
REV
PFX
DIV1 CH.SEL
DIV2 CH.SEL
DIV3 CH.SEL
S/R 1
S/R 2
PATCH +1
PATCH -1
LEVEL +10
LEVEL +20
LEVEL -10
LEVEL -20
BPM TAP
DLY1 TAP
DLY2 TAP
DLY3 TAP
DLY4 TAP
MST DLY TAP
TUNER/MANUAL *3
LOOPER
LOOPER STOP
Increases the patch volume level by 20 units.
Decreases the patch volume level by 10 units.
Decreases the patch volume level by 20 units.
Used for tap input of the MASTER BPM.
Used for tap input of the DELAY 1.
Used for tap input of the DELAY 2.
Used for tap input of the DELAY 3.
Used for tap input of the DELAY 4.
Used for tap input of the MASTER DELAY.
Turns TUNER on/off when briefly pressed; turns
MANUAL on/off when long-pressed.
Switches the AMP CTL 1 on and off.
Switches the AMP CTL 2 on and off.
Switches the COMPRESSOR on and off.
Switches the DISTORTION 1 on and off.
Switches the DISTORTION 1 SOLO on and off.
Switches the DISTORTION 2 on and off.
Switches the DISTORTION 2 SOLO on and off.
Switches the AIRD PREAMP 1 on and off.
Switches the AIRD PREAMP 1 SOLO on and off.
Switches the AIRD PREAMP 2 on and off.
Switches the AIRD PREAMP 2 SOLO on and off.
Switches the NOISE SUPRESSOR 1 on and off.
Switches the NOISE SUPRESSOR 2 on and off.
Switches the EQUALIZER 1 on and off.
Switches the EQUALIZER 2 on and off.
Switches the EQUALIZER 3 on and off.
Switches the EQUALIZER 4 on and off.
Switches the DELAY 1 on and off.
Switches the DELAY 2 on and off.
Switches the DELAY 3 on and off.
Switches the DELAY 4 on and off.
Switches the MASTER DELAY on and off.
Switches the CHORUS on and off.
Switches the FX1 on and off.
Switches the FX2 on and off.
Switches the FX3 on and off.
Switches the FX4 on and off.
Switches the FX1 TRIGGER on and off.
Switches the FX2 TRIGGER on and off.
Switches the FX3 TRIGGER on and off.
Switches the FX4 TRIGGER on and off.
Switches the REVERB on and off.
Switches the PEDAL FX on and off.
Switches the DIVIDER 1 channel select.
Switches the DIVIDER 2 channel select.
Switches the DIVIDER 3 channel select.
Switches the SEND/RETURN 1 on and off.
Switches the SEND/RETURN 2 on and off.
Controls the looper.
For details on operation, refer to “Looper” (owner’s manual).
Stops the phrase.
29
MENU
Value Explanation
LOOPER CLEAR
METRONOME
MIDI START
MMC PLAY
MDLY TRIGGER
Clears the phrase
Turns the metronome on/off.
Controls the Start/Stop of external MIDI devices (such as sequencers).
Controls the Play/Stop of external MIDI devices (such as hard disk recorders).
Turns the trigger on/off when the MASTER DELAY's TYPE is WARP or TWIST.
TUNER
Switches the TUNER on and off.
MANUAL *2
Switches the MANUAL on and off.
MANUAL/TUNER *2
Turns MANUAL on/off when briefly pressed; turns
TUNER on/off when long-pressed.
*1 Not shown in “CUR NUM” and “MANUAL1–5.”
*2 Not shown if CONTROL MODE (p. 29) is set to PEDALBOARD.
*3 If CONTROL MODE (p. 29) is set to PEDALBOARD, this will be “TUNER.”
FUNCTION (EXP1 PEDAL, EXP 2, EXP 3)
Value
OFF
FOOT VOLUME
PEDAL FX
FV/PEDAL FX
FV+TUNER
FV+TUNER/PFX
Explanation
No assignment.
Foot volume will be assigned.
PEDAL FX will be assigned.
According to the pedal effect setting, this operates as wah or as pedal bend.
PEDAL FX and foot volume will be assigned.
Foot volume will be assigned.
TUNER is displayed if the pedal is returned all the way.
PEDAL FX and foot volume will be assigned.
TUNER is displayed if the pedal is returned all the way when using foot volume.
MODE
Value
TOGGLE
MOMENT
Explanation
The setting is toggled On (maximum value) or Off
(minimum value) with each press of the footswitch.
The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed.
ASSIGN 1–16
For each parameter, you can specify, in detail, which controller will control which parameter. You can create 16 sets of such assignments.
Parameter
SW
TARGET
SOURCE
TARGET
MIN
MAX
SOURCE
Value
EXP1
EXP2
EXP3
INT PEDAL
WAVE PEDAL
INPUT
Explanation
OFF, ON
Turns the ASSIGN 1–16 on/off.
This selects the parameter to be changed.
Refer to “TARGET list” (p. 32).
This sets the minimum value for the range in which the parameter can change. The value differs depending on the parameter assigned for TARGET parameter.
This sets the maximum value for the range in which the parameter can change. The value differs depending on the parameter assigned for TARGET parameter.
NUM1–NUM5
Assigns the GT-1000’s number [1]–[5] switch.
CUR NUM
BANKDOWN
BANKUP
CTL1–CTL3
CTL4, CTL5
CTL6, CTL7
EXP1 SW
Assigns the same number switch as the selected patch number.
Assigns the GT-1000’s [BANK
I
] switch.
Assigns the GT-1000’s [BANK
H
] switch.
Assigns the GT-1000’s [CTL1]–[CTL3] switch.
Assigns the external footswitch connected to the CTL 4, 5/ EXP 2 jack.
Assigns the external footswitch connected to the CTL 6, 7/ EXP 3 jack.
Assigns the GT-1000’s [EXP 1] switch.
Assigns the GT-1000’s expression pedal.
Assigns the external expression pedal connected to the CTL 4, 5/
EXP 2 jack.
Assigns the external expression pedal connected to the CTL 6, 7/
EXP 3 jack.
Assigns the internal pedal.
Assigns the wave pedal.
The assigned target parameter will change according to the input level.
PREFERENCE
* This cannot be selected if CONTROL MODE (p. 29) is set to
PEDALBOARD.
Value
PATCH
SYSTEM
Explanation
Different settings can be made independently for each patch.
The same settings will be shared by all patches.
MOMENT
MODE
TOGGLE
ACT LOW
0–126
ACT HIGH
1–127
SENS
0–100
The normal state is Off (minimum value), with the switch On
(maximum value) only while the footswitch is depressed.
The setting is toggled On (maximum value) or Off (minimum value) with each press of the footswitch.
You can set the controllable range for target parameters within the source’s operational range. Target parameters are controlled within the range set with ACT LOW and ACT
HIGH. You should normally set ACT
LOW to 0 and ACT HIGH to 127.
This adjusts the input sensitivity when INPUT is selected for SOURCE.
30
Parameter Value Explanation
INTERNAL
PEDAL
TRIGGER
*1
EXP1 PDL-LOW
EXP1 PDL-MID
EXP1 PDL-HIGH
EXP1 SW
NUM1–NUM5
CUR NUM
EXP2
EXP3
CTL1–CTL3
CTL4, CTL5
CTL6, CTL7
BANKDOWN
BANKUP
This is activated when the GT-1000’s expression pedal is set to the minimum position.
This is activated when the GT-1000’s expression pedal is moved through the middle position.
This is activated when the GT-1000’s expression pedal is set to the maximum position.
This is activated when the [EXP 1] switch is operated.
This is activated when the [1]–[5] switch is operated.
This is activated when you operate the same number switch as the selected patch number.
This is activated when an external expression pedal connected to the
CTL 4, 5/ EXP 2 jack.
This is activated when an external expression pedal connected to the
CTL 6, 7/ EXP 3 jack.
This is activated when the [CTL 1]–
[CTL 3] switch is operated.
This is activated when an external footswitch connected to the CTL 4,
5/ EXP 2 jack is operated.
This is activated when an external footswitch connected to the CTL 6,
7/ EXP 3 jack is operated.
This is activated when the [BANK
I
] switch is operated.
This is activated when the [BANK
H
] switch is operated.
WAVE
PEDAL
TIME *1
0–100
This specifies the time over which the internal pedal will move from the toe-raised position to the toe-down position.
LINEAR
CURVE *1
SLOW RISE
FAST RISE
SAW
FORM *2
TRI
RATE *2
SINE
0–100,
BPM
Œ
–
`
This determines the time spend for one cycle of the assumed EXP Pedal.
* When set to BPM, the value of each parameter will be set according to the value of the “MASTER BPM” specified for each patch. This 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.
MENU
Parameter
MIDI
TARGET
MIDI CC# *3
TARGET
MIDI PC# *4
CH *3 *4
CC#
MIN
MAX
PC#
MSB
LSB
Value
SYSTEM
1–16
0–127
0–127
0–127
1–128
OFF, 0–127
OFF, 0–127
Explanation
This transmits a message on the
MIDI channel specified by the “MIDI
CHANNEL.
The message is transmitted on the specified MIDI channel.
The message is transmitted using the specified controller number.
Selects the minimum value of the transmitted CC# message.
Selects the maximum value of the transmitted CC# message.
Specifies the program number that is transmitted.
Specifies the bank select MSB that is transmitted. If this is OFF, the bank select MSB is not transmitted.
Specifies the bank select MSB that is transmitted. If this is OFF, the bank select LSB is not transmitted.
*1 The INTERNAL PEDAL TRIGGER, INTERNAL PEDAL TIME, and INTERNAL PEDAL
CURVE parameters are enabled when the SOURCE parameter is set to INT PEDAL.
