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.

Press the [EFFECT] button.

Editing while viewing all parameters

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.

Turn knob [6] to select the block that you want to edit.

Turn knobs [1]–[6] to edit the value of the parameters shown in the screen.

Use the PAGE [

] [

] buttons to switch between lists of parameters.

Use the PAGE [

] [

] buttons to switch

Effect Placement

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

Use knobs [1]–[5] to adjust the parameters that are shown below the screen.

Changing the placement of effects etc.

Press the [EFFECT] button.

The effect chain is shown.

Use knob [6] to select the block that you want to move.

While pressing knob [6], turn it left or right.

The selected block moves left or right.

Use the PAGE [

] [

] 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.

Basic Operation

Using STOMPBOX

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.

Press the [EFFECT] button.

Use the [6] knob to choose the effect you’re going to edit.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

The STOMPBOX select window appears.

Writing Patch Settings into a STOMPBOX

Press the [EFFECT] button.

Use the [6] knob to choose the effect you’re going to save.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

The STOMPBOX select window appears.

Press the [3] knob.

Turn knob [1] to select the writing-destination

STOMPBOX.

Use knobs [3]–[6] to name the STOMPBOX.

Reference

For details on naming the STOMPBOX, refer to “Editing a name”

(p. 51).

Turn knob [5] to select the STOMPBOX type.

Press the [5] knob.

Basic MENU Operations

Here you can make settings that are common to the entire GT-1000

(system parameters).

Press the [MENU] button.

Editing the STOMPBOX

Turn knobs [1]–[5] to edit the parameter value that are shown in the screen.

Use the PAGE [

] [

] buttons to switch between lists of parameters.

Reading STOMPBOX Settings into a Patch

Press the [EFFECT] button.

Use the [6] knob to choose the effect you’re going to edit.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

The STOMPBOX select window appears.

Turn knob [5] to select the STOMPBOX type.

Press the [4] knob.

The contents of the STOMPBOX are recalled into the patch.

You can edit the patch without modifying the contents of the

STOMPBOX.

Press a knob [1]–[6] to select the item that you want to edit.

A sub-menu appears.

You can use the PAGE [

] [

] buttons to see additional items.

Once again press a knob [1]–[6] to select the item that you want to edit.

Use knobs [1]–[6] to select parameters or edit the values.

Use the PAGE [

] [

] buttons to switch between lists of parameters.

Effect

COMPRESSOR

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

SUSTAIN *2

ATTACK

LEVEL

TONE

RATIO

DIRECT MIX

X-BASS COMP

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.

DISTORTION 1, 2

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.+.

Effect

AIRD PREAMP 1, 2

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

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

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.

NOISE SUPPRESSOR 1, 2

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

EQUALIZER 1–4

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

20.0Hz–16.0kHz

0.5–16

-20–+20dB

20.0Hz–16.0kHz

0.5–16

-20–+20dB

FLAT,

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.

Effect

DELAY 1–4

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

–

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

CLOCK” (p. 42) to “INTERNAL.”

MASTER DELAY

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

DELAY

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.

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.

COMMON

* 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

–

DIRECT LEVEL

0–100

BPM

Value

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

(p. 42) to “INTERNAL.”

PAN

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%).

TAPE

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

REVERSE

Parameter Value

AUTO TRIGGER

OFF, ON

Explanation

If this is ON, the effect is produced according to your performance.

SHIMMER

Parameter

PITCH

Value

-24–+24

PITCH BAL

PITCH

FEEDBACK

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.

DUAL

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.

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

–

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.

* 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).

Effect

WARP

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.

TWIST

Parameter

MODE

TRIGGER

RISE TIME

FALL TIME *1

FADE TIME *2

LEVEL

Value

RISE

OFF, ON

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

FALL.

Adjusts the time to fade-out when MODE is set to

RISE

FADE.

Adjusts the volume of the effect sound.

