The edit screens show the block configuration (effect chain) of all effects provided by the GT-1000CORE, 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 [SELECT] 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 the [SELECT] knob to select the item that you want to set.

Turning the knob will move the selected item vertically.

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

Use the PAGE [K] [J] buttons to switch between lists of parameters.

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

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 [SELECT] you can turn the selected effect on/off.

Effects that are off are shown in gray. When the effect is turned on, it is shown in white.

Off On

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 [SELECT] to select the block that you want to move.

While pressing knob [SELECT], 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.

* To change a value in larger steps, turn a knob while pressing it.

* 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 [SELECT] knob to choose the effect you’re going to edit.

Reading STOMPBOX Settings into a Patch

Press the [EFFECT] button.

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

Use the PAGE [

] [

] buttons to move to the last page.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

The STOMPBOX select window appears.

Press the [5] knob.

The STOMPBOX select window appears.

Turn knob [SELECT] to select the STOMPBOX type.

Press the [SELECT] knob.

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.

Turn knob [SELECT] to select the STOMPBOX type.

Press the [5] (STOMPBOX COPY) knob.

The contents of the STOMPBOX are recalled into the patch.

You can edit the patch without modifying the contents of the

STOMPBOX.

Writing Patch Settings into a STOMPBOX

Press the [EFFECT] button.

Use the [SELECT] 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 [4] (WRITE TO STOMPBOX) knob.

Turn knob [1] to select the writing-destination

STOMPBOX.

Use knobs [3]–[5] and [SELECT] knob to name the

STOMPBOX.

You can turn the [SELECT] knob to move the cursor within the name.

Reference

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

(p. 56).

Basic MENU Operations

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

(system parameters).

Press the [MENU] button.

* You can use the PAGE [

]

[

J] buttons to see additional items.

Press a knob [1]–[5] to select the item that you want to edit.

A sub-menu appears.

Once again press a knob [1]–[5] to select the item that you want to edit.

Use knobs [1]–[5] and [SELECT] knob to select parameters or edit the values.

Basic Operation

Effect

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

COMPRESSOR

This is an effect that produces a long sustain by evening out the volume level of the input signal.

Parameter

ON/OFF

Value

OFF, ON

BOSS CMP

(BOSS COMP)

Explanation

Turns this effect on/off.

This models a BOSS CS-3.

TYPE

X-COMP

D-COMP

ORANGE

STEREO

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.

THRESHLD *1

SUSTAIN *2

ATTACK

LEVEL

TONE

RATIO

DIR MIX

X-BASS

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.

*2 Not shown if TYPE is set to X-BASS.

DISTORTION 1, 2

This effect distorts the sound to create long sustain.

Parameter

ON/OFF

TYPE

DRIVE

TONE

LEVEL

BOTTOM

DIR MIX

SOLO SW

SOLO LVL

(SOLO LEVEL)

Value Explanation

OFF, ON Turns this effect on/off.

Refer to “DISTORTION 1, 2 TYPE” (p. 6)

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 1, 2 TYPE

This is a list of distortion types that can be selected for DISTORTION 1, 2

Type

MID

(MID BOOST)

CLEAN

(CLEAN BOOST)

TREBLE

(TREBLE BOOST)

Explanation

This is a booster with unique characteristics in the midrange.

Making the connection before the AIRD PREAMP produces sound suitable for solos.

This not only functions as a booster, but also produces a clean tone that has punch even when used alone.

This is a booster that has bright characteristics.

CRUNCH

NATURAL

(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+

MTL ZONE

(METAL ZONE)

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.

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.

Type

HM-2

MTL CORE

(METAL CORE)

60S FUZZ

MUFF FUZ

(MUFF FUZZ)

BASS OD

BASS DS

BASS MT

BASS FUZZ

HI BAND

X-BASS

BASS DRV

BASS DI

Explanation

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.+.

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

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

RESO

(RESONANCE)

LEVEL

BASS

MIDDLE

TREBLE

PRESENCE

BRIGHT

GAIN SW

SOLO SW

SOLO LVL

(SOLO LEVEL)

Value Explanation

OFF, ON Turns this effect on/off.

Refer to “AIRD PREAMP TYPE List” (p. 8)

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

OFF, ON

LOW,

MIDDLE,

HIGH

OFF, ON

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.

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.

0–100 Adjusts the volume level when the SOLO SW is ON.

Effect

AIRD PREAMP TYPE List

Category

TYPE

(ADVANCED AMP)

TYPE (CLASSICS)

TYPE

(ADVANCED AMP)

Type

TRNSPRNT

(TRANSPARENT)

NATURAL

BOUTIQUE

SUPREME

MAXIMUM

JUGGERNT

(JUGGERNAUT)

X-CRUNCH

X-HI GAIN

X-MODDED

BG COMBO

ORNG STK

(ORNG STACK)

BGNR UB

(BGNR UB METAL)

NATRL BS

(NATURAL BASS)

X-DRV BS

(X-DRIVE BASS)

CONCERT

JC-120

TWIN

(TWIN COMBO)

DELUXE

(DELUXE COMBO)

TWEED

(TWEED COMBO)

DIAMOND

(DIAMOND AMP)

BRIT STK

(BRIT STACK)

RECTI STK

(RECTI STACK)

MATCH

(MATCH COMBO)

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.

This models the sound of the Roland

JC-120.

This models a Fender Twin Reverb.

This models a Fender Deluxe Reverb.

This models a Fender Bassman 4 x

10” Combo.

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.

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.

TYPE (CLASSICS)

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

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

THRESHLD

(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

EQUALIZER 1–4

Adjusts the tone.

Parameter

ON/OFF

TYPE

Value

OFF, ON

PARAMTRC

(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

LO GAIN

HI GAIN

LEVEL

LM FREQ

LM Q

LM GAIN

HM FREQ

HM Q

HM GAIN

LO CUT

HI CUT

-20–+20dB

20.0Hz–16.0kHz

0.5–16

-20–+20dB

20.0Hz–16.0kHz

0.5–16

-20–+20dB

FLAT,

20.0Hz–20.0kHz

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 LM

GAIN.

Adjusts the width of the area affected by the EQ centered at the LM 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 HM

GAIN.

Adjusts the width of the area affected by the EQ centered at the HM 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

HI CUT

E.LEVEL

D.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. 47) to “INTERNAL.”

Effect

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

ANALG ST

TAPE

REVERSE

SHIMMER

DUAL

WARP

TWIST

SPACE EC

ECHO PX

BIN ECHO

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.

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.

Produces an aggressive sense of rotation. Using this in conjunction with distortion will produce an even wilder sense of rotation.

This models the sound of the Roland RE-201.

This models the sound of the Maestro Echoplex.

This models the sound of the Binson Echorec2.

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

COMMON

* The COMMON parameters are not shown if TYPE is set to TWIST.

Parameter

TIME

FEEDBACK

HI CUT

E.LEVEL

MOD RATE

MOD DEPT

(MOD DEPTH)

DUCK SENS

(DUCK SENS)

DUCK PRE

(DUCK PRE DEPTH)

DUCK PST

(DUCK POST DEPTH)

D.LEVEL

BPM

Value

1ms–2000ms,

BPM

–

0–100

20.0Hz–

20.0kHz

FLAT

0–120

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. 47) 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%).

REVERSE

Parameter

AUTO TRIG

Value

OFF, ON

Explanation

When this is on, the start position for reverse playback is adjusted automatically.

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.

SHIMMER

Parameter

PITCH

Value

-24–+24

PITCH BL

PITCH FB

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

1:TYPE

(D1 TYPE)

2:TYPE

(D2 TYPE)

1:TIME

(D1 TIME)

2:TIME

(D2 TIME)

1:FEEDBK

(D1 FEEDBACK)

2:FEEDBK

(D2 FEEDBACK)

1:HI CUT

(D1 HIGH CUT)

2:HI CUT

(D2 HIGH CUT)

Value

SERIES

Explanation

This is a delay comprising two different delays connected in series.

D1 D2

PARALLEL

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

MONO

PAN

ANALOG

TAPE

1ms–2000ms,

BPM

–

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.

0–100

Adjusts the amount of feedback of the DELAY

1 (or DELAY 2). A higher value will increase the number of the delay repeats.