*2 The WAVE PEDAL FORM and WAVE PEDAL RATE parameters are enabled when the
Source parameter is set to WAVE PEDAL.
*3 The MIDI CH, TARGET MIDI CC# parameters are enabled when the TARGET is set to
MIDI CC.
*4 The MIDI CH, TARGET MIDI PC# parameters are enabled when the TARGET is set to
MIDI PC.
31
MENU
CATEGORY
COMP (COMPRESSOR)
COMP: BASS (COMPRESSOR BASS)
DIST 1 (DISTORTION 1)
DIST 2 (DISTORTION 2)
PREAMP 1 (AIRD PREAMP 1)
PREAMP 2 (AIRD PREAMP 2)
NS 1 (NOISE SUPPRESSOR 1)
NS 2 (NOISE SUPPRESSOR 2)
EQ 1 (EQUALIZER 1)
EQ 2 (EQUALIZER 2)
EQ 3 (EQUALIZER 3)
EQ 4 (EQUALIZER 4)
PEQ 1 (EQUALIZER 1 PARAMETRIC)
PEQ 2 (EQUALIZER 2 PARAMETRIC)
PEQ 3 (EQUALIZER 3 PARAMETRIC)
PEQ 4 (EQUALIZER 4 PARAMETRIC)
TYPE
LOW GAIN
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
HIGH GAIN
LEVEL
LOW CUT
HIGH CUT
TARGET
SOLO LEVEL
ON/OFF
TYPE
GAIN
SAG
RESONANCE
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
GAIN SW
ON/OFF
TYPE
SUSTAIN
ATTACK
RATIO
TONE
LEVEL
DIRECT MIX
THRESHOLD
ON/OFF
TYPE
DRIVE
TONE
BOTTOM
EFFECT LEVEL
DIRECT MIX
SOLO SW
LEVEL
SOLO SW
SOLO LEVEL
ON/OFF
THRESHOLD
RELEASE
DETECT
ON/OFF
32
CATEGORY
GEQ 1 (EQUALIZER 1 GRAPHIC)
GEQ 2 (EQUALIZER 2 GRAPHIC)
GEQ 3 (EQUALIZER 3 GRAPHIC)
GEQ 4 (EQUALIZER 4 GRAPHIC)
DELAY 1
DELAY 2
DELAY 3
DELAY 4
MST DELAY
(MASTER DELAY)
M-DLY:TAPE
M-DLY:SHIMMER
M-DLY:DUAL
M-DLY:TWIST
M-DLY:ECHO
TARGET
31.5Hz
63Hz
125Hz
250Hz
500Hz
1kHz
2kHz
4kHz
8kHz
16kHz
LEVEL
ON/OFF
TIME
FEEDBACK
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
ON/OFF
TYPE
TIME
FEEDBACK
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
MOD RATE
MOD DEPTH
DUCK SENS
DUCK PRE DEPTH
DUCK POST DEPTH
PAN TAP TIME
TRIGGER
LEVEL
AUTO TRIGGER
HEAD
PITCH
PITCH BAL
PITCH FBK
MODE
D1 TYPE
D1 TIME
D1 FEEDBACK
D1 HIGH CUT
D1 EFCT LEVEL
D2 TYPE
D2 TIME
D2 FEEDBACK
D2 HIGH CUT
D2 EFCT LEVEL
MODE
RISE TIME
FALL TIME
WOW & FLUTTER
SPACE HEAD
BINDRUM HEAD
SELECTOR
CATEGORY
CHORUS
FX1
FX2
FX3
FX4
FX1:ACO (AC GUITAR SIM)
FX2:ACO (AC GUITAR SIM)
FX3:ACO (AC GUITAR SIM)
FX4:ACO (AC GUITAR SIM)
FX1:ACR (AC RESONANCE)
FX2:ACR (AC RESONANCE)
FX3:ACR (AC RESONANCE)
FX4:ACR (AC RESONANCE)
FX1:AW (AUTO WAH)
FX2:AW (AUTO WAH)
FX3:AW (AUTO WAH)
FX4:AW (AUTO WAH)
TYPE
BODY
LOW
HIGH
LEVEL
TYPE
RESONANCE
TONE
LEVEL
FILTER MODE
RATE
DEPTH
FREQUENCY
RESONANCE
WAVEFORM
EFFECT LEVEL
DIRECT MIX
TARGET
ON/OFF
TYPE
RATE
DEPTH
PRE-DELAY
WAVEFORM
EFFECT LEVEL
DIRECT LEVEL
LOW CUT
HIGH CUT
DUAL RATE 1
DUAL DEPTH 1
DUAL PRE-DELAY 1
DUAL WAVEFORM 1
DUAL EFFECT LEVEL 1
DUAL LOW CUT 1
DUAL HIGH CUT 1
DUAL RATE 2
DUAL DEPTH 2
DUAL PRE-DELAY 2
DUAL WAVEFORM 2
DUAL EFFECT LEVEL 2
DUAL LOW CUT 2
DUAL HIGH CUT 2
DUAL OUTPUT MODE
ON/OFF
CATEGORY
FX1:CHO (CHORUS)
FX2:CHO (CHORUS)
FX3:CHO (CHORUS)
FX4:CHO (CHORUS)
FX1:CHO BASS (CHORUS BASS)
FX2:CHO BASS (CHORUS BASS)
FX3:CHO BASS (CHORUS BASS)
FX4:CHO BASS (CHORUS BASS)
FX1:CV (CLASSIC-VIBE)
FX2:CV (CLASSIC-VIBE)
FX3:CV (CLASSIC-VIBE)
FX4:CV (CLASSIC-VIBE)
FX1:CMP (COMPRESSOR)
FX2:CMP (COMPRESSOR)
FX3:CMP (COMPRESSOR)
FX4:CMP (COMPRESSOR)
FX1:CMP BASS (BASS COMPRESSOR)
FX2:CMP BASS (BASS COMPRESSOR)
FX3:CMP BASS (BASS COMPRESSOR)
FX4:CMP BASS (BASS COMPRESSOR)
TARGET
TYPE
RATE
DEPTH
PRE-DELAY
WAVEFORM
EFFECT LEVEL
DIRECT LEVEL
LOW CUT
HIGH CUT
OUTPUT MODE
DUAL RATE 1
DUAL DEPTH 1
DUAL PRE-DELAY 1
DUAL WAVEFORM 1
DUAL EFCT LEVEL1
DUAL LOW CUT 1
DUAL HIGH CUT 1
DUAL RATE 2
DUAL DEPTH 2
DUAL PRE-DELAY 2
DUAL WAVEFORM 2
DUAL EFCT LEVEL2
DUAL LOW CUT 2
DUAL HIGH CUT 2
PRIME SWEETNESS
PRIME BELL
CE-1 PREAMP SW
CE-1 PREAMP GAIN
CE-1 PREAMP LEVEL
TYPE
RATE
DEPTH
EFFECT LEVEL
LOW CUT
HIGH CUT
MODE
RATE
DEPTH
EFFECT LEVEL
TYPE
SUSTAIN
ATTACK
RATIO
TONE
LEVEL
DIRECT MIX
THRESHOLD
MENU
33
MENU
CATEGORY
FX1:DEF (DEFRETTER)
FX2:DEF (DEFRETTER)
FX3:DEF (DEFRETTER)
FX4:DEF (DEFRETTER)
FX1:DEF BASS (DEFRETTER BASS)
FX2:DEF BASS (DEFRETTER BASS)
FX3:DEF BASS (DEFRETTER BASS)
FX4:DEF BASS (DEFRETTER BASS)
FX1:DIST (DISTORTION)
FX2:DIST (DISTORTION)
FX3:DIST (DISTORTION)
FX4:DIST (DISTORTION)
FX1:FB (FEEDBACKER)
FX2:FB (FEEDBACKER)
FX3:FB (FEEDBACKER)
FX4:FB (FEEDBACKER)
FX1:FL (FLANGER)
FX2:FL (FLANGER)
FX3:FL (FLANGER)
FX4:FL (FLANGER)
TARGET
DEPTH
RESONANCE
MANUAL
TURBO
WAVEFORM
STEPRATE
SEPARATION
EFFECT LEVEL
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
DIRECT MIX
SENS
DEPTH
ATTACK
RESONANCE
TONE
EFFECT LEVEL
DIRECT MIX
SENS
ATTACK
TONE
EFFECT LEVEL
DIRECT MIX
TYPE
DRIVE
TONE
BOTTOM
EFFECT LEVEL
DIRECT MIX
SOLO SW
SOLO LEVEL
MODE
TRIGGER
DEPTH
RISE TIME
OCTAVE RISE TIME
FEEDBACK
OCTAVE FEEDBACK
VIB RATE
VIB DEPTH
RATE
CATEGORY
FX1:FL BASS (FLANGER BASS)
FX2:FL BASS (FLANGER BASS)
FX3:FL BASS (FLANGER BASS)
FX4:FL BASS (FLANGER BASS)
FX1:HRM (HARMONIST)
FX2:HRM (HARMONIST)
FX3:HRM (HARMONIST)
FX4:HRM (HARMONIST)
FX1:HMN (HUMANIZER)
FX2:HMN (HUMANIZER)
FX3:HMN (HUMANIZER)
FX4:HMN (HUMANIZER)
FX1:OC (OCTAVE)
FX2:OC (OCTAVE)
FX3:OC (OCTAVE)
FX4:OC (OCTAVE)
FX1:OC BASS (OCTAVE BASS)
FX2:OC BASS (OCTAVE BASS)
FX3:OC BASS (OCTAVE BASS)
FX4:OC BASS (OCTAVE BASS)
FX1:OT (OVERTONE)
FX2:OT (OVERTONE)
FX3:OT (OVERTONE)
FX4:OT (OVERTONE)
FX1:PAN (PAN)
FX2:PAN (PAN)
FX3:PAN (PAN)
FX4:PAN (PAN)
LOWER LEVEL
UPPER LEVEL
UNISON LEVEL
DIRECT LEVEL
DETUNE
LOW
HIGH
OUTPUT MODE
RATE
DEPTH
WAVEFORM
EFFECT LEVEL
DIRECT MIX
TARGET
RATE
DEPTH
RESONANCE
MANUAL
TURBO
WAVEFORM
STEPRATE
SEPARATION
EFFECT LEVEL
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
DIRECT MIX
VOICE
HR1 HARMONY
HR1 PRE-DELAY
HR1 FEEDBACK
HR1 LEVEL
HR2 HARMONY
HR2 PRE-DELAY
HR2 LEVEL
DIRECT LEVEL
MODE
VOWEL1
VOWEL2
SENS
RATE
DEPTH
MANUAL
LEVEL
TYPE
-2OCT
-1OCT
DIRECT LEVEL
RANGE
POLY OCTAVE LEVEL
2-Oct
1-Oct
DIRECT LEVEL
34
CATEGORY
FX1:PH (PHASER)
FX2:PH (PHASER)
FX3:PH (PHASER)
FX4:PH (PHASER)
FX1:PS (PITCH SHIFTER)
FX2:PS (PITCH SHIFTER)