*1 Setting available when MODE is set to RISE

FALL.

*2 Setting available when MODE is set to RISE

FADE.

SPACE ECHO

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.

TAPE ECHO PX

Parameter

WOW &

FLUTTER

Value

0–100

Explanation

Adjusts the wow & flutter.

BIN DRUM ECHO

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.

CHORUS

In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.

COMMON

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

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.

* 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.”

DUAL

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

–

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 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”

(p. 42) to “INTERNAL.”

This setting is appropriate for mono output.

Produces a rich spaciousness when stereo output is used.

FX1–FX4

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.

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.

AC.GUITAR SIMULATOR

This effect simulates the tonal character of an acoustic guitar.

Parameter

BODY

LOW

HIGH

LEVEL

Value

0–100

-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

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.”

AC RESONANCE

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.

AUTO WAH

This changes the filtering over a periodic cycle, providing an automatic wah effect.

Parameter

FILTER MODE

RATE

DEPTH

EFFECT LEVEL

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

0–100

–

Band pass filter. Passes only the specified frequency region.

Adjusts the frequency (speed) of the change.

* 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.

CHORUS

In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.

COMMON

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

0–100

–

0.0ms–40.0ms

Adjusts the rate of the chorus effect.

* 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.

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

(p. 42) to “INTERNAL.”

*1 Not shown if TYPE is set to CE-1 CHORUS or CE-1 VIBRATO.

DUAL

Parameter

RATE

RATE 2

DEPTH

DEPTH 2

PRE-DELAY 1

PRE-DELAY 2

EFFECT LEVEL 1

EFFECT LEVEL 2

Value

0–100,

BPM

–

0–100

0.0ms–40.0ms

0–100

Explanation

Adjusts the rate of the chorus effect.

* 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.

(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

CLOCK” (p. 42) to “INTERNAL.”

This setting is appropriate for mono output.

Produces a rich spaciousness when stereo output is used.

PRIME

Parameter

SWEETNESS

BELL

OUTPUT MODE

Value

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.

CE-1 CHORUS, CE-1 VIBRATO

Parameter

PREAMP SW

PREAMP GAIN

PREAMP LEVEL

Value

OFF, ON

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.

Effect

CHORUS BASS

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

–

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.

* 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

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

(p. 42) to “INTERNAL.”

CLASSIC-VIBE

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

–

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.

* 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.”

COMPRESSOR

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

SUSTAIN *2

ATTACK

LEVEL

TONE

RATIO

DIRECT MIX

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.

DEFRETTER

This simulates a fretless guitar.

Parameter

SENS

DEPTH

TONE

EFFECT LEVEL

ATTACK

RESONANCE

DIRECT MIX

Value

0–100

-50–+50

0–100

DEFRETTER BASS

This simulates a fretless bass.

Parameter

SENS

ATTACK

TONE

EFFECT LEVEL

DIRECT MIX

Value

0–100

-50–+50

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.

DISTORTION

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.+.

Effect

FEEDBACKER

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

FEEDBACK *2

OCT

FEEDBACK*2

VIB RATE *2

VIB DEPTH *2

NORMAL

OSC

OFF, ON

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

FLANGER/FLANGER BASS

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

OFF, ON

TRI, SINE

OFF,

0–100,

BPM

–

Explanation

This sets the rate of the flanging effect.

* 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

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

(p. 42) to “INTERNAL.”

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.

* 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 (

) as follows.

Major

KEY

C (Am)–

B (G#m)

Minor

Major

HR1:LEVEL

HR2:LEVEL

HR1:PRE-DELAY

HR2:PRE-DELAY

0–300ms,

BPM

–

HR1:FEEDBACK

DIRECT LEVEL

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.

* 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

USER SCALE

* Effective with USER selected for HARM parameter.