20.0Hz–

20.0kHz,

FLAT

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

Parameter

1:LEVEL

(D1 EFFECT LEVEL)

2:LEVEL

(D2 EFFECT LEVEL)

WARP

Parameter

TRIGGER

LEVEL

Value

0–120

Value

OFF, ON

0–100

Explanation

Adjusts the volume of the DELAY 1 (or DELAY

2).

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

FALL

(RISE

FALL)

FADE

(RISE

FADE)

OFF, ON

0–100

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 EC (SPACE ECHO)

Parameter

HEAD

WOW&FLUT

(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.

ECHO PX (TAPE ECHO PX)

Parameter

WOW&FLUT

(WOW & FLUTTER)

Value

0–100

Explanation

Adjusts the wow & flutter.

BIN ECHO (BIN DRUM ECHO)

Parameter

HEAD

SELECTOR

WOW&FLUT

(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.

Effect

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-DELY

(PRE-DELAY)

E.LEVEL

Value Explanation

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

LO CUT

HI CUT

D.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. 47) to

“INTERNAL.”

DUAL

Parameter

1:RATE

2:RATE

1:DEPTH

2:DEPTH

1:PRE-DL

2:PRE-DL

1:LEVEL

2:LEVEL

1:WAVE

2:WAVE

1:LO CUT

2:LO CUT

1:HI CUT

2:HI CUT

D.LEVEL

BPM

OUTPUT

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

SINE

Produces a deeper sense of modulation.

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. 47) to “INTERNAL.”

This setting is appropriate for mono output.

Produces a rich spaciousness when stereo output is used.

FX1–FX3

With FX1, FX2, and FX3, you can select the effect to be used from the following. You can select the same effect for FX1, FX2, and FX3.

Parameter

ON/OFF

TYPE

Value Explanation

OFF, ON Turns this effect on/off.

Refer to FX1/FX2/FX3 TYPE

Effect

Effect Name

SLW GEAR

(SLOW GEAR)

SG BASS

(SLOW GEAR BASS)

SND HOLD

(SOUND HOLD)

S-BEND

TOUCH WH

(TOUCH WAH)

TW BASS

(TOUCH WAH BASS)

TREMOLO

VIBRATO

Explanation

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

You can have sound played on the guitar be held continuously. This effect allows you to perform the melody in the upper registers while holding a note in the lower registers.

Applies intense bending.

You can produce a wah effect with the filter changing in response to the guitar level.

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.

DEFRETR

(DEFRETTER)

DEFRET B

(DEFRETTER BASS)

DIST

(DISTORTION)

FEEDBAKR

(FEEDBACKER)

FLANGER

FLANGR B

(FLANGER BASS)

HARMONST

(HARMONIST)

HUMANIZR

(HUMANIZER)

OCTAVE

OCT BASS

(OCTAVE BASS)

FX1/FX2/FX3 TYPE

This is a list of the effects that can be selected for FX1/FX2/FX3.

Effect Name

AC.G SIM

(AC GUITAR SIM)

AC RESO

(AC RESONANCE)

Explanation

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.

AUTO WAH

CHORUS

CHO BASS

(CHORUS BASS)

C-VIBE

(CLASSIC-VIBE)

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

COMP

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.

This simulates a fretless guitar.

This simulates a fretless bass.

This effect distorts the sound to obtain long sustain.

Generates feedback performance.

The flanging effect gives a twisting, jet-airplane-like character to the sound.

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.

This adds a note one octave lower and a note two octaves lower, creating a richer sound.

OVERTONE

PAN

PHASER

PITCH SFT

(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.

AC.G SIM (AC. GUITAR SIMULATOR)

This effect simulates the tonal character of an acoustic guitar.

Parameter

BODY

LEVEL

Value

0–100

-50–+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.

AC RESO (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

RESO

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.

Effect

AUTO WAH

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

Parameter

FILTER

RATE

DEPTH

E.LEVEL

FREQ

RESO

WAVEFORM

DIR MIX

BPM

Value Explanation

Selects the wah mode.

LPF

Low pass filter. Passes only the low-frequency region.

HPF

BPF

High pass filter. Passes only the highfrequency region.

Band pass filter. Passes only the specified frequency region.

0–100,

BPM

0–100

–

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.

0–100

TRI, SINE

0–100

40–250

Adjusts the volume of the effect sound.

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. 47) to

“INTERNAL.”

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

E.LEVEL

PRE-DELY *1

Value Explanation

OFF, ON Turns this effect on/off.

Selection for the chorus mode.

MONO

STEREO 1

STEREO2

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.

DUAL

PRIME

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 CHO

The chorus sound of the CE-1.

CE-1 VIB

0–100,

BPM

0–100

–

0.0ms–40.0ms

The vibrato sound of the CE-1.

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.

Adjusts the volume of the effect sound.

Produces a typical chorus effect.

TRI

WAVEFORM *1

Produces a deeper sense of modulation.

SINE

LO CUT *1

HI CUT *1

D.LEVEL

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

0–100

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.

Parameter

BPM

Value

40–250

Explanation

Adjusts the BPM value for each patch.

* BPM (beats per minute) indicates the number of quarter note beats that occur each minute

(p. 47) to “INTERNAL.”

*1 Not shown if TYPE is set to CE-1 CHO or CE-1 VIB.

DUAL

Parameter

1:RATE

2:RATE

1:DEPTH

2:DEPTH

1:PRE-DL

2:PRE-DL

1:LEVEL

2:LEVEL

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

1:WAVE

2:WAVE

Produces a deeper sense of modulation.

SINE

1:LO CUT

2:LO CUT

1:HI CUT

2:HI CUT

D.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

CLOCK” (p. 47) to “INTERNAL.”

Effect

PRIME

Parameter

SWEETNES

(SWEETNESS)

BELL

OUTPUT

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

(PREAMP SW)

GAIN

(PREAMP GAIN)

LEVEL

(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

CHO BASS (CHORUS BASS)

This is a chorus effect for bass.

Parameter

ON/OFF

TYPE

RATE

DEPTH

E.LEVEL

LO CUT *1

HI 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. 47) to “INTERNAL.”

C-VIBE (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

E.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. 47) to “INTERNAL.”

COMP (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

DIR 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.

DEFRETR (DEFRETTER)

This simulates a fretless guitar.

Parameter

SENS

DEPTH

TONE

E.LEVEL

ATTACK

RESO

DIR 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.

DEFRET B (DEFRETTER BASS)

This simulates a fretless bass.

Parameter

SENS

ATTACK

TONE

E.LEVEL

DIR MIX

Value

0–100

-50–+50

0–100

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.

DIST (DISTORTION)

This effect distorts the sound to create long sustain.

Parameter

ON/OFF

TYPE

DRIVE

TONE

LEVEL

BOTTOM

DIR MIX

SOLO SW

SOLO LVL

Value Explanation

OFF, ON Turns this effect on/off.

Refer to “DISTORTION TYPE” (p. 17)

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

MID

CLEAN

TREBLE

CRUNCH

Explanation

This is a booster with unique characteristics in the midrange.

Making the connection before the AIRD PREAMP produces sound suitable for solos.

This not only functions as a booster, but also produces a clean tone that has punch even when used alone.

This is a booster that has bright characteristics.

A lustrous crunch sound with an added element of amp distortion.

Effect

Type

NATURAL

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+

MTL ZONE

HM-2

MTL CORE

60S FUZZ

MUFF FUZ

BASS OD

BASS DS

BASS MT

BASS FUZ

HI BAND

X-BASS

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.+.

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

Effect

FEEDBAKR (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 *2

FEEDBACK *2

OCT FBK*2

VIB RATE *2

VIB DEPT *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/FLANGR B (FLANGER B)

The flanging effect gives a twisting, jet-airplane-like character to the sound.

Parameter

RATE

DEPTH

RESO

MANUAL

TURBO

WAVEFORM

STEP

SEPARATE

E.LEVEL

LO DAMP

HI DAMP

LO CUT

HI CUT

DIR 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. 47) to “INTERNAL.”