FX3:PS (PITCH SHIFTER)
FX4:PS (PITCH SHIFTER)
FX1:RM (RING MOD)
FX2:RM (RING MOD)
FX3:RM (RING MOD)
FX4:RM (RING MOD)
FX1:RT (ROTARY)
FX2:RT (ROTARY)
FX3:RT (ROTARY)
FX4:RT (ROTARY)
FX1:STR (SITAR SIM)
FX2:STR (SITAR SIM)
FX3:STR (SITAR SIM)
FX4:STR (SITAR SIM)
TARGET
DIRECT MIX
SPEED SELECT
SLOW RATE
FAST RATE
RISE TIME
FALL TIME
MIC DISTANCE
ROTOR/HORN
DRIVE
EFFECT LEVEL
DIRECT MIX
SENS
PS1 MODE
PS2 PITCH
PS2 FINE
PS2 PRE-DELAY
PS2 LEVEL
PS2 MODE
DIRECT LEVEL
INTELLIGENT
FREQUENCY
FREQ MOD RATE
FREQ MOD DEPTH
EFFECT LEVEL
DEPTH
RESONANCE
BUZZ
TONE
EFFECT LEVEL
DIRECT MIX
TYPE
STAGE
RATE
DEPTH
RESONANCE
MANUAL
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
BI-PHASE
WAVEFORM
STEP RATE
SEPARATION
EFFECT LEVEL
DIRECT MIX
VOICE
PS1 PITCH
PS1 FINE
PS1 FEEDBACK
PS1 PRE-DELAY
PS1 LEVEL
CATEGORY
FX1:SL (SLICER)
FX2:SL (SLICER)
FX3:SL (SLICER)
FX4:SL (SLICER)
FX1:SG (SLOW GEAR)
FX2:SG (SLOW GEAR)
FX3:SG (SLOW GEAR)
FX4:SG (SLOW GEAR)
FX1:SG BASS (SLOW GEAR BASS)
FX2:SG BASS (SLOW GEAR BASS)
FX3:SG BASS (SLOW GEAR BASS)
FX4:SG BASS (SLOW GEAR BASS)
FX1:SH (SOUND HOLD)
FX2:SH (SOUND HOLD)
FX3:SH (SOUND HOLD)
FX4:SH (SOUND HOLD)
FX1:SB (S-BEND)
FX2:SB (S-BEND)
FX3:SB (S-BEND)
FX4:SB (S-BEND)
FX1:TW (TOUCH WAH)
FX2:TW (TOUCH WAH)
FX3:TW (TOUCH WAH)
FX4:TW (TOUCH WAH)
FX1:TW BASS (TOUCH WAH BASS)
FX2:TW BASS (TOUCH WAH BASS)
FX3:TW BASS (TOUCH WAH BASS)
FX4:TW BASS (TOUCH WAH BASS)
FX1:TR (TREMOLO)
FX2:TR (TREMOLO)
FX3:TR (TREMOLO)
FX4:TR (TREMOLO)
FX1:VIB (VIBRATO)
FX2:VIB (VIBRATO)
FX3:VIB (VIBRATO)
FX4:VIB (VIBRATO)
TARGET
PATTERN
RATE
ATTACK
DUTY
TRIGGER
EFFECT LEVEL
DIRECT MIX
SENS
RISE TIME
LEVEL
SENS
RISE TIME
LEVEL
TRIGGER
RISE TIME
EFFECT LEVEL
DEPTH
WAVEFORM
TRIGGER
RISE TIME
EFFECT LEVEL
DIRECT MIX
RATE
DEPTH
COLOR
TRIGGER
RISE TIME
EFFECT LEVEL
DIRECT MIX
TRIGGER
PITCH
RISE TIME
FALL TIME
FILTER MODE
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT MIX
FILTER MODE
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT MIX
RATE
MENU
35
MENU
CATEGORY
REVERB
REVERB: SHIMMER
REVERB: DUAL
REVERB: TERA ECHO
PEDAL FX
PEDAL BEND
PEDAL WAH
36
TARGET
TIME 1
PRE-DELAY 1
DENSITY 1
TONE 1
EFFECT LEVEL 1
LOW CUT 1
HIGH CUT 1
TYPE 2
TIME 2
PRE-DELAY 2
DENSITY 2
TONE 2
EFFECT LEVEL 2
LOW CUT 2
HIGH CUT 2
MODE
S-TIME
FEEDBACK
TRIGGER
ON/OFF
TYPE
EFFECT LEVEL
DIRECT MIX
PITCH MIN
PITCH MAX
PEDAL POSITION
TYPE
PEDAL POSITION
PEDAL MIN
PEDAL MAX
ON/OFF
TYPE
TIME
DENSITY
PRE DELAY
TONE
EFFECT LEVEL
DIRECT LEVEL
LOW CUT
HIGH CUT
LOW DAMP
HIGH DAMP
MOD RATE
MOD DEPTH
DUCK SENS
DUCK PRE DEPTH
DUCK POST DEPTH
PITCH 1
LEVEL 1
PITCH 2
LEVEL 2
TYPE 1
CATEGORY
FOOT VOLUME
DIV1 (DIVIDER 1)
DIV2 (DIVIDER 2)
DIV3 (DIVIDER 3)
MIXER 1
MIXER 2
MIXER 3
S/R 1 (SEND/RETURN 1)
S/R 2 (SEND/RETURN 2)
LOOPER
AMP CTL (AMP CONTROL)
MASTER
MIDI
TUNER
TARGET
RETURN LEVEL
ADJUST
PLAY LEVEL
CTL 1
CTL 2
PATCH LEVEL
BPM
KEY
BASS MODE
MIDI CC#
MIDI PC#
ON/OFF
PEDAL POSITION
VOLUME MIN
VOLUME MAX
VOLUME CURVE
MODE
CH SELECT
Ch.A DYNAMIC
Ch.A DYNAMIC SENS
Ch.A FILTER
Ch.A CUTOFF FREQ
Ch.B DYNAMIC
Ch.B DYNAMIC SENS
Ch.B FILTER
Ch.B CUTOFF FREQ
MODE
A LEVEL
B LEVEL
Ch.A/B BALANCE
SPREAD
ON/OFF
MODE
SEND LEVEL
By assigning a desired parameter to the virtual expression pedal, you can produce an effect as though you were operating a physical expression pedal to change the volume or tone quality in real time.
The virtual expression pedal system provides the following two types of functions, and you can use the SOURCE setting for ASSIGN 1–16 to choose the desired type.
Internal pedal
If SOURCE is set to “INT PEDAL,” the virtual expression pedal will begin operating when started by the specified trigger (TRIGGER), modifying the parameter specified by “TARGET.”
The value changes in a curve
MENU
About the Range of a Target’s Change
The value of the parameter selected as the target changes within the range defined by “Min” and “Max,” as set on the
GT-1000.
When using an external footswitch, or other controller that acts as an on/off switch, “Min” is selected with Off (CLOSED), and
“Max” is selected with On (OPEN).
When using an external expression pedal or other controller that generates a consecutive change in the value, the value of the setting changes accordingly, within the range set by the minimum and maximum values. Also, when the target is of an on/off type, the median value of the received data is used as the dividing line in determining whether to switch it on or off.
When using the footswitch:
MAX
When the trigger occurs
Wave pedal
If SOURCE is set to “WAVE PEDAL,” the virtual expression pedal will cyclically modify the parameter specified by TARGET in a fixed wave form.
MIN
OFF
When using the expression pedal:
ON
MAX
Always changes in a fixed curve regardless of the actual pedal
The parameter set as the target changes in response to the input level.
MEMO
If you want to adjust the input sensitivity, set the INPUT SENS.
Parameter
INPUT SENS
Value
0–100
Explanation
This adjusts the input sensitivity when INPUT
LEVEL is selected for SOURCE.
MIN
0
When the pedal is fully raised
127
When the pedal is fully advanced
When controlling the On/Off target with the expression pedal:
Value
ON
OFF
When the pedal is fully raised
0
When the pedal is advanced halfway
127
When the pedal is fully advanced
Degree to Which
Expression Pedal
Is Depressed
* The range that can be selected changes according to the target setting.
* When the “minimum” is set to a higher value than the
“maximum,” the change in the parameter is reversed.
* The values of settings can change if the target is changed after the “minimum” and “maximum” settings have been made. If you’ve changed the target, be sure to recheck the “minimum” and “maximum” settings.