Parameter Value

C– C–C– C– C

– D

–D

– D

D– D–D– D– D

– E

–E

– E

E– E–E– E– E

F– F–F– F– F

– F

–F

– F

G– G–G– G– G

– A

–A

– A

A– A–A– A– A

– B

–B

– B

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.

Effect

HUMANIZER

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

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.

* 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.

OCTAVE

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

*1 Setting available when TYPE is set to MONO.

*2 Setting available when TYPE is set to POLY.

OCTAVE BASS

This is an OCTAVE effect for bass.

Parameter

-2OCT

-1OCT

DIRECT LEVEL

Value

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.

OVERTONE

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

MONO,

STEREO

-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.

PAN

Parameter Value

RATE

DEPTH

WAVEFORM

EFFECT LEVEL

DIRECT MIX

BPM

0–100,

BPM

–

0–100

40–250

Explanation

Adjusts the frequency (speed) of the change.

* 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.”

PHASER

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

0–100

–

This sets the rate of the phaser effect.

* 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

–

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.

* 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

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.

Effect

PITCH SHIFTER

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

–

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.

* 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

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

(p. 42) to “INTERNAL.”

RING MOD.

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

–

FREQ MOD

DEPTH

EFFECT LEVEL

DIRECT MIX

BPM

OFF, ON

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.

* 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.”

ROTARY

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

–

0–100,

BPM

–

0–100

100:0–0:100

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

(p. 42) to “INTERNAL.”

Effect

SLICER

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

–

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.

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.”

SITAR SIM.

This simulates the sound of the sitar.

Parameter

SENS

DEPTH

TONE

EFFECT LEVEL

RESONANCE

BUZZ

DIRECT MIX

Value

0–100

-50–+50

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.

SLOW GEAR/SLOW GEAR BASS

This produces a volume-swell effect (“violin-like” sound).

Parameter

SENS

RISE TIME

LEVEL

Value

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.

SOUND HOLD

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.

It is assumed that this parameter will be assigned to the footswitch.

Patches are written with the HOLD parameter set to Off.

Adjusts how rapidly the Sound Hold sound is produced.

Effect

Parameter Value

EFFECT LEVEL

0–120

Explanation

Adjusts the volume of the hold sound.

S-BEND

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

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.

TOUCH WAH/TOUCH WAH BASS

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.

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

Tremolo is an effect that creates a cyclic change in volume.

Parameter

RATE

DEPTH

WAVEFORM

0–100

EFFECT LEVEL

0–100

TRIGGER

OFF, ON

RISE TIME

DIRECT MIX

BPM

Value

0–100,

BPM

–

0–100

40–250

Explanation

Adjusts the frequency (speed) of the change.

* 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.”

VIBRATO

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

–

0–100

OFF, ON

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.

42) to “INTERNAL.”

REVERB

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.

COMMON

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

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

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.

SHIMMER

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.

DUAL

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.

Effect

TERA ECHO

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

-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.

Patches are written with the parameter set to Off.

WAH

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

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.

PEDAL FX

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.

PEDAL BEND

Parameter

PITCH MIN

PITCH MAX

Value

-24–+24

PEDAL

POSITION

0–100

EFFECT

LEVEL

DIRECT MIX

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.

FOOT VOLUME

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

SLO

When the pedal is fully raised

Adjusts the volume.

When the pedal is fully advanced

DIVIDER 1–3

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

Exchanging the preamp settings between channels

Here’s how to exchange the preamp settings between channels A and B.

Press the [EFFECT] button.

Turn knob [6] to select the DIVIDER that you want to edit.

Press the [3] knob.

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.

MIXER 1–3

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.”

Effect

SEND/RETURN 1, 2

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.

LOOPER

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

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.

MAIN SP.SIMULATOR L, MAIN SP.SIMULATOR R,

SUB SP.SIMULATOR L, SUB SP.SIMULATOR R

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.”

Effect

MASTER

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

EXPANSION

MAIN CH

SELECT

SUB CH

SELECT

Value

OFF, ON

SYSTEM,1–10

OFF, ON

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.