HARMONST (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

1:HARMO

2:HARMO

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

1:LEVEL

2:LEVEL

1:PRE-DL

2:PRE-DL

1:FEEDBK

D.LEVEL

BPM

0–100

0–300ms,

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. 47) 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

HUMANIZR (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. 47) 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

D.LEVEL

RANGE *2

OC.LEVEL *2

Value

MONO

POLY

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.

*1 Setting available when TYPE is set to MONO.

*2 Setting available when TYPE is set to POLY.

OCT BASS (OCTAVE BASS)

This is an OCTAVE effect for bass.

Parameter

-2OCT

-1OCT

D.LEVEL

Value

0–100

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

LOWER

UPPER

UNISON

D.LEVEL

DETUNE

OUTPUT

Value

0–100

-50–+50

MONO,

STEREO

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.

Adjusts the tonal character of the low-frequency range.

Adjusts the tonal character of the high-frequency range.

Selects the type of output.

PAN

Parameter Value

RATE

DEPTH

WAVEFORM

E.LEVEL

DIR 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. 47) 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

RESO *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 *1

BI-PHASE *1

SEPARATE *1

LO DAMP *1

HI DAMP *1

LO CUT *1

HI CUT *1

E.LEVEL

DIR 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.

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. 47) to

“INTERNAL.”

*1 Setting available when TYPE is set to PRIME.

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

Effect

PITCH SFT (PITCH SHIFTER)

This effect changes the pitch of the original sound (up or down) within a range of two octaves.

Parameter

VOICE

1:PITCH

2:PITCH

D.LEVEL

1:MODE

2:MODE

1:FINE

2:FINE

1:PRE-DL

2:PRE-DL

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.

1:LEVEL

2:LEVEL

1:FEEDBK

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. 47) 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

INTELLI

FREQ

MOD RATE

MOD DEPT

E.LEVEL

DIR MIX

BPM

OFF, ON

0–100

0–100,

BPM

–

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. 47) to

“INTERNAL.”

ROTARY

This produces an effect like the sound of a rotary speaker.

Parameter

SPEED

SLOW

FAST

E.LEVEL

RISE TIME

FALL TIME

MIC DIST

ROT/HORN

DRIVE

DIR 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. 47) 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

E.LEVEL

ATTACK

DUTY

DIR MIX

BPM

Value

P1–P20

0–100,

BPM

–

OFF, ON

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. 47) to “INTERNAL.”

SITAR SIM.

This simulates the sound of the sitar.

Parameter

SENS

DEPTH

TONE

E.LEVEL

RESO

BUZZ

DIR 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.

SLW GEAR (SLOW GEAR)/

SG BASS (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.

Effect

SND HOLD (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

E.LEVEL

OFF, ON

0–100

0–120

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.

Adjusts the volume of the hold sound.

S-BEND

Applies intense bending.

Parameter

TRIGGER

PITCH

RISE TIME

FALL TIME

Value

OFF, ON

0–100

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.

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 WH (TOUCH WAH)/

TW BASS (TOUCH WAH BASS)

You can produce a wah effect with the filter changing in response to the guitar/bass level.

Parameter

FILTER

POLARITY

SENS

FREQ

DECAY

Value Explanation

Selects the wah mode.

LPF Low pass filter. Passes only the low-frequency region.

HPF

BPF

High pass filter. Passes only the high-frequency region.

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.

Parameter

E.LEVEL

DIR MIX

Value

0–100

Explanation

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

E.LEVEL

TRIGGER

RISE TIME

DIR MIX

BPM

Value

0–100,

BPM

–

0–100

OFF, ON

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. 47) to

“INTERNAL.”

VIBRATO

This effect creates vibrato by slightly modulating the pitch.

Parameter

RATE

DEPTH

COLOR

E.LEVEL

TRIGGER

RISE TIME

DIR 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.

47) to “INTERNAL.”

Effect

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 ECO

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

E.LEVEL

PRE-DELY

LO CUT *1

HI CUT *1

LO DAMP *1

HI DAMP *1

MOD RATE *1

MOD DEPT *1

DUCK SNS *1

Value

0.1s–10.0s

-50–0–+50

1–10

0–100

0ms–200ms

FLAT,

20.0Hz–20.0kHz

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.

20.0Hz–20.0kHz,

FLAT

-50–0–+50

0–100

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 *1

DUCK PST *1

D.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

1:PITCH

2:PITCH

1:LEVEL

2:LEVEL

Value

-24–+24

0–100

Explanation

Adjusts the amount of pitch shift.

Adjusts the volume of the pitch shifter.

DUAL

Parameter

1:TYPE

2:TYPE

1:TIME

2:TIME

1:TONE

2:TONE

1:LEVEL

2:LEVEL

1:DENSTY

2:DENSTY

1:PRE-DL

2:PRE-DL

1:LO CUT

2:LO CUT

1:HI CUT

2:HI CUT

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.

TERA ECHO

Parameter

MODE

SPREAD

FEEDBACK

E.LEVEL

TONE

D.LEVEL

Value Explanation

Selects the mode of the effect sound.

MONO The L and R channels will both output the same sound.

STEREO 1

STEREO2

0–100

The R channel outputs the direct sound, and the

L channel outputs the effect sound.

The effect is applied separately to the L and R channels.

Adjusts the length of the effect sound.

0–100

-50–+50

0–100

Adjusts the decay of the effect sound.

Adjusts the volume of the effect sound.

Adjusts the tone.

Adjusts the volume of the direct sound.

Parameter

TRIGGER

Value

OFF, ON

Explanation

The effect sound is held when you turn this on.

Patches are written with the parameter set to Off.

PEDAL FX

You can control the wah effect or get a pitch bend effect in real time by adjusting the GT-1000CORE’s expression pedal or the expression pedal connected to the CTL 2, 3/EXP 1 jack or CTL 4, 5/EXP 2 jack.

Parameter

ON/OFF

TYPE

Value

OFF, ON

PDL 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-1000CORE’s expression pedal or the expression pedal connected to the CTL 2, 3/

EXP 1 jack or CTL 4, 5/EXP 2 jack.

PEDAL BEND

Parameter

PITCH MIN

PITCH MAX

Value

-24–+24

PDL POS

E.LEVEL

DIR 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.

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

WAH

Parameter

WAH TYPE

PDL POS

PDL MIN

PDL MAX

E.LEVEL

DIR 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.

FOOT VOLUME

This is a volume control effect.

This is controlled with the expression pedal connected to the CTL 2, 3/

EXP 1 jack or CTL 4, 5/EXP 2 jack.

Parameter

PDL POS

VOL MIN

VOL MAX

Value

0–100

Explanation

Adjusts the volume.

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

CURVE

SLOW1,

SLOW2,

NORMAL,

FAST

FAS

SLO

When the pedal is fully raised

When the pedal is fully advanced

MIXER 3 MIXER 2

MIXER 1

Parameter

MODE

ROUTING *1

CHANNEL *2

A:DYNAMC *3

B:DYNAMC *3

A:SENS *3

B:SENS *3

A:FILTER *3

B:FILTER *3

A:CUTOFF *3

B:CUTOFF *3

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

Value Explanation

SINGLE

SELECTOR

Use only one channel, either “A” or “B.”

DUAL

STEREO

Use the two channels “A” and “B.”

Assigning the divider to the front of the chain allows you to switch between handling the input signal as a stereo signal or as either a left or right signal.

Inputs the INPUT L, R signals as a stereo signal in the chain.

If the plug is inserted into INPUT R only, the same signal passes through L and R.

A, B

OFF

POLAR+

POLAR-

Inputs either the INPUT L or INPUT R signal by following the CHANNEL setting.

This lets you plug different guitars into each of the two jacks and select which to use.

DYNAMIC will not be used.

Only notes picked more strongly than the

SENS setting will be output.

Only notes picked more softly than the

SENS setting will be output.

0–100

OFF

LPF

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.

Cutoff frequency

*1 You can only select this when a divider is placed at the front of the chain.

*2 Setting available when MODE is set to SINGLE.

*3 Setting available when MODE is set to DUAL.

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 [SELECT] to select the DIVIDER that you want to edit.

Press the [4] knob.

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-1000CORE’s effects processors.

MIXER 1–3

Parameter Value

STEREO

MODE

PAN L/R

A:LEVEL

B:LEVEL

0–100

A/B BAL

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.”