37
MENU
About the Range of a Controller’s Change
This sets the operational range within which the value of the setting changes when an expression pedal or other controller that changes the value consecutively is used as the source. If the controller is moved outside the operational range, the value does not change, it stops at “minimum” or “maximum.”
(Example) With ACT LOW: 40, ACT HIGH: 80
MAX
Parameter
CC1#
CC2#
CC1 VALUE
CC2 VALUE
Value
OFF, 0–127
0–127
Explanation
Specifies whether a control change is transmitted when you switch patches.
If this is OFF, no control change is transmitted.
Specifies the value of the control change.
MIN
0
When the pedal is fully raised
40 80 127
Degree to Which
Expression Pedal Is
Depressed
ACT LOW ACT HIGH When the pedal is fully advanced
Value
ON
OFF
0
When the pedal is fully raised
40 60 80
ACT LOW
Center
Value
ACT HIGH
Degree to Which
Expression Pedal Is
Depressed
127
When the pedal is fully advanced
* When using a footswitch or other on/off switching controller as the source, leave these at “ACT LOW: 0” and “ACT HIGH: 127.”
With certain settings, the value may not change.
When you change patches, a program number and bank select messages are transmitted to an external MIDI device.
PATCH MIDI 1, 2, 3, 4
Parameter Value
CH
PC#
BANK MSB
BANK LSB
OFF, 1–16
OFF, 1–128
OFF, 0–127
Explanation
Specifies the transmit channel for MIDI messages.
If this is OFF, no MIDI message is transmitted.
Specifies whether a program number is transmitted when you switch patches.
If this is OFF, no program number is transmitted.
Specifies whether bank select messages are transmitted when you switch patches.
* It is not possible to transmit only BANK
LSB.
* Not transmitted if PC# is OFF.
* It is not possible to transmit only bank select. Bank select is always transmitted in conjunction with program numbers.
38
You can specify the color of the LED for each footswitch.
[BANK
I
], [BANK
H
], [1]–[5] switch, CTL1–3, EXP1 SW, CUR NUM
Explanation Value
OFF
RED
BLUE
LIGHT BLUE
ORANGE
GREEN
YELLOW
WHITE
PURPLE
PINK
CYAN
The LED is not lit.
Specify the color of LED illumination.
AUTO
The illumination behavior and color that are appropriate for the footswitch function will be specified.
If “ON” is set to AUTO, the OFF setting is ignored.
AUTO RED
AUTO BLUE
AUTO LIGHT BLUE
AUTO ORANGE
AUTO GREEN
AUTO YELLOW
AUTO WHITE
AUTO PURPLE
AUTO PINK
AUTO CYAN
The illumination behavior that is appropriate for the footswitch function will be specified. You can specify the color.
If “ON” is set to AUTO, the OFF setting is ignored.
Parameter Value
TEMPO HOLD
OFF, ON
Explanation
Specifies whether the tempo (BPM) changes or is maintained when you switch patches.
Adjust the input level according to the output level of the guitar that you’ve connected.
Parameter
INPUT LEVEL
SETTING
Value
-20–+20dB
1–10
Explanation
Adjusts the guitar input level.
Selects the guitar (input level) that is connected to the INPUT jack.
Specify the device (amp) that’s connected to the MAIN OUTPUT, SUB
OUTPUT jacks.
OUTPUT SELECT
Parameter
AIRD OUTPUT SELECT
Value
LINE/PHONES
RECORDING
JC-120 RETURN
JC-120 INPUT
Blues Cube Tour410
RETURN
Blues Cube Tour410
INPUT
Blues Cube Artist212
RETURN
Blues Cube Artist212
INPUT
WAZA Amp 412
RETURN
WAZA Amp 412
INPUT
WAZA Amp 212
RETURN
WAZA Amp 212
INPUT
KATANA-100/212
MkII POWER AMP IN
Explanation
Choose this setting if you’re using headphones, or if the
GT-1000 is connected to a keyboard amp, mixer, or digital recorder.
The speaker type for the preamp is fixed (original).
Choose this setting if you’re using headphones, or if the
GT-1000 is connected to a keyboard amp, mixer, or digital recorder.
This setting lets you freely select the speaker type.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the Roland JC-120 guitar amp.
Choose this setting if the GT-1000 is connected to the guitar input of a JC-120 guitar amp.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the Roland Blues Cube Tour guitar amp.
This assumes that the connected speaker cabinet is the
Blues Cube Cabinet 410.
Choose this setting if the GT-1000 is connected to the guitar input of a Roland Blues Cube Tour guitar amp.
This assumes that the connected speaker cabinet is the
Blues Cube Cabinet 410.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the Roland Blues Cube Artist212 guitar amp.
Choose this setting if the GT-1000 is connected to the guitar input of a Roland Blues Cube Artist212 guitar amp.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the BOSS WAZA Amp Head guitar amp.
This assumes that the connected speaker cabinet is the
WAZA Amp Cabinet 412.
Choose this setting if the GT-1000 is connected to the guitar input of a BOSS WAZA Amp Head guitar amp.
This assumes that the connected speaker cabinet is the
WAZA Amp Cabinet 412.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the BOSS WAZA Amp Head guitar amp.
This assumes that the connected speaker cabinet is the
WAZA Amp Cabinet 212.
Choose this setting if the GT-1000 is connected to the guitar input of a BOSS WAZA Amp Head guitar amp.
This assumes that the connected speaker cabinet is the
WAZA Amp Cabinet 412.
Choose this setting if the GT-1000 is connected to the
POWER AMP IN of a Boss KATANA-100/212 MkII guitar amp.
MENU
Value
KATANA-100 MkII
POWER AMP IN
KATANA-50 MkII
POWER AMP IN
KATANA-100/212
RETURN
KATANA-100/212
INPUT
KATANA-100 RETURN
KATANA-100 INPUT
KATANA-50 INPUT
TUBE COMBO 212
RETURN
TUBE COMBO 212
INPUT
TUBE COMBO 112
RETURN
TUBE COMBO 112
INPUT
TUBE STACK 412
RETURN
TUBE STACK 412
INPUT
NEXTONE-Artist
RETURN
NEXTONE-Stage
RETURN
MUSTANG 212
RETURN
Hot Rod Deluxe
RETURN
Twin Reverb INPUT
AC30 INPUT
JCM2000 412
RETURN
JVM410H 412
RETURN
Rectifier 412 RETURN
TriAmp 412 RETURN
BASS AMP WITH
TWEETER
Explanation
Choose this setting if the GT-1000 is connected to the
POWER AMP IN of a Boss KATANA-100 MkII guitar amp.
Choose this setting if the GT-1000 is connected to the
POWER AMP IN of a Boss KATANA-50 MkII guitar amp.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the KATANA-100/212 guitar amp.
Choose this setting if the GT-1000 is connected to the guitar input of a KATANA-100/212 guitar amp.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the KATANA-100 guitar amp.
Choose this setting if the GT-1000 is connected to the guitar input of a KATANA-100 guitar amp.
Choose this setting if the GT-1000 is connected to the guitar input of a KATANA-50 guitar amp.
This setting is for cases other than the above when connecting to the RETURN of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with two 12” speakers.
This setting is for cases other than the above when connecting to the INPUT of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with two 12” speakers.
This setting is for cases other than the above when connecting to the RETURN of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with one 12” speaker.
This setting is for cases other than the above when connecting to the INPUT of a vacuum tube combo amp (in which the amp and speakers are in a single unit) equipped with one 12” speaker.
This setting is for cases other than the above when connecting to the RETURN of a vacuum tube stack guitar amp (in which the amp and speakers are separate units).
This assumes that the connected speaker cabinet is equipped with four 12” speakers.
This setting is for cases other than the above when connecting to the INPUT of a vacuum tube stack guitar amp (in which the amp and speaker are separate units).
This assumes that the connected speaker cabinet is equipped with four 12” speakers.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the NEXTONE-Artist guitar amp.
This assumes that the POWER AMP SELECT is set to EL34.
Choose this setting if the GT-1000 is connected to the
RETURN jack of the NEXTONE-Stage guitar amp.
This assumes that the POWER AMP SELECT is set to EL34.
A setting for the connection to the RETURN jack of the
Fender MUSTANG guitar amp.
This assumes that the connected speaker cabinet is equipped with two 12” speakers.
A setting for the connection to the RETURN jack of the
Fender Hot Rod Deluxe guitar amp.
A setting for the connection to the guitar input of the
Fender Twin Reverb guitar amp.
A setting for the connection to the guitar input of the VOX
AC30 guitar amp.
A setting for the connection to the RETURN jack of the
Marshall JCM2000 guitar amp.
The connected cabinet is assumed to be a Marshall cabinet with four 12” speakers.
A setting for the connection to the RETURN jack of the
Marshall JVM410H guitar amp.
The connected cabinet is assumed to be a Marshall cabinet with four 12” speakers.
A setting for the connection to the RETURN jack of the
MESA/Boogie Rectifier guitar amp.
The connected cabinet is assumed to be a MESA/Boogie cabinet with four 12” speakers.
A setting for the connection to the RETURN jack of the
Hughes & Kettner TriAmp guitar amp.
The connected cabinet is assumed to be a Hughes &
Kettner cabinet with four 12” speakers.
Use this setting when connecting to a bass amp that has no tweeter.
39
MENU
Value
BASS AMP NO
TWEETER
USER1, USER2
Explanation
Use this setting when connecting to a tweeter-equipped bass amp.
You can use a dedicated tool to download settings from the Boss website and add them to USER1 and USER2.