39) are used.

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)

CARRYOVER

OFF, ON

BASS MODE

OFF, ON

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.

CONTROL MODE

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

CONTROL ASSIGN

CONTROL FUNCTION

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

], [BANK

], [1]–[5] switch, EXP1 switch,

CTL1–7)

Value

OFF

BANK DOWN

BANK UP

*1 *2

Explanation

No assignment.

Switches to the previous BANK number.

* Cannot be selected for [BANK

] or [1]–[5] switches

Switches to the next BANK number.

* Cannot be selected for [BANK

] 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

*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.

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 SETTING

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

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

] switch.

Assigns the GT-1000’s [BANK

] 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.

Parameter Value Explanation

INTERNAL

PEDAL

TRIGGER

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

] switch is operated.

This is activated when the [BANK

] 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

–

This determines the time spend for one cycle of the assumed EXP Pedal.

* 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.

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

1–128

OFF, 0–127

Explanation

This transmits a message on the

MIDI channel specified by the “MIDI

SETTING” (p. 42) parameter TX

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.

TARGET list

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

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

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

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

CATEGORY

REVERB

REVERB: SHIMMER

REVERB: DUAL

REVERB: TERA ECHO

PEDAL FX

PEDAL BEND

PEDAL WAH

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

Virtual Expression Pedal System (Internal

Pedal / Wave Pedal)

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

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:

MAX

Always changes in a fixed curve regardless of the actual pedal

INPUT (Input Level)

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.

INPUT SENS (Input Sens)

Parameter

INPUT SENS

Value

0–100

Explanation

This adjusts the input sensitivity when INPUT

LEVEL is selected for SOURCE.

MIN

When the pedal is fully raised

127

When the pedal is fully advanced

When controlling the On/Off target with the expression pedal:

Value

OFF

When the pedal is fully raised

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.

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

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

OFF

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.

PATCH MIDI

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

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.

LED COLOR

You can specify the color of the LED for each footswitch.

[BANK

], [BANK

], [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.

TEMPO HOLD

Parameter Value

TEMPO HOLD

OFF, ON

Explanation

Specifies whether the tempo (BPM) changes or is maintained when you switch patches.

IN/OUT SETTING

INPUT

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.

MAIN OUT, SUB OUT

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.

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.

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

20.0Hz–16.0kHz

0.5–16

-20–+20dB

FLAT,

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.

PHONES

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.

TOTAL

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).

USB-Related Settings

Here you can make USB-related settings for when the GT-1000 is connected to a computer via USB.

USB audio flow

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

MAIN

Parameter

MIX LEVEL

EFX OUT

DIR MON

Value

OFF

Explanation

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%

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

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%

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.

PLAY OPTION

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

PLAY

DUB

PLAY

Operation switches in the order of record

play

overdub.

Operation switches in the order of record

overdub

play.

MIDI

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.

MIDI SETTING

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.

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.

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.

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

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.

PROGRAM MAP BANK1–BANK4

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.

BULK DUMP

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

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

HARDWARE SETTING

KNOB

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

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

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

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

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

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

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

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.

AMP CONTROL

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

EXP HOLD

Parameter

EXP1 HOLD

EXP2 HOLD

EXP3 HOLD

MAIN

SUB

Value

OFF

GROUND LIFT

Parameter

CALIBRATION

Parameter Value

THRESHOLD

1–16

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.

OTHER

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

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.

The ground of the connectors is connected to the chassis (no ground lift).

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.

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

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.

FACTORY RESET

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

TUNER

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.

METRONOME

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.

Saving a Sound (WRITE)

Saving a Patch (PATCH WRITE)

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.

Press the [WRITE] button.

Press knob [1] to select “WRITE” (PATCH WRITE).

Exchanging Patches (PATCH EXCHANGE)

On the GT-1000, you can “swap” or exchange the positions of two

User patches.