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

ST LINK

Value

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-1000CORE’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-1000CORE’s effects sounds together with the sound with the external effects device applied to it.

SEND

RETURN

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-1000CORE’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.

Parameter

ADJUST

Value

0–100

Explanation

Adjusts the phase between the GT-1000CORE’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.

* The SEND/RETURN function is disabled if the SEND1 SETTING and SEND2 SETTING for MENU

HARDWARE SETTING

OTHER are not set to “SEND.”

Effect

OUTPUT SP.SIMULATOR L, OUTPUT SP.SIMULATOR R,

SUB OUT SP.SIMULATOR L, SUB OUT SP.SIMULATOR R

Parameter

ST LINK

L:SP TYPE

R:SP TYPE *1

L:MIC TYP

R:MIC TYP *2

L:MIC DST

R:MIC DST *2

L:MIC POS

R:MIC POS *2

L:MIC LVL

R:MIC LVL *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-1000CORE.

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:DIR MIX

R:DIR 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” or “RECORDING.”

MASTER

These settings are applied to the overall patch.

Parameter

PATCH LV

BPM

Value

0–200

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-1000CORE’s CTL 4, CTL 5 jacks, you can then use CTL 4, CTL 5 to switch the amp channel. This combining of the GT-1000CORE and the amp channels allows you to get an even wider variety of distortion sounds.

AMP CTL1

AMP CTL2

* To control a guitar amp or other external device, set the

HARDWARE SETTING

OTHER

CTL 4, 5 SETTING to AMP CTL.

* The on/off state of the CTL jack is saved as an effect parameter for each patch, and you can switch the guitar amp channel for each patch.

Guitar Amplifier

(Channel switching jack)

OFF

GT-1000CORE

(AMP CONTROL jack)

Guitar Amplifier

(Channel switching jack)

CARRYOVR

OFF, ON

GT-1000CORE

(AMP CONTROL jack)

You can specify whether the effect sound is carried-over when you switch patches.

Parameter

BS MODE

INPUT

Value

OFF, ON

SYSTEM,1–10

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 “INPUT” (p.

44) are used.

Effect

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 [

][

] switches to switch patches.

* Press the [

] and [CTL1] switches together to switch to manual mode.

* Press the [

] and [

] switches together to start the tuner.

This mode lets you use [

][

] switches 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.

CONTROL ASSIGN

CONTROL FUNCTION

Here you can specify the parameters that are controlled by all of the top panel footswitches, and expression pedals or footswitches that are connected to the rear panel CTL2, 3/EXP1 jack and the side panel

CTL4, 5/EXP2 jack.

NS 1

NS 2

EQ 1

EQ 2

EQ 3

EQ 4

DLY1

DLY2

DLY3

DLY4

MST DLY

CHO

FX1

FX2

AMP CTL 1

AMP CTL 2

CMP

DS1

DS1 SOLO

DS2

DS2 SOLO

AMP1

AMP1SOLO

AMP2

AMP2SOLO

FX3

FX1 TRIGGER

FX2 TRIGGER

FX3 TRIGGER

FUNCTION ([

] switch, [

] switch, [CTL1] switch, , CTL2–5,

MAN

, MAN

)

Value Explanation

OFF

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

TUNE/MAN

MAN/TUNE

No assignment.

Switches to the next patch number.

Switches to the previous patch number.

Increases the patch volume level by 10 units.

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.

Switches the TUNER on and off.

Switches the MANUAL on and off.

Turns TUNER on/off when briefly pressed; turns

MANUAL on/off when long-pressed.

Turns MANUAL on/off when briefly pressed; turns

TUNER 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 FX1 TRIGGER on and off.

Switches the FX2 TRIGGER on and off.

Switches the FX3 TRIGGER on and off.

Value

MDLY TRIG

REV

PFX

DIV1 CH

DIV2 CH

DIV3 CH

S/R1

S/R2

LOOPER

LP STOP

LP CLEAR

METRO

MIDI START

MMC PLAY

Explanation

Turns the trigger on/off when the MASTER DELAY's TYPE is WARP or TWIST.

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.

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).

*1 Not shown in “CUR NUM” and “MANUAL1–5.”

*2 When using AMP CTL, set the MENU

HARDWARE SETTING

OTHER

CTL 4, 5

SETTING to AMP CTL.

FUNCTION (EXP1, EXP 2)

Value

OFF

FOOT VOL

PEDAL FX

FV/PD FX

FV+TUNER

FVTU/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.

PREFERENCE

Value

PATCH

SYSTEM

Explanation

Different settings can be made independently for each patch.

The same settings will be shared by all patches.

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 Explanation

OFF, ON

Turns the ASSIGN 1–16 on/off.

This selects the parameter to be changed.

Refer to “TARGET list” (p. 35).

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.

, CTL1

Assigns the GT-1000CORE’s footswitch.

CTL2, CTL3

CTL4, CTL5

EXP1

EXP2

INT PEDAL

WAVE PDL

INPUT

Assigns the external footswitch connected to the CTL 2, 3/ EXP 1 jack.

Assigns the external footswitch connected to the CTL 4, 5/ EXP 2 jack.

Assigns the external expression pedal connected to the CTL 2, 3/

EXP 1 jack.

Assigns the external expression pedal connected to the CTL 4, 5/

EXP 2 jack.

Assigns the internal pedal.

Assigns the wave pedal.

The assigned target parameter will change according to the input level.

INPUT

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

INTERNAL

PEDAL

TRIGGER

Value

PATCH

EXP1

EXP2

, CTL1

CTL2, CTL3

CTL4, CTL5

Explanation

This is activated when a patch is selected.

This is activated when the

GT-1000CORE’s footswitch is operated.

This is activated when an external expression pedal connected to the

CTL 2, 3/ EXP 1 jack.

This is activated when an external expression pedal connected to the

CTL 4, 5/ EXP 2 jack.

This is activated when an external footswitch connected to the CTL 2,

3/ EXP 1 jack is operated.

This is activated when an external footswitch connected to the CTL 4,

5/ EXP 2 jack is operated.

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

WAVE

PEDAL

MIDI

TARGET

MIDI CC# *3

TARGET

MIDI PC# *4

RATE *2

CH *3 *4

CC#

MIN

MAX

PC#

MSB

LSB

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.

SYSTEM

This transmits a message on the

MIDI channel specified by the “MIDI

SETTING” (p. 47) parameter TX

CHANNEL.

1–16

0–127

The message is transmitted on the specified MIDI channel.

The message is transmitted using the specified controller number.

0–127

1–128

OFF, 0–127

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 TARGET

ON/OFF

TYPE

COMP (COMPRESSOR)

SUSTAIN

ATTACK

RATIO

CMP:BASS (COMPRESSOR

BASS)

TONE

LEVEL

DIRECT MIX

THRESHOLD

ON/OFF

DIST 1 (DISTORTION 1)

DIST 2 (DISTORTION 2)

TYPE

DRIVE

TONE

E.LEVEL

BOTTOM

DIR MIX

SOLO SW

SOLO LEVEL

Value

OFF, ON

BOSS CMP (BOSS

COMP), X-COMP,

D-COMP, ORANGE,

STEREO (STEREO COMP),

X-BASS (X-BASS COMP)

0–100

1:1, 1.2:1, 1.4:1, 1.6:1,

1.8:1, 2:1, 2.3:1, 2.6:1, 3:1,

3.5:1, 4:1, 5:1, 6:1, 8:1,

10:1, 12:1, 20:1, INF:1

-50–0–+50

0–100

OFF, ON

MID (MID BOOST),

CLEAN (CLEAN BOOST),

TREBLE (TREBLE

BOOST), CRUNCH,

NATURAL (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+,

MTL ZONE (METAL

ZONE), HM-2, MTL CORE

(METAL CORE), 60S

FUZZ (‘60S FUZZ), MUFF

FUZ (MUFF FUZZ), BASS

OD, BASS DS, BASS MT,

BASS FUZ (BASS FUZZ),

HI BAND (HI BAND

DRIVE), X-BASS (X-BASS

OD), BASS DRV, BASS DI

0–120

-50–0–+50

0–100

-50–0–+50

0–100

OFF, ON

0–100

CATEGORY TARGET

ON/OFF

TYPE

PREAMP 1 (AIRD PREAMP 1)