Download the dedicated tool from the BOSS website.
http://www boss info/support/
Parameter
STEREO LINK
L LOW GAIN
R LOW GAIN
L MID GAIN
R MID GAIN
L MID FREQ
R MID FREQ
L MID Q
R MID Q
L HIGH GAIN
R HIGH GAIN
L LOW CUT
R LOW CUT
GLOBAL EQ
This adjusts the tone of the OUTPUT regardless of the equalizer on/off settings of individual patches.
* If the STEREO LINK is ON, the L settings are also applied to R.
L HIGH CUT
R HIGH CUT
LEVEL
Value
OFF, ON
-20–+20dB
-20–+20dB
20.0Hz–16.0kHz
0.5–16
-20–+20dB
FLAT,
20.0Hz–20.0kHz
20.0Hz–20.0kHz
FLAT
-20–+20dB
Explanation
If this is ON, the L and R settings are made at the same time.
Adjusts the tone for the low frequency range.
Adjusts the tone for the middle frequency range.
Specifies the center of the frequency range that will be adjusted by the MID
GAIN.
Adjusts the width of the area affected by the EQ centered at the MID FREQ. Higher values will narrow the area.
Adjusts the tone for the high frequency range.
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 output level.
This specifies the signal that is output from the PHONES jack.
Parameter
PHONES
SETTING
Value
MAIN OUT
SUB OUT
MAIN+SUB
Explanation
The MAIN OUT signal is output to headphones.
The SUB OUT signal is output to headphones.
The MAIN OUT and SUB OUT signals are mixed and output to headphones.
These parameters control the threshold level of the noise suppressor used by each patch, the overall reverb level, and the overall output.
They do not affect the settings of each patch.
Parameter
NS THRESHOLD
REVERB LEVEL
METRONOME
OUT
Value Explanation
-20dB–0dB–
+20dB
0%–200%
Control the threshold level of the noise suppressor used by each patch.
It is effective to adjust this when you switch to connecting a different guitar, or according to the amount of noise in the performance venue. This does not affect the settings of each patch.
* If you want to use the settings specified for each patch, set this to 0 dB.
Adjusts the reverb level specified for each patch.
It is useful to adjust the reverb level appropriately for the space in which you’re performing. This does not affect the settings of each patch.
* If you want to use the settings specified for each patch, set this to 100%.
Specifies the metronome’s output destination.
MAIN OUT Output from MAIN OUTPUT.
SUB OUT
MAIN+SUB
Output from SUB OUTPUT.
Output from both MAIN OUTPUT and SUB
OUTPUT.
OUTPUT LEVEL
Parameter Value
LEVEL SELECT
OUTPUT LEVEL
-10dBu, +4dBu
0–100
Explanation
Specifies the output reference level as appropriate for the input level of the device connected to the OUTPUT jacks.
Adjusts the output level (SUB OUT only).
40
Here you can make USB-related settings for when the GT-1000 is connected to a computer via USB.
GT-1000 provides three USB audio outputs: “MAIN”, “SUB“ and “DRY.”
MAIN outputs the effect sound from MAIN OUT; the return from the computer is mixed with the guitar’s performance at the final stage of MAIN OUT.
SUB outputs the effect sound from SUB OUT; the return from the computer is mixed with the guitar’s performance at the final stage of SUB OUT.
DRY always outputs the dry sound regardless of the GT-1000 unit’s settings; the return from the computer is always returned to the beginning of the effect chain.
Since the GT-1000 is outputting to the computer from each of MAIN, SUB, and
DRY, you can provide three tracks for guitar and simultaneously record the dry sound, the effect sound from MAIN OUT, and the effect sound from SUB OUT.
If you are not satisfied with the effect sound from MAIN OUT or SUB OUT, you can play back the dry sound that was simultaneously recorded from DRY, and pass it through the effect chain of the GT-1000 to remake the sound.
USB MAIN
GT-1000
USB OUT MAIN OUTPUT
USB IN
INPUT
EFX OUT
Effect Chain
MIX
LEVEL
USB SUB
GT-1000
USB OUT SUB OUTPUT
USB IN
INPUT
EFX OUT
Effect Chain
MIX
LEVEL
USB DRY
GT-1000
USB OUT
MAIN OUTPUT
USB IN
INPUT
DRY OUT
TO EFX
Effect Chain
SUB OUTPUT
MENU
MAIN
Parameter
MIX LEVEL
EFX OUT
DIR MON
Value
OFF
ON
Explanation
0–200%
0–200%
Adjusts the level of the input sound from the computer. At this time, the input sound from the computer is mixed at the final stage of the
GT-1000’s MAIN OUT.
Adjusts the level of the sound that is output to the computer from MAIN OUT after passing through the GT-1000’s effects.
Selects whether the sound of the GT-1000, is output to the
PHONES jack or the MAIN OUTPUT jacks.
* This setting cannot be saved. It will be ON when the unit is powered-on.
Turn this off if the audio data is being passed through within the computer.
In this case, you won’t hear the sound unless the computer is set to through.
The sound of the GT-1000, is output directly.
Turn this on if you’re using the GT-1000, by itself without connecting to a computer. (If this is off, only the sound that is input to USB will be output.)
SUB
Parameter
MIX LEVEL
EFX OUT
DIR MON
Value Explanation
0–200%
0–200%
Adjusts the level of the sound that is input from the computer. In this case, the input sound from the computer is mixed at the final stage of the
GT-1000’s SUB OUT.
Adjusts the level of the sound that is output to the computer from SUB OUT after passing through the GT-1000’s effects.
Selects whether the sound of the GT-1000, is output to the
PHONES jack or the SUB OUTPUT jacks.
* This setting cannot be saved. It will be ON when the unit is powered-on.
OFF
ON
Turn this off if the audio data is being passed through within the computer.
In this case, you won’t hear the sound unless the computer is set to through.
The sound of the GT-1000, is output directly.
Turn this on if you’re using the GT-1000, by itself without connecting to a computer. (If this is off, only the sound that is input to USB will be output.)
DRY
Parameter
OUT
TO EFX
Value
0–200%
0–200%
Explanation
The guitar sound that is input to the GT-1000, is output without change (DRY sound); it is not processed by effects.
Adjusts the input level from the computer to the
GT-1000’s effects.
41
MENU
Here you can specify how the pedals will work during performance.
Parameter
BANK MODE
BANK
EXTENT MIN
BANK
EXTENT MAX
PHRASE
LOOP MODE
PHRASE
LOOP REC
ACTION
Value Explanation
WAIT
IMMED
WAIT2
Although the indication in the display is updated to reflect the change in the bank when a BANK pedal is pressed, the patch will not change until a number pedal has been pressed.
The patch switches instantly when a
BANK pedal or any of the number pedals is pressed.
When you press a BANK pedal, the display blinks, allowing you to specify a number without switching banks. When you press a number pedal, the bank and number are finalized, and the next patch is selected. Even if a function other than number is assigned to the number pedals, you can switch to a number of the same bank. You can also switch banks by pressing a bank pedal while the display is blinking.
U01–U50
P01–P50,
U01–U50
P01–P50,
Sets the lower limit for the banks.
Sets the upper limit for the banks.
MONO
STEREO
Mixes the L/R signals for mono operation.
The recording time is 38 seconds.
Operate in stereo.
The recording time is 19 seconds.
Specifies how the looper operates when you press the pedal.
REC
REC
0
0
PLAY
DUB
0
0
DUB
PLAY
Operation switches in the order of record
0
play
0
overdub.
Operation switches in the order of record
0
overdub
0
play.
Here you can make settings for using the GT-1000 connected with an external MIDI device or with a second GT-1000 unit.
Reference
For more about MIDI, refer to “Connecting External MIDI Devices” in the owner’s manual.
Parameter
RX CHANNEL
OMNI MODE
TX CHANNEL
DEVICE ID
MIDI IN THRU
USB IN THRU
SYNC CLOCK
Value Explanation
This sets the MIDI channel used for receiving MIDI messages.
Ch. 1– Ch. 16 Specifies the receive channel.
This makes the settings for the channels used for MIDI information.
OFF
Information is received on the channel specified by the RX CHANNEL setting.
ON
Messages are received on all channels, regardless of the MIDI channel settings.
Sets the MIDI channel used for transmitting MIDI messages.
Ch. 1– Ch. 16.
Specifies the transmit channel.
RX
Transmits on the same channel as the RX
CHANNEL.
This sets the MIDI Device ID used for transmitting and receiving
Exclusive messages.
1–32 Sets the MIDI Device ID.
This specifies the connector from which to output the MIDI messages that are received at the MIDI IN connector.
OFF MIDI messages are not transmitted.
MIDI OUT
USB OUT
Messages are transmitted from the MIDI
OUT connector.
Messages are transmitted from the USB port.
USB/MIDI
Messages are transmitted from the USB port and the MIDI OUT connector.
This specifies the connector from which to output the MIDI messages that are received at the USB port.
OFF MIDI messages are not transmitted.
MIDI OUT
USB OUT
USB/MIDI
Messages are transmitted from the MIDI
OUT connector.
Messages are transmitted from the USB port.
Messages are transmitted from the USB port and the MIDI OUT connector.
This setting determines the basis used for synchronizing the timing for effect modulation rates and other time-based parameters.
* When you have an external MIDI device connected, the
MASTER BPM is then synchronized to the external MIDI device’s tempo, thus disabling the MASTER BPM setting. To enable setting of the MASTER BPM, set to “INTERNAL.”
* When synchronizing performances to the MIDI Clock signal from an external MIDI device, timing problems in the performance may occur due to errors in the MIDI Clock.
AUTO
INTERNAL
Operations are synchronized to MIDI clock messages received via MIDI or USB.
However, operations are automatically synchronized to the GT-1000’s internal clock if the GT-1000, is unable to receive the external Clock.