Select the exchange source patch.

Press the [WRITE] button.

Press knob [2] to select “EXCHANGE” (PATCH

EXCHANGE).

Use knob [1] to select the other user patch that you want to exchange.

* If you decide to cancel without exchanging, press the [EXIT] button a several times. You’ll be returned to the Play screen.

Press the [WRITE] button once again.

A confirmation message appears.

Use knob [1] to select the save-destination (U01-1–

U50-5).

You can use knobs [3]–[6] to edit the name.

Editing a 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.

Press the [WRITE] button once again.

The patch is written.

Press the [6] knob.

The patches will be exchanged. If you decide to cancel the exchange operation, press knob [5].

Initializing Patches (PATCH INITIALIZE)

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.

Press the [WRITE] button.

Press knob [3] to select “INITIALIZE” (PATCH INITIALIZE).

Use knob [1] to select the user patch that you want to initialize.

* If you decide to cancel without initializing, press the [EXIT] button a several times. You’ll be returned to the Play screen.

Press the [WRITE] button once again.

A confirmation message appears.

Press the [6] knob.

The patch will be initialized. If you decide to cancel the initialize operation, press knob [5].

Saving a Sound (WRITE)

Inserting a Patch (PATCH INSERT)

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.

Press the [WRITE] button.

Press knob [4] to select “INSERT” (PATCH INSERT).

Use knob [1] to select the insert-destination user patch.

* If you decide to cancel without inserting, press the [EXIT] button a several times. You’ll be returned to the Play screen.

Press the [WRITE] button once again.

A confirmation message appears.

Press the [6] knob.

The patch is inserted at the specified position. If you decide to choose the insert operation, press knob [5].

تبلیغات

Contents

Basic Operation

Basic Procedure for Effect Editing

Press the [EFFECT] button.

Editing while viewing all parameters

Turn knob [6] to select the block that you want to edit.

Turn knobs [1]–[6] to edit the value of the parameters shown in the screen.

Effect Placement

Use knobs [1]–[5] to adjust the parameters that are shown below the screen.

Changing the placement of effects etc.

Press the [EFFECT] button.

Use knob [6] to select the block that you want to move.

While pressing knob [6], turn it left or right.

Using STOMPBOX

Press the [EFFECT] button.

Use the [6] knob to choose the effect you’re going to edit.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

Writing Patch Settings into a STOMPBOX

Press the [EFFECT] button.

Use the [6] knob to choose the effect you’re going to save.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

Press the [3] knob.

Turn knob [1] to select the writing-destination

STOMPBOX.

Use knobs [3]–[6] to name the STOMPBOX.

Turn knob [5] to select the STOMPBOX type.

Press the [5] knob.

Basic MENU Operations

Press the [MENU] button.

Editing the STOMPBOX

Turn knobs [1]–[5] to edit the parameter value that are shown in the screen.

Reading STOMPBOX Settings into a Patch

Press the [EFFECT] button.

Use the [6] knob to choose the effect you’re going to edit.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

Turn knob [5] to select the STOMPBOX type.

Press the [4] knob.

Press a knob [1]–[6] to select the item that you want to edit.

Once again press a knob [1]–[6] to select the item that you want to edit.

Use knobs [1]–[6] to select parameters or edit the values.

Effect

COMPRESSOR

DISTORTION 1, 2

AIRD PREAMP 1, 2

NOISE SUPPRESSOR 1, 2

EQUALIZER 1–4

DELAY 1–4

MASTER DELAY

DELAY

COMMON

PAN

TAPE

REVERSE

SHIMMER

DUAL

WARP

TWIST

SPACE ECHO

TAPE ECHO PX

BIN DRUM ECHO

CHORUS

COMMON

DUAL

FX1–FX4

AC.GUITAR SIMULATOR

AC RESONANCE

AUTO WAH

CHORUS

COMMON

DUAL

PRIME