PREAMP 2 (AIRD PREAMP 2)

NS 1 (NOISE SUPPRESSOR 1)

NS 2 (NOISE SUPPRESSOR 2)

GAIN

SAG

RESONANCE

BASS

MIDDLE

TREBLE

PRESENCE

BRIGHT

GAIN SW

LEVEL

SOLO SW

SOLO LEVEL

ON/OFF

THRESHOLD

RELEASE

DETECT

ON/OFF

EQ 1 (EQUALIZER 1)

EQ 2 (EQUALIZER 2)

EQ 3 (EQUALIZER 3)

EQ 4 (EQUALIZER 4)

TYPE

PEQ 1 (EQUALIZER 1

PARAMETRIC)

PEQ 2 (EQUALIZER 2

PARAMETRIC)

PEQ 3 (EQUALIZER 3

PARAMETRIC)

PEQ 4 (EQUALIZER 4

PARAMETRIC)

LO GAIN

LM FREQ

LM Q

LM GAIN

HM FREQ

HM Q

HM GAIN

HI GAIN

LEVEL

LO CUT

HI CUT

Value

OFF, ON

TRNSPRNT

(TRANSPARENT),

NATURAL, BOUTIQUE,

SUPREME, MAXIMUM,

JUGGERNT

(JUGGERNAUT),

X-CRUNCH, X-HI GAIN,

X-MODDED, JC-120,

TWIN (TWIN COMBO),

DELUXE (DELUXE

COMBO), TWEED

(TWEED COMBO),

DIAMOND (DIAMOND

AMP), BRIT STK (BRIT

STACK), RECTI STK

(RECTI STACK), MATCH

(MATCH COMBO),

BG COMBO, ORNG

STK (ORNG STACK),

BGNR UB (BGNR UB

METAL), NATRL BS

(NATURAL BASS), X-DRV

BS (X-DRIVE BASS),

CONCERT

0–120

-10–0–+10

0–100

OFF, ON

LOW, MIDDLE, HIGH

0–100

OFF, ON

0–100

OFF, ON

0–100

INPUT, NS INPUT, FV

OUT

OFF, ON

PARAMTRC

(PARAMETRIC), GRAPHIC

-20dB –0dB–+20dB

20.0Hz––16.0kHz

0.5, 1, 2, 4, 8, 16

-20dB – 0dB – +20dB

20.0Hz – 16.0kHz

0.5, 1, 2, 4, 8, 16

-20dB –0dB–+20dB

FLAT, 20.0Hz – 20.0kHz

20.0Hz – 20.0kHz, FLAT

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

MDLY (MASTER DELAY)

MDLY:TAPE (MASTER

DELAY:TAPE)

MDLY:SHIMR (MASTER

DELAY:SHIMMER)

MDLY:DUAL (MASTER

DELAY:DUAL)

TARGET

31.5Hz

63Hz

125Hz

250Hz

500Hz

1kHz

2kHz

4kHz

8kHz

16kHz

LEVEL

ON/OFF

TIME

FEEDBACK

HI CUT

E.LEVEL

D.LEVEL

ON/OFF

TYPE

TIME

FEEDBACK

HI CUT

E.LEVEL

D.LEVEL

MOD RATE

MOD DEPTH

DUCK SENS

DUCK PRE DEPTH

DUCK POST DEPTH

PAN TAP TIME

TRIGGER

LEVEL

AUTO TRIG

HEAD

PITCH

PITCH BAL

PITCH FBK

MODE

1:TYPE

2:TYPE

1:TIME

2:TIME

1:FEEDBK (1:FEEDBACK)

2:FEEDBK (2:FEEDBACK)

1:HI CUT (1:HIGH CUT)

2:HI CUT (2:HIGH CUT)

1:E.LEVEL (1:EFFECT

LEVEL)

2:E.LEVEL (2:EFFECT

LEVEL)

0–100

20.0Hz–20.0kHz, FLAT

0–120

Value

-20dB –0dB–+20dB

0–100

0%–100%

OFF, ON

0–100

OFF, ON

-20dB –0dB–+20dB

OFF, ON

1ms–2000ms,

BPM

–

0–100

20.0Hz–20.0kHz, FLAT

0–120

0–100

OFF, ON

MONO, PAN, STEREO1,

STEREO2, ANALOG,

ANALG ST (ANALOG

ST), TAPE, REVERSE,

SHIMMER, DUAL, WARP,

TWIST, SPACE EC (SPACE

ECHO), ECHO PX (TAPE

ECHO PX), BIN ECHO

(BIN DRUM ECHO)

1ms–2000ms,

BPM

–

0–100

20.0Hz–20.0kHz, FLAT

0–120

1, 1+2, 1+3, 2+3, 1+2+3

-24 –0–+24

0–100

SERIES, PARALLEL, L/R

MONO, PAN, ANALOG,

TAPE

1ms–2000ms,

BPM

–

CATEGORY

MDLY:TWIST (MASTER

DELAY:TWIST)

M-DLY:ECHO

(MASTER DELAY ECHO)

CHORUS

CHO:DUAL (CHORUS: DUAL)

TARGET

MODE

RISE TIME

FALL TIME

FADE TIME

WOW & FLUTTER

SPACE HEAD

BINDRM HEAD

(BINDRUM HEAD)

SELECTOR

ON/OFF

TYPE

RATE

DEPTH

PRE-DELAY

WAVEFORM

E.LEVEL

D.LEVEL

LO CUT

HI CUT

1:RATE

2:RATE

1:DEPTH

2:DEPTH

1:PRE-DLY (1:PRE-DELAY)

2:PRE-DLY (2:PRE-DELAY)

1:WAVEFORM

2:WAVEFORM

1:E.LEVEL (1:EFFECT

LEVEL)

2:E.LEVEL (2:EFFECT

LEVEL)

1:LO CUT (1:LOW CUT)

2:LO CUT (2:LOW CUT)

1:HI CUT (1:HIGH CUT)

2:HI CUT (2:HIGH CUT)

OUTPUT (OUTPUT

MODE)

0–100

0.0ms–40.0ms

TRI, SINE

0–100

MONO, STEREO

Value

FALL (RISE->FALL), FADE

(RISE->FADE)

0–100

1, 1+2, 1+3, 2+3, 1+2+3

1, 2, 3, 4, 1+2, 2+3, 3+4,

1+3, 2+4, 1+2+3, 2+3+4,

1+2+3+4

ECHO, REPEAT, SWELL

OFF, ON

MONO, STEREO 1,

STEREO 2, DUAL

0–100,

BPM

–

0–100

0.0ms–40.0ms

TRI, SINE

0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

0–100,

BPM

–

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

CATEGORY

FX1

FX2

FX3

TARGET

ON/OFF

TYPE

FX1:AcGTR SIM (FX1:AC.

GUITAR SIMULATOR)

FX2:AcGTR SIM (FX2:AC.

GUITAR SIMULATOR)

FX3:AcGTR SIM (FX3:AC.