Operations are synchronized to the
GT-1000’s internal Clock.
MIDI (AUTO)
USB (AUTO)
Operations are synchronized to the
MIDI Clock received via MIDI. However, operations are automatically synchronized to the GT-1000’s internal Clock if the GT-1000 is unable to receive the external Clock.
Operations are synchronized to the
USB Clock received via USB. However, operations are automatically synchronized to the GT-1000’s internal Clock if the GT-1000 is unable to receive the external Clock.
42
Parameter
CLOCK OUT
MAP SELECT
NUM1 CC#
NUM2 CC#
NUM3 CC#
NUM4 CC#
NUM5 CC#
BANKDOWN CC#
BANKUP CC#
CTL1 CC#
CTL2 CC#
CTL3 CC#
CTL4 CC#
CTL5 CC#
CTL6 CC#
CTL7 CC#
EXP1 SW CC#
EXP1 CC#
EXP2 CC#
EXP3 CC#
CC#1–CC#31,
CC#64–CC#95
Value Explanation
Specifies whether MIDI clock will be output from the GT-1000.
OFF
ON
MIDI clock is not output.
MIDI clock is output.
Specifies whether program change messages received by the
GT-1000, will switch patches according to the settings of the program change map or will switch patches according to the default settings.
This deactivates the Program Change Map.
FIX
Switches to the patches according to the default settings.
This activates the Program Change Map.
PROG
Switches to the patches according to the
Program Change Map.
Specifies the controller number when transmitting pedal operations as control change messages.
OFF Control Change messages are not output.
Pedal operations are transmitted using the specified controller number.
When switching patches using Program Change messages transmitted by an external MIDI device, you can freely set the correspondence between Program Change messages received by the
GT-1000 and the patches to be switched to in the “Program Change
Map.”
Parameter
PC#1–PC#128
Value Explanation
U01-1–U50-5, P01-1–
P50-5
This sets the patch number (U01-1 through P50-5) for the corresponding
Program Change number.
You can use Exclusive messages to provide another GT-1000 with identical settings, and save effect settings on a MIDI sequencer or other device.
Parameter
FROM
TO
Value
SYSTEM
U01-1–U50-5
STOMPBOX
PEDALBOARD
TEMP
Explanation
System parameter settings
Settings for Patch Number U01-1 through
U50-5
Stomp box settings
Pedalboard settings
Settings for the patch that is currently selected
MENU
Here you can assign the desired parameters to knobs [1]–[6] in the
Play Screen.
* The settings you make here are only for the knobs in the Play
Screen.
Parameter
KNOB 1–KNOB 6
Value (Category)
COMPRESSOR
COMP: BASS (COMPRESSOR BASS)
DISTORTION 1
DISTORTION 2
AIRD PREAMP 1
AIRD PREAMP 2
NS 1 (NOISE SUPPRESSOR 1)
NS 2 (NOISE SUPPRESSOR 2)
EQ 1 (EQUALIZER 1)
EQ 2 (EQUALIZER 2)
EQ 3 (EQUALIZER 3)
EQ 4 (EQUALIZER 4)
Value (Target)
ON/OFF
TYPE
SUSTAIN
ATTACK
RATIO
TONE
LEVEL
DIRECT MIX
THRESHOLD
ON/OFF
TYPE
DRIVE
TONE
BOTTOM
EFFECT LEVEL
DIRECT MIX
SOLO SW
SOLO LEVEL
ON/OFF
TYPE
GAIN
SAG
RESONANCE
BASS
MIDDLE
TREBLE
PRESENCE
BRIGHT
LEVEL
GAIN SW
SOLO SW
SOLO LEVEL
ON/OFF
THRESHOLD
RELEASE
DETECT
ON/OFF
TYPE
43
MENU
Value (Category)
EQ 1: PEQ (EQUALIZER 1 PARAMETRIC)
EQ 2: PEQ (EQUALIZER 2 PARAMETRIC)
EQ 3: PEQ (EQUALIZER 3 PARAMETRIC)
EQ 4: PEQ (EQUALIZER 4 PARAMETRIC)
EQ1: GEQ (EQUALIZER 1 GRAPHIC)
EQ2: GEQ (EQUALIZER 2 GRAPHIC)
EQ3: GEQ (EQUALIZER 3 GRAPHIC)
EQ4: GEQ (EQUALIZER 4 GRAPHIC)
DELAY 1
DELAY 2
DELAY 3
DELAY 4
MASTER DELAY
M-DLY: TAPE (MASTER DELAY: TAPE)
M-DLY: SHIMMER (MASTER DELAY: SHIMMER)
Value (Target)
ON/OFF
TIME
FEEDBACK
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
ON/OFF
TYPE
TIME
FEEDBACK
HIGH CUT
EFFECT LEVEL
DIRECT LEVEL
MOD RATE
MOD DEPTH
DUCK SENS
DUCK PRE DPT
DUCK POST DPT
TAP TIME
TRIGGER
LEVEL
AUTO TRIGGER
HEAD
PITCH
PITCH BAL
PITCH FBK
2kHz
4kHz
8kHz
16kHz
LEVEL
63Hz
125Hz
250Hz
500Hz
1kHz
LOW GAIN
LOW-MID FREQ
LOW-MID Q
LOW-MID GAIN
HIGH-MID FREQ
HIGH-MID Q
HIGH-MID GAIN
HIGH GAIN
LEVEL
LOW CUT
HIGH CUT
31.5Hz
Value (Category)
M-DLY: DUAL (MASTER DELAY: DUAL)
M-DLY: TWIST (MASTER DELAY: TWIST)
M-DLY:ECHO (MASTER DELAY: ECHO)
CHORUS
CHORUS: DUAL
FX1
FX2
FX3
FX4
FX1: ACG SIM (AC GUITAR SIM)
FX2: ACG SIM (AC GUITAR SIM)
FX3: ACG SIM (AC GUITAR SIM)
FX4: ACG SIM (AC GUITAR SIM)
FX1: AC RES (AC RESONANCE)
FX2: AC RES (AC RESONANCE)
FX3: AC RES (AC RESONANCE)
FX4: AC RES (AC RESONANCE)
Value (Target)
MODE
D1 TYPE
D1 TIME
D1 FEEDBACK
D1 HIGH CUT
D1 EFCT LEVEL
D2 TYPE
D2 TIME
D2 FEEDBACK
D2 HIGH CUT
D2 EFCT LEVEL
MODE
RISE TIME
FALL TIME
WOW & FLUTTER
SPACE HEAD
BINDRUM HEAD
SELECTOR
ON/OFF
TYPE
RATE
DEPTH
PRE-DELAY
WAVEFORM
EFFECT LEVEL
DIRECT LEVEL
LOW CUT
HIGH CUT
RATE 1
DEPTH 1
PRE-DELAY 1
WAVEFORM 1
EFCT LEVEL 1
LOW CUT 1
HIGH CUT 1
RATE 2
DEPTH 2
PRE-DELAY 2
WAVEFORM 2
EFCT LEVEL 2
LOW CUT 2
HIGH CUT 2
OUTPUT MODE
ON/OFF
TYPE
BODY
LOW
HIGH
LEVEL
TYPE
RESONANCE
TONE
LEVEL
44
Value (Category)
FX1: AUTO WAH
FX2: AUTO WAH
FX3: AUTO WAH
FX4: AUTO WAH
FX1: CHORUS
FX2: CHORUS
FX3: CHORUS
FX4: CHORUS
FX1: CHO DUAL (CHORUS DUAL)
FX2: CHO DUAL (CHORUS DUAL)
FX3: CHO DUAL (CHORUS DUAL)
FX4: CHO DUAL (CHORUS DUAL)
FX1: CHO PRIME (CHORUS PRIME)
FX2: CHO PRIME (CHORUS PRIME)
FX3: CHO PRIME (CHORUS PRIME)
FX4: CHO PRIME (CHORUS PRIME)
FX1: CHO CE-1 (CHORUS CE-1)
FX2: CHO CE-1 (CHORUS CE-1)
FX3: CHO CE-1 (CHORUS CE-1)
FX4: CHO CE-1 (CHORUS CE-1)
FX1:CHO BASS (CHORUS BASS)
FX2:CHO BASS (CHORUS BASS)
FX3:CHO BASS (CHORUS BASS)
FX4:CHO BASS (CHORUS BASS)
FX1: C-VIBE (CLASSIC VIBE)
FX2: C-VIBE (CLASSIC VIBE)
FX3: C-VIBE (CLASSIC VIBE)
FX4: C-VIBE (CLASSIC VIBE)
FX1: COMP (COMPRESSOR)
FX2: COMP (COMPRESSOR)
FX3: COMP (COMPRESSOR)
FX4: COMP (COMPRESSOR)
Value (Target)
FILTER MODE
RATE
DEPTH
FREQUENCY
RESONANCE
WAVEFORM
EFFECT LEVEL
DIRECT MIX
TYPE
RATE
DEPTH
PRE-DELAY
WAVEFORM
EFFECT LEVEL
DIRECT LEVEL
LOW CUT
HIGH CUT
RATE 1
DEPTH 1
PRE-DELAY 1
WAVEFORM 1
EFCT LEVEL1
LOW CUT 1
HIGH CUT 1
RATE 2
DEPTH 2
PRE-DELAY 2
WAVEFORM 2
EFCT LEVEL2
LOW CUT 2
HIGH CUT 2
SWEETNESS
BELL
PREAMP SW
PREAMP GAIN
PREAMP LEVEL
TYPE
RATE
DEPTH
EFFECT LEVEL
LOW CUT
HIGH CUT
MODE
RATE
DEPTH
EFFECT LEVEL
TYPE
SUSTAIN
ATTACK
RATIO
TONE
LEVEL
DIRECT MIX
Value (Category)
FX1:CMP BASS (BASS COMPRESSOR)
FX2:CMP BASS (BASS COMPRESSOR)
FX3:CMP BASS (BASS COMPRESSOR)
FX4:CMP BASS (BASS COMPRESSOR)
FX1: DEFRETTER
FX2: DEFRETTER
FX3: DEFRETTER
FX4: DEFRETTER
FX1:DEF BASS (DEFRETTER BASS)
FX2:DEF BASS (DEFRETTER BASS)
FX3:DEF BASS (DEFRETTER BASS)
FX4:DEF BASS (DEFRETTER BASS)
FX1:DIST (DISTORTION)
FX2:DIST (DISTORTION)
FX3:DIST (DISTORTION)
FX4:DIST (DISTORTION)
FX1: FEEDBACKR (FEEDBACKER)
FX2: FEEDBACKR (FEEDBACKER)
FX3: FEEDBACKR (FEEDBACKER)
FX4: FEEDBACKR (FEEDBACKER)
FX1: FLANGER
FX2: FLANGER
FX3: FLANGER
FX4: FLANGER
Value (Target)
THRESHOLD
TONE
BOTTOM
EFFECT LEVEL
DIRECT MIX
SOLO SW
SOLO LEVEL
MODE
TRIGGER
DEPTH
RISE TIME
OCT RISE TIME
FEEDBACK
OCT FEEDBACK
VIB RATE
VIB DEPTH
RATE
DEPTH
RESONANCE
MANUAL
TURBO
WAVEFORM
STEPRATE
SEPARATION
EFFECT LEVEL
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
DIRECT MIX
SENS
DEPTH
ATTACK
RESONANCE
TONE
EFFECT LEVEL
DIRECT MIX
SENS
ATTACK
TONE
EFFECT LEVEL
DIRECT MIX
TYPE
DRIVE
MENU
45
MENU
Value (Category)
FX1: HUMANIZER
FX2: HUMANIZER
FX3: HUMANIZER
FX4: HUMANIZER
FX1: OCTAVE
FX2: OCTAVE
FX3: OCTAVE
FX4: OCTAVE
FX1:OC BASS (OCTAVE BASS)
FX2:OC BASS (OCTAVE BASS)
FX3:OC BASS (OCTAVE BASS)
FX4:OC BASS (OCTAVE BASS)
FX1: OVERTONE
FX2: OVERTONE
FX3: OVERTONE
FX4: OVERTONE
FX1: PAN
FX2: PAN
FX3: PAN
FX4: PAN
46
FX1:FL BASS (FLANGER BASS)
FX2:FL BASS (FLANGER BASS)
FX3:FL BASS (FLANGER BASS)
FX4:FL BASS (FLANGER BASS)
FX1: HARMONIST
FX2: HARMONIST
FX3: HARMONIST
FX4: HARMONIST
Value (Target)
SENS
RATE
DEPTH
MANUAL
LEVEL
TYPE
-2OCT
-1OCT
DIRECT LEVEL
RANGE
POLY OCT LEVL
2-Oct
1-Oct
RATE
DEPTH
RESONANCE
MANUAL
TURBO
WAVEFORM
STEPRATE
SEPARATION
EFFECT LEVEL
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
DIRECT MIX
VOICE
HR1:HARMONY
HR1:PRE-DELAY
HR1:FEEDBACK
HR1:LEVEL
HR2:HARMONY
HR2:PRE-DELAY
HR2:LEVEL
DIRECT LEVEL
MODE
VOWEL1
VOWEL2
DIRECT LEVEL
LOWER LEVEL
UPPER LEVEL
UNISON LEVEL
DIRECT LEVEL
DETUNE
LOW
HIGH
OUTPUT MODE
RATE
DEPTH
WAVEFORM
EFFECT LEVEL
DIRECT MIX
Value (Category)
FX1: PHASER
FX2: PHASER
FX3: PHASER
FX4: PHASER
FX1: PITCH SFT (PITCH SHIFTER)
FX2: PITCH SFT (PITCH SHIFTER)
FX3: PITCH SFT (PITCH SHIFTER)
FX4: PITCH SFT (PITCH SHIFTER)
FX1: RING MOD
FX2: RING MOD
FX3: RING MOD
FX4: RING MOD
FX1: ROTARY
FX2: ROTARY
FX3: ROTARY
FX4: ROTARY
FX1: SITAR SIM
FX2: SITAR SIM
FX3: SITAR SIM
FX4: SITAR SIM
Value (Target)
DIRECT MIX
SPEED SELECT
SLOW RATE
FAST RATE
RISE TIME
FALL TIME
MIC DISTANCE
ROTOR/HORN
DRIVE
EFFECT LEVEL
DIRECT MIX
SENS
PS1:MODE
PS2:PITCH
PS2:FINE
PS2:PRE-DELAY
PS2:LEVEL
PS2:MODE
DIRECT LEVEL
INTELLIGENT
FREQUENCY
FREQ MOD RATE
FREQ MOD DPT
EFFECT LEVEL
DEPTH
RESONANCE
BUZZ
TONE
EFFECT LEVEL
DIRECT MIX
TYPE
STAGE
RATE
DEPTH
RESONANCE
MANUAL
LOW DAMP
HIGH DAMP
LOW CUT
HIGH CUT
BI-PHASE
WAVEFORM
STEP RATE
SEPARATION
EFFECT LEVEL
DIRECT MIX
VOICE
PS1:PITCH
PS1:FINE
PS1:FEEDBACK
PS1:PRE-DELAY
PS1:LEVEL
Value (Category)
FX1: SLICER
FX2: SLICER
FX3: SLICER
FX4: SLICER
FX1: SLOW GEAR
FX2: SLOW GEAR
FX3: SLOW GEAR
FX4: SLOW GEAR
FX1:SG BASS (SLOW GEAR BASS)
FX2:SG BASS (SLOW GEAR BASS)
FX3:SG BASS (SLOW GEAR BASS)
FX4:SG BASS (SLOW GEAR BASS)
FX1: SOUND HLD (SOUND HOLD)
FX2: SOUND HLD (SOUND HOLD)
FX3: SOUND HLD (SOUND HOLD)
FX4: SOUND HLD (SOUND HOLD)
FX1: S-BEND
FX2: S-BEND
FX3: S-BEND
FX4: S-BEND
FX1: TOUCH WAH
FX2: TOUCH WAH
FX3: TOUCH WAH
FX4: TOUCH WAH
FX1:TW BASS (TOUCH WAH BASS)
FX2:TW BASS (TOUCH WAH BASS)
FX3:TW BASS (TOUCH WAH BASS)
FX4:TW BASS (TOUCH WAH BASS)
FX1: TREMOLO
FX2: TREMOLO
FX3: TREMOLO
FX4: TREMOLO
FX1: VIBRATO
FX2: VIBRATO
FX3: VIBRATO
FX4: VIBRATO
Value (Target)
PATTERN
RATE
ATTACK
DUTY
TRIGGER
EFFECT LEVEL
DIRECT MIX
SENS
RISE TIME
LEVEL
SENS
RISE TIME
LEVEL
TRIGGER
RISE TIME
LEVEL
DEPTH
WAVEFORM
TRIGGER
RISE TIME
EFFECT LEVEL
DIRECT MIX
RATE
DEPTH
COLOR
TRIGGER
RISE TIME
EFFECT LEVEL
DIRECT MIX
TRIGGER
PITCH
RISE TIME
FALL TIME
FILTER MODE
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT MIX
FILTER MODE
POLARITY
SENS
FREQUENCY
RESONANCE
DECAY
EFFECT LEVEL
DIRECT MIX
RATE
Value (Category)
REVERB
REV SHIMMER (REVERB: SHIMMER)
REV DUAL (REVERB: DUAL)
REV TERA ECHO (REVERB: TERA ECHO)
PEDAL FX
PEDAL BEND
PEDAL WAH
Value (Target)
TIME 1
PRE-DELAY 1
DENSITY 1
TONE 1
EFCT LEVEL 1
LOW CUT 1
HIGH CUT 1
TYPE 2
TIME 2
PRE-DELAY 2
DENSITY 2
TONE 2
EFCT LEVEL 2
LOW CUT 2
HIGH CUT 2
MODE
SPREAD TIME
FEEDBACK
TRIGGER
ON/OFF
TYPE
ON/OFF
TYPE
TIME
DENSITY
PRE-DELAY
TONE
EFFECT LEVEL
DIRECT LEVEL
LOW CUT
HIGH CUT
LOW DAMP
HIGH DAMP
MOD RATE
MOD DEPTH
DUCK SENS
DUCK PRE DPT
DUCK POST DPT
PITCH 1
LEVEL 1
PITCH 2
LEVEL 2
TYPE 1
EFFECT LEVEL
DIRECT MIX
PITCH MIN
PITCH MAX
PEDAL POS
WAH TYPE
PEDAL POS
PEDAL MIN
PEDAL MAX
MENU
47
MENU
Value (Category)
FOOT VOLUME
DIV1 (DIVIDER 1)
DIV2 (DIVIDER 2)
DIV3 (DIVIDER 3)
MIXER 1
MIXER 2
MIXER 3
SEND/RETURN 1
SEND/RETURN 2
LOOPER
AMP CTL (AMP CONTROL)
MASTER
SUB OUT
TUNER
PATCH
USB AUDIO
MAIN G.EQ L/S *2
MAIN G.EQ R/S *2
SUB G.EQ L/S *2
SUB G.EQ R/S *2
48
Value (Target)
VOLUME MIN
VOLUME MAX
VOLUME CURVE
PEDAL POS
MODE
CH SELECT
A:DYNAMIC
A:DYNAMIC SNS
A:FILTER
A:CUTOFF FREQ
B:DYNAMIC
B:DYNAMIC SNS
B:FILTER
B:CUTOFF FREQ
MODE
A LEVEL
B LEVEL
A/B BALANCE
SPREAD
STEREO LINK *1
ON/OFF
MODE
SEND LEVEL
RETURN LEVEL
ADJUST
PLAY LEVEL
CTL 1
CTL 2
PATCH LEVEL
BPM
KEY
CARRYOVER
BASS MODE
OUTPUT LEVEL
HIGH GAIN
LEVEL
LOW GAIN
MID GAIN
HIGH GAIN
LEVEL
LOW GAIN
MID GAIN
HIGH GAIN
LEVEL
ON/OFF
PATCH SELECT
MAIN MIX LEVEL
SUB MIX LEVEL
LOW GAIN
MID GAIN
HIGH GAIN
LEVEL
LOW GAIN
MID GAIN
Value (Category)
AIRD PREAMP *3
TOTAL REVERB
TOTAL NS
INPUT
Value (Target)
TYPE
GAIN
BASS
MIDDLE
TREBLE
LEVEL
LEVEL
THRESHOLD
INPUT
*1 SEND/RETURN 1 only.