GUITAR SIMULATOR)

FX1:AcRESO (FX1:AC

RESONANCE)

FX2:AcRESO (FX2:AC

RESONANCE)

FX3:AcRESO (FX3:AC

RESONANCE)

FX1:AW (FX1:AUTO WAH)

FX2:AW (FX1:AUTO WAH)

FX3:AW (FX1:AUTO WAH)

BODY

LEVEL

TYPE

RESO

TONE

LEVEL

FILTER MODE

RATE

DEPTH

E.LEVEL

FREQUENCY

RESONANCE

WAVEFORM

DIR MIX

Value

OFF, ON

AC.G SIM (AC GUITAR

SIM), AC RESO (AC

RESONANCE), AUTO

WAH, CHORUS, CHO

BASS (CHORUS BASS),

C-VIBE (CLASSIC-VIBE),

COMP (COMPRESSOR),

DEFRETR (DEFRETTER),

DEFRET B (DEFRETTER

BASS), DIST

(DISTORTION),

FEEDBAKR

(FEEDBACKER),

FLANGER, FLANGR

B (FLANGER BASS),

HARMONST

(HARMONIST),

HUMANIZR

(HUMANIZER), OCTAVE,

OCT BASS (OCTAVE

BASS), OVERTONE, PAN,

PHASER, PITCH SFT

(PITCH SHIFTER), RING

MOD, ROTARY, SITAR

SIM, SLICER, SLW GEAR

(SLOW GEAR), SG BASS

(SLOW GEAR BASS), SND

HOLD (SOUND HOLD),

S-BEND, TOUCH WH

(TOUCH WAH), TW BASS

(TOUCH WAH BASS),

TREMOLO, VIBRATO

0–100

-50–0–+50

0–100

NATURAL, WIDE, BRIGHT

0–100

-50–0–+50

0–100

LPF, BPF, HPF

0–100,

BPM

–

0–100

TRI, SINE

0–100

CATEGORY

FX1:CHO (FX1:CHORUS)

FX2:CHO (FX2:CHORUS)

FX3:CHO (FX3:CHORUS)

FX1:CHO BS (FX1:CHORUS

BASS)

FX2:CHO BS (FX2:CHORUS

BASS)

FX3:CHO BS (FX3:CHORUS

BASS)

FX1:C-VIBE (FX1:CLASSIC-

VIBE)

FX2:C-VIBE (FX2:CLASSIC-

VIBE)

FX3:C-VIBE (FX3:CLASSIC-

VIBE)

TARGET

TYPE

RATE

DEPTH

PRE-DELAY

WAVEFORM

E.LEVEL

D.LEVEL

LO CUT

HI CUT

OUTPUT MODE

DUAL 1:RATE

DUAL 2:RATE

DUAL 1:DEPT (1:DEPTH)

DUAL 2:DEPT (2:DEPTH)

DUAL 1:PrDL (1:PRE-

DELAY)

DUAL 2:PrDL (2:PRE-

DELAY)

DUAL 1:WAVE

(1:WAVEFORM)

DUAL 2:WAVE

(2:WAVEFORM)

DUAL 1:E.LV (1:EFFECT

LEVEL)

DUAL 2:E.LV (2:EFFECT

LEVEL)

DUAL 1:L.CUT (1:LOW

CUT)

DUAL 2:L.CUT (2:LOW

CUT)

DUAL 1:H.CUT (1:HIGH

CUT)

DUAL 2:H.CUT (2:HIGH

CUT)

PRIME SWEETNESS

PRIME BELL

CE1 PREAMP (CE-1

PREAMP SW)

CE1 PrA GAIN (CE-1

PREAMP GAIN)

CE1 PrA LVL (CE-1

PREAMP LEVEL)

TYPE

RATE

DEPTH

E.LEVEL

LO CUT

HI CUT

MODE

RATE

DEPTH

E.LEVEL

0.0ms–40.0ms

TRI, SINE

0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

0–100

OFF, ON

0–100

MONO, STEREO 1,

STEREO 2

0–100,

BPM

–

0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

CHORUS, VIBRATO

0–100,

BPM

–

0–100

Value

MONO, STEREO 1,

STEREO 2, DUAL, PRIME,

CE-1 CHO, CE-1 VIB

0–100,

BPM

–

0–100

0.0ms–40.0ms

TRI, SINE

0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

MONO, STEREO

0–100,

BPM

–

0–100

FX1:DIST (FX1:DISTORTION)

FX2:DIST (FX2:DISTORTION)

FX3:DIST (FX3:DISTORTION)

CATEGORY TARGET

TYPE

FX1:CMP (COMPRESSOR)

FX2:CMP (COMPRESSOR)

FX3:CMP (COMPRESSOR)

FX4:CMP (COMPRESSOR)

SUSTAIN

ATTACK

RATIO

FX1:DEFRET

(FX1:DEFRETTER)

FX2:DEFRET

(FX2:DEFRETTER)

FX3:DEFRET

(FX3:DEFRETTER)

FX1:DFRET B

(FX1:DEFRETTER BASS)

FX2:DFRET B

(FX2:DEFRETTER BASS)

FX3:DFRET B

(FX3:DEFRETTER BASS)

TONE

LEVEL

DIR MIX

FX1:CMP BS

(FX1:COMPRESSOR BASS)

FX2:CMP BS

(FX2:COMPRESSOR BASS)

FX3:CMP BS

(FX3:COMPRESSOR BASS)

THRESHOLD

SENS

DEPTH

ATTACK

RESONANCE

TONE

E.LEVEL

DIR MIX

SENS

ATTACK

TONE

E.LEVEL

DIR MIX

TYPE

DRIVE

TONE

E.LEVEL

BOTTOM

DIR MIX

SOLO SW

SOLO LEVEL

Value

BOSS CMP (BOSS

COMP), X-COMP,

D-COMP, ORANGE,

STEREO (STEREO COMP),

X-BASS (X-BASS COMP)

0–100

1:1, 1.2:1, 1.4:1, 1.6:1,

1.8:1, 2:1, 2.3:1, 2.6:1, 3:1,

3.5:1, 4:1, 5:1, 6:1, 8:1,

10:1, 12:1, 20:1, INF:1

-50–+50

0–100

0–120

-50–+50

0–100

-50–+50

0–100

OFF, ON

0–100

-50–+50

0–100

-50–+50

0–100

MID (MID BOOST),

CLEAN (CLEAN BOOST),

TREBLE (TREBLE

BOOST), CRUNCH,

NATURAL (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+,

MTL ZONE (METAL

ZONE), HM-2, MTL CORE

(METAL CORE), 60S

FUZZ (‘60S FUZZ), MUFF

FUZ (MUFF FUZZ), BASS

OD, BASS DS, BASS MT,

BASS FUZ (BASS FUZZ),

HI BAND (HI BAND

DRIVE), X-BASS (X-BASS

OD), BASS DRV, BASS DI

CATEGORY

FX1:FEEDBK

(FX1:FEEDBACKER)

FX2:FEEDBK

(FX2:FEEDBACKER)

FX3:FEEDBK

(FX3:FEEDBACKER)

FX1:FLANG (FX1:FLANGER)

FX2:FLANG (FX2:FLANGER)

FX3:FLANG (FX3:FLANGER)

FX1:FLNG B (FX1:FLANGER

BASS)

FX2:FLNG B (FX2:FLANGER

BASS)

FX3:FLNG B (FX3:FLANGER

BASS)

TARGET

MODE

TRIGGER

DEPTH

RISE TIME

OCT RISE (OCTAVE RISE

TIME)

Value

NORMAL, OSC

OFF, ON

0–100

FEEDBAK (FEEDBACK)

OCT FBK (OCTAVE

FEEDBACK)

0–100

VIB RATE (VIBRATO RATE) 0–100

VIB DEPT (VIBRATO

DEPTH)

0–100

RATE

DEPTH

RESONANCE

MANUAL

0–100,

BPM

–

0–100

TURBO

WAVEFORM

STEPRATE

SEPARATION

E.LEVEL

LO DAMP

HI DAMP

LO CUT

HI CUT

DIR MIX

RATE

OFF, ON

TRI, SINE

0–100,

BPM

–

0–180

0–100

-100–0

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

0–100

0–100,

BPM

–

0–100 DEPTH

RESONANCE

MANUAL

TURBO

WAVEFORM

STEPRATE

SEPARATION

E.LEVEL

LOW DAMP

HIGH DAMP

LO CUT

HI CUT

DIR MIX

0–100

OFF, ON

TRI, SINE

0–100,

BPM

–

0–180

0–100

-100–0

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

0–100

CATEGORY

FX1:HARMO

(FX1:HARMONIST)

FX2:HARMO

(FX2:HARMONIST)

FX3:HARMO

(FX3:HARMONIST)

FX1:HUMAN

(FX1:HUMANIZER)

FX2:HUMAN

(FX2:HUMANIZER)

FX3:HUMAN

(FX3:HUMANIZER)

FX1:OCTAVE

FX2:OCTAVE

FX3:OCTAVE

FX1:OCT BS (FX1:OCTAVE

BASS)

FX2:OCT BS (FX2:OCTAVE

BASS)

FX3:OCT BS (FX3:OCTAVE

BASS)

TARGET

VOICE

1:HARMO (1:HARMONY)

2:HARMO (2:HARMONY)

1:PRE-DLY (1:PRE-DELAY)

2:PRE-DLY (2:PRE-DELAY)

1:FEEDBK (1:FEEDBACK)

2:FEEDBK (2:FEEDBACK)

1:LEVEL

2:LEVEL

D.LEVEL

MODE

VOWEL1

VOWEL2

SENS

RATE

DEPTH

MANUAL

LEVEL

TYPE

-2OCT

-1OCT

D.LEVEL

RANGE

POLY OCT (POLY OCTAVE

LEVEL)

2-Oct

1-Oct

D.LEVEL

Value

1VOICE, 2MONO,

2STEREO

-2oct, -14th, -13th,

-12th, -11th, -10th, -9th,

-1oct, -7th, -6th, -5th,

-4th, -3rd, -2nd, UNISON,

+2nd, +3rd, +4th, +5th,

+6th, +7th, +1oct, +9th,

+10th, +11th, +12th,

+13th, +14th, +2oct,

USER

0–300ms,

BPM

–

0–100

PICKING, AUTO a, e, i, o, u a, e, i, o, u

0–100

0–100,

BPM

–

0–100

MONO, POLY

0–100

FX1:OVERTON

(FX1:OVERTONE)

FX2:OVERTON

(FX2:OVERTONE)

FX3:OVERTON

(FX3:OVERTONE)

FX1:PAN

FX2:PAN

FX3:PAN

LOWER LEVEL

UPPER LEVEL

UNISON LEVEL

D.LEVEL

DETUNE

OUTPUT

RATE

DEPTH

WAVEFORM

E.LEVEL

DIR MIX

0–100

-50–+50

MONO, STEREO

0–100,

BPM

–

0–100

CATEGORY

FX1:PHASER

FX2:PHASER

FX3:PHASER

FX1:P-SHIF (FX1:PITCH

SHIFTER)

FX2:P-SHIF (FX2:PITCH

SHIFTER)

FX3:P-SHIF (FX3:PITCH

SHIFTER)

FX1:RNG MOD (FX1:RING

MODULATOR)

FX2:RNG MOD (FX2:RING

MODULATOR)

FX3:RNG MOD (FX3:RING

MODULATOR)

FX1:ROTARY

FX2:ROTARY

FX3:ROTARY

TARGET

TYPE

STAGE

RATE

Value

PRIME, SCRIPT

2 STAGE, 4 STAGE, 8

STAGE, 16 STAGE, 24

STAGE

0–100,

BPM

–

0–100 DEPTH

RESO (RESONANCE)

MANUAL

LO DAMP

HI DAMP

LO CUT

HI CUT

BI-PHASE

WAVE (WAVEFORM)

STEP (STEP RATE)

SEPARAT (SEPARATION)

E.LEVEL

DIR MIX

VOICE

1:PITCH

2:PITCH

1:FINE (1:PITCH FINE)

2:FINE (2:PITCH FINE)

1:FBK (1:FEEDBACK)

1:PrDLY (1:PRE-DELAY)

2:PrDLY (2:PRE-DELAY)

1:LEVEL

2:LEVEL

-24–+24

-50–+50

0–100

0ms–300ms,

BPM

0–100

–

1:MODE

2:MODE

D.LEVEL

INTELLI (INTELLIGENT)

FREQ (FREQUENCY)

ModRATE (FREQUENCY

MOD RATE)

ModDEPT (FREQUENCY

MOD DEPTH)

E.LEVEL

DIR MIX

SPEED

FAST,

MEDIUM,

SLOW,

MONO

0–100

OFF, ON

0–100

0–100,

BPM

–

0–100

SLOW RT (SLOW RATE)

0–100

SLOW, FAST

0–100,

BPM

–

FAST RT (FAST RATE)

RISE TM (RISE TIME)

FALL TM (FALL TIME)

0–100,

BPM

–

0–100

MIC DIST (MIC DISTANCE) 0–100

ROT/HRN (ROTOR/HORN

BALANCE)

100:0–0:100

DRIVE

E.LEVEL

DIR MIX

0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

OFF, ON

TRI, SINE

OFF, 0–100,

BPM

–

0–180

0–100

1VOICE, 2MONO,

2STEREO

CATEGORY

FX1:SITAR (FX1:SITAR

SIMULATOR)

FX2:SITAR (FX1:SITAR

SIMULATOR)

FX3:SITAR (FX1:SITAR

SIMULATOR)

FX1:SLICER

FX2:SLICER

FX3:SLICER

FX1:SG (FX1:SLOW GEAR)

FX2:SG (FX2:SLOW GEAR)

FX3:SG (FX3:SLOW GEAR)

FX1:SG BASS (FX1:SLOW

GEAR BASS)

FX2:SG BASS (FX2:SLOW

GEAR BASS)

FX3:SG BASS (FX3:SLOW

GEAR BASS)

FX1:S-HOLD (FX1:SOUND

HOLD)

FX2:S-HOLD (FX2:SOUND

HOLD)

FX3:S-HOLD (FX3:SOUND

HOLD)

LEVEL

TRIGGER

RISE TIME

E.LEVEL

FX1:S-BEND

FX2:S-BEND

FX3:S-BEND

FX1:TW (FX1:TOUCH WAH)

FX1:TW BS (FX1:TOUCH

WAH BASS)

FX2:TW BS (FX2:TOUCH

WAH BASS)

FX3:TW BS (FX3:TOUCH

WAH BASS)

FX1:TREMOLO

FX2:TREMOLO

FX3:TREMOLO

TRIGGER

PITCH

RISE TM (RISE TIME)

FALL TM (FALL TIME)

FILTER MODE

POLARITY

SENS

FREQUENCY

RESONANCE

DECAY

E.LEVEL

DIR MIX

FILTER MODE

POLARITY

SENS

FREQUENCY

RESONANCE

DECAY

E.LEVEL

DIR MIX

RATE

DEPTH

WAVEFORM

TRIGGER

RISE TIME

E.LEVEL

DIR MIX

TARGET

SENS

DEPTH

TONE

E.LEVEL

RESONANCE

BUZZ

DIR MIX

PATTERN

RATE

ATTACK

DUTY

TRIGGER

E.LEVEL

DIR MIX

SENS

RISE TIME

LEVEL

SENS

RISE TM (RISE TIME)

Value

0–100

-50–+50

0–100

P1–P20

0–100,

BPM

–

0–100

1–99

OFF, ON

0–100

OFF, ON

0–100

LPF, BPF, HPF

DOWN, UP

0–100

0–100,

BPM

–

0–100

OFF, ON

-3oct, -2oct, -1oct,

+1oct, +2oct, +3oct,

+4oct

0–100

LPF, BPF, HPF

DOWN, UP

0–100

CATEGORY

FX1:VIB (FX1:VIBRATO)

FX2:VIB (FX2:VIBRATO)

FX3:VIB (FX3:VIBRATO)

REVERB

REVERB: SHIMMER

REVERB: DUAL

REVERB: TERA ECHO

TARGET

RATE

DEPTH

COLOR

TRIGGER

RISE TIME

E.LEVEL

DIR MIX

ON/OFF

TYPE

Value

0–100,

BPM

–

0–100

OFF, ON

0–100

OFF, ON

HALL1, HALL2, PLATE,

ROOM1, ROOM2,

AMBIENCE, SPRING,

SHIMMER, DUAL, TERA

ECO (TERA ECHO)

TIME

DENSITY

PRE DELAY

TONE

E.LEVEL

D.LEVEL

LO CUT

HI CUT

LO DAMP

HI DAMP

MOD RATE

MOD DEPTH

DUCK SENS

DUCK PRE DPT

(DUCKING PRE DEPTH)

DUCK PST DPT (DUCKING

POST DEPTH)

1:PITCH

2:PITCH

1:LEVEL

2:LEVEL

1:TYPE

2:TYPE

1:TIME

2:TIME

1:PRE-DLY (1:PRE-DELAY)

2:PRE-DLY (2:PRE-DELAY)

1:DENSITY

2:DENSITY

1:TONE

2:TONE

1:E.LEVEL (1:EFFECT

LEVEL)

2:E.LEVEL (2:EFFECT

LEVEL)

1:LO CUT (1:LOW CUT)

2:LO CUT (2:LOW CUT)

1:HI CUT (1:HIGH CUT)

2:HI CUT (2:HIGH CUT)

0.1s–10.0s

1–10

0ms–200ms

-50–+50

0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

-50–+50

0–100

-24–+24

0–100

HALL, PLATE, ROOM

0.1–10.0s

0ms–200ms

1–10

-50–+50

0–100

FLAT,

20.0Hz–20.0kHz

20.0Hz–20.0kHz,

FLAT

MODE

STIME (S-TIME)

FBK (FEEDBACK)

TRIG (TRIGGER)

MONO, STEREO1,

STEREO2

0–100

OFF, ON

CATEGORY

PEDAL FX

PEDAL BEND

TARGET

ON/OFF

TYPE

E.LEVEL

DIR MIX

PITCH MIN

PITCH MAX

PEDAL POS (PEDAL

POSITION)

TYPE

PEDAL WAH

FOOT VOLUME

DIV1 (DIVIDER 1)

DIV2 (DIVIDER 2)

DIV3 (DIVIDER 3)

PEDAL POS (PEDAL

POSITION)

PEDAL MIN

PEDAL MAX

PEDAL POS (PEDAL

POSITION)

VOLUME MIN

VOLUME MAX

VOLUME CURVE

MODE

CH SELECT

Ch.A DYNAMIC

Ch.B DYNAMIC

Ch.A DYNA SENS (Ch.A

DYNAMIC SENS)

Ch.B DYNA SENS (Ch.B

DYNAMIC SENS)

Ch.A FILTER

Ch.B FILTER

Ch.A CUTOFF (Ch.A

CUTOFF REUQUENCY)

Ch.B CUTOFF (Ch.B

CUTOFF REUQUENCY)

MODE

Ch.A LEVEL

Ch.B LEVEL

Ch.A/B BALANCE

SPREAD

ON/OFF

0–100

OFF, LPF, HPF

100Hz–4.00kHz

MIX 1 (MIXER 1)

MIX 2 (MIXER 2)

MIX 3 (MIXER 3)

MIDI

TUNER

MODE

S/R 1 (SEND/RETURN 1)

S/R 2 (SEND/RETURN 2)

LOOPER

AMP CTL (AMP CONTROL)

MASTER

SEND LEVEL

RETURN LEVEL

ADJUST

PLAY LEVEL

CTL 1 *1

CTL 2 *1

PATCH LEVEL

BPM

KEY

BASS MODE

MIDI CC#

MIDI PC#

ON/OFF

*1 This is enabled when CTL 4, 5 SETTING is set to AMP CTL.

STEREO, PAN L/R

0–100

100:0–0:100

0–100

OFF, ON

NORMAL, DIR MIX

(DIRECT MIX), BRANCH

(BRANCH OUT)

0–200

0–100

OFF, ON

0–200

40–250

C (Am)–B (G#m)

OFF, ON

–

OFF, ON

Value

OFF, ON

PDL BEND (PEDAL

BEND), WAH

0–100

PITCH MIN

PITCH MAX

0–100

CRY WAH, VO WAH, FAT

WAH, LIGHT WAH, 7STR

WAH (7STRING WAH),

RESO WAH, BASS WAH

0–100

SLOW1, SLOW2,

NORMAL, FAST

SINGLE, DUAL

A, B

OFF, POLAR+ (POLARITY

+), POLAR- (POLARITY -)

Virtual Expression Pedal (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-1000CORE.

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

Degree to Which

Expression Pedal

Is Depressed

127

When the pedal is fully advanced

* 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 VAL (CC1

VALUE)

CC2 VAL (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.

LED COLOR

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

[

] switch, [

]switch, [CTL1] switch

Value Explanation

OFF

RED

BLUE

L.BLUE (LIGHT BLUE)

GREEN

YELLOW

WHITE

PURPLE

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 L.BLUE (LIGHT

BLUE)

AUTO GREEN

AUTO YELLOW

AUTO WHITE

AUTO PURPLE

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.

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.

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

Value

-20–+20dB

Explanation

Adjusts the guitar input level.

OUTPUT, SUB OUT

Specify the device (amp) that’s connected to the OUTPUT, SEND 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

KATANA-100 MkII

POWER AMP IN

Explanation

Choose this setting if you’re using headphones, or if the

GT-1000CORE 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-1000CORE 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-1000CORE is connected to the RETURN jack of the Roland JC-120 guitar amp.

Choose this setting if the GT-1000CORE is connected to the guitar input of a JC-120 guitar amp.

Choose this setting if the GT-1000CORE 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-1000CORE 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-1000CORE is connected to the RETURN jack of the Roland Blues Cube Artist212 guitar amp.

Choose this setting if the GT-1000CORE is connected to the guitar input of a Roland Blues Cube Artist212 guitar amp.

Choose this setting if the GT-1000CORE 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-1000CORE 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-1000CORE 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-1000CORE 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-1000CORE is connected to the POWER AMP IN of a Boss KATANA-100/212 MkII guitar amp.

Choose this setting if the GT-1000CORE is connected to the POWER AMP IN of a Boss KATANA-100 MkII guitar amp.

Value

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

BASS AMP NO

TWEETER

Explanation

Choose this setting if the GT-1000CORE is connected to the POWER AMP IN of a Boss KATANA-50 MkII guitar amp.

Choose this setting if the GT-1000CORE is connected to the RETURN jack of the KATANA-100/212 guitar amp.

Choose this setting if the GT-1000CORE is connected to the guitar input of a KATANA-100/212 guitar amp.

Choose this setting if the GT-1000CORE is connected to the RETURN jack of the KATANA-100 guitar amp.

Choose this setting if the GT-1000CORE is connected to the guitar input of a KATANA-100 guitar amp.

Choose this setting if the GT-1000CORE 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-1000CORE 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-1000CORE 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.

Use this setting when connecting to a tweeter-equipped bass amp.

Value

USER1, USER2

Explanation

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/

* Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners.

* In this manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds that are emulated using DSP technology.

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.

Parameter

ST LINK (STEREO LINK)

Value

OFF, ON

Explanation

If this is ON, the L and R settings are made at the same time.

LO GAIN (LOW GAIN)

L:LO GAIN (L:LOW GAIN)

R:LO GAIN (R:LOW GAIN)

MID GAIN

L:MID GAIN

R:MID GAIN

MID FREQ

L:MID FREQ

R:MID FREQ

MID Q

L:MID Q

R:MID Q

HI GAIN (HIGH GAIN)

L:HI GAIN (L:HIGH GAIN)

R:HI GAIN (R:HIGH GAIN)

-20–+20dB

20.0Hz–16.0kHz

0.5–16

-20–+20dB

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.

LO CUT (LOW CUT)

L:LO CUT (L:LOW CUT)

R:LO CUT (R:LOW CUT)

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.

HI CUT (HIGH CUT)

L:HI CUT (L:HIGH CUT)

R:HI CUT (R:HIGH CUT)

20.0Hz–20.0kHz

FLAT

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.

* GLOBAL EQ of SUB OUT is enabled only when SEND1 SETTING and SEND2

SETTING are set to SUB OUT.

OUTPUT LEVEL (SUB OUT)

Parameter Value

OUTPUT LEVEL

0–100

Explanation

Adjusts the output level (SUB OUT only).

* This is only enabled when SEND1 SETTING and SEND2 SETTING are set to SUB

OUT.

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 Value

NS THRESHLD

(NS THRESHOLD)

REVERB LEVEL

-20dB–0dB–

+20dB

0%–200%

Explanation

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%.

USB-Related Settings

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

USB audio flow

GT-1000CORE provides three USB audio outputs: “OUTPUT”, “SUB OUT“ and

“DRY.”

OUTPUT outputs the effect sound from OUTPUT; the return from the computer is mixed with the guitar’s performance at the final stage of OUTPUT.

SUB OUT 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-1000CORE unit’s settings; the return from the computer is always returned to the beginning of the effect chain.

Since the GT-1000CORE is outputting to the computer from each of OUTPUT,

SUB OUT, and DRY, you can provide three tracks for guitar and simultaneously record the dry sound, the effect sound from OUTPUT, 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-1000CORE to remake the sound.

* SUB OUT is enabled only when SEND1 SETTING