*2 Operates as stereo if STEREO LINK is ON.
*3 Lets you control the AIRD PREAMP of the channel that is enabled by the divider. If multiple channels are enabled, AIRD PREAMP 1 takes priority.
Parameter
KNOB LOCK
Value
OFF, ON
Explanation
Specifies whether knob operations will be disabled. If this is ON, knob operations will be disabled.
Parameter
AMP CTL1
AMP CTL2
Value Explanation
Specifies the operation of the AMP CTL 1, 2 jacks.
LATCH Latch operation
PULSE
Send a pulse when changing patches.
PULSE
Patch change Patch change
INVERT
INVERT
Patch change Patch change
Parameter
EXP1 HOLD
EXP2 HOLD
EXP3 HOLD
ON
MAIN
SUB
Value
OFF
Parameter
Parameter Value
THRESHOLD
1–16
MENU
You can readjust the expression pedal so that it will operate optimally.
Explanation
Adjusts the sensitivity at which the EXP 1 SW will respond.
Explanation
The operational status of the EXP 1/2/3 PEDAL’s
FUNCTION (p. 30) is not carried over when
patches are switched.
If the EXP 1/2 PEDAL’s FUNC (p. 30) are the same
between 2 patches, the operational status is carried over when patches are switched.
For example, if EXP PEDAL FUNCTION is set to
FOOT VOLUME in both patches, the one before and the one after the change, the volume corresponding to the position the pedal is in
(angle) at the time of the patch change will be maintained after the patch change. On the other hand, if the patch being changed to is set to WAH, the volume will be in accordance with the value set within the patch, and you’ll obtain a wah effect that is in accordance with a value that reflects the current position (angle) of the pedal.
Parameter
AUTO OFF
LCD CONTRAST
LED LUMINANCE
Bluetooth SW
Bluetooth ID
DEMO
Value Explanation
The GT-1000 can turn off its power automatically. The power will turn off automatically when 10 hours have passed since you last played or operated the unit. The display will show a message approximately 15 minutes before the power turns off.
With the factory settings, this function is turned “ON” (power-off in 10 hours). If you want to have the power remain on all the time, turn it “OFF.”
* When the power is turned off, any settings you were editing will be lost. You must save settings that you want to keep.
OFF
ON
The power will not turn off automatically.
The power will automatically turn off when
10 hours have passed since you last played or operated the GT-1000.
Here you can adjust the brightness of the characters in the display.
1–10 Higher values increase the brightness.
Adjusts the brightness of the LED that is provided for each switch.
LOW
HIGH
Dim illumination.
Bright illumination.
You can use Bluetooth to edit the GT-1000’s settings from a smartphone app (BOSS TONE STUDIO). For details, refer to the manual of the app.
OFF Bluetooth functionality is not used.
ON Bluetooth functionality is used.
Specifies the number that is shown following the device name of the GT-1000, in the Bluetooth-connected app.
If you have more than one GT-1000 unit, this lets you conveniently distinguish the units.
OFF, 1–9
OFF, ON
Specifies the number that is shown following the device name.
If this is OFF, no number is added at the end.
If this is ON, the demo screen appears in the display when no operation is performed.
Value Explanation
In some cases, hum noise might occur if an amp or other effect unit is connected. If so, you might be able to reduce the noise by disconnecting the ground connector from the GT-1000’s chassis.
1
The ground of the connectors is connected to the chassis (no ground lift).
2
3
4
5
The ground of the SEND 1 jack is disconnected from the chassis.
The ground of the SEND 2 jack is disconnected from the chassis.
The ground of the RETURN 1 jack and the MAIN
OUTPUT L, R jacks is disconnected from the chassis.
The ground of the RETURN 2 jack and the MAIN
OUTPUT L, R jacks is disconnected from the chassis.
6
The ground of the RETURN 1, 2 jacks and the MAIN
OUTPUT L, R jacks is disconnected from the chassis.
Specifies whether the ground of the SUB OUTPUT jack is connected to the GT-1000’s chassis or disconnected.
OFF
ON
The ground of the SUB OUTPUT jacks is connected to the chassis (no ground lift).
The ground of the SUB OUTPUT jacks is disconnected from the chassis.
49
MENU
Initializes the GT-1000 to its factory-set condition.
Parameter
FROM, TO
Value
SYSTEM
U01-1–U50-5
STOMPBOX
PEDALBOARD
Explanation
System parameter settings
Settings for Patch Number U01-1 through
U50-5
Stomp box settings
Settings for Pedalboard mode
Here you can make settings for the TUNER.
Parameter
MONO TUNER
MODE
Value
NORMAL, STREAM
BASS MODE
PITCH
OFF, ON
435–445 Hz
(default: 440 Hz)
MUTE
OUTPUT
BYPASS
THRU
Explanation
Specifies the meter display method for the monophonic tuner.
Turn this ON if using the GT-1000 with a bass guitar.
Specifies the reference pitch.
Sound will not be output while tuning.
While tuning, the sound of the guitar being input to the GT-1000 will be output without change. All effects will be off.
Allows you to tune while hearing the current effect sound.
* Only for monophonic tuner.
POLY
TYPE
POLY
OFFSET
6-REGULAR,
6-DROP D,
7-REGULAR,
7-DROP A,
4-B REGULAR,
5-B REGULAR
–-,
-5–-1
Selects the type of tuning for the polyphonic tuner.
Adjusts the reference pitch of the polyphonic tuner in semitone units relative to standard tuning.
Here you can make settings for the METRONOME.
* You can select the output destination of the metronome sound.
* By pressing knob 1 you can set the metronome’s BPM to the master
BPM value.
Parameter
BPM
BEAT
OFF/ON
LEVEL
Value
20–250
1/1–8/1, 1/2–8/2,
1/4–8/4, 1/8–8/8
OFF, ON
0–100
Explanation
Specifies the tempo.
Selects the time signature.
Turns the metronome on/off.
Adjusts the volume of the metronome sound.
50
When you want to save a patch you have created, save it as a user patch by following the procedure below. If you do not save the patch, the edited settings will be lost when you turn off the power or switch to another patch.
* If CONTROL MODE (p. 29) is set to PEDALBOARD, items other than
“INITIALIZE” cannot be selected.
1
2
On the GT-1000, you can “swap” or exchange the positions of two
User patches.
1
2
3
4
* If you decide to cancel without exchanging, press the [EXIT] button a several times. You’ll be returned to the Play screen.
5
A confirmation message appears.
3
You can use knobs [3]–[6] to edit the name.
To edit the patch name, use knob [6] to move the cursor and use knob [5] to change the character.
Controller
Turn the [3] knob
Press the [3] knob
Turn the [4] knob
Press the [4] knob
Turn the [5] knob
Turn the [6] knob
Function
Selects the type of characters
Delete one character (delete)
Switch uppercase/lowercase
Insert one space (insert)
Changes the character
Moves the cursor
* If you decide to cancel without writing, press the [EXIT] button a several times. You’ll be returned to the Play screen.
4
The patch is written.
6
The patches will be exchanged. If you decide to cancel the exchange operation, press knob [5].
You can return (initialize) a User patch to its original factory settings.
This is convenient when you want to create a new patch from scratch.
NOTE
Any tone settings you’ve stored in a patch are lost once the initialization is executed.
1
2
3
* If you decide to cancel without initializing, press the [EXIT] button a several times. You’ll be returned to the Play screen.
4
A confirmation message appears.
5
The patch will be initialized. If you decide to cancel the initialize operation, press knob [5].
51
Saving a Sound (WRITE)
You can insert a patch into any position of the user patches.
For example, if you insert patch U01-1 at U02-1, patch U02-1 and subsequent patches are shifted (renumbered) backward by one.
(Patch U02-1 becomes U02-2.)
NOTE
When you execute the insert operation, the last user patch (U50-5) is deleted.
1
2
3
* If you decide to cancel without inserting, press the [EXIT] button a several times. You’ll be returned to the Play screen.
4
A confirmation message appears.
5
The patch is inserted at the specified position. If you decide to choose the insert operation, press knob [5].
52
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Which manual contains a comprehensive list of all effects for the GT-1000?
The Parameter Guide for the GT-1000 provides a comprehensive breakdown of the device's capabilities, including dedicated chapters for effects such as compressor, distortion, AIRD preamp, noise suppressor, equalizer, delay, chorus, and specialized FX1–FX4 categories.
How to edit and save custom effect settings for later use?
Select the desired effect block and adjust parameters using the control knobs; to save the configuration, navigate to the final page of the effect menu and write the settings into a STOMPBOX slot.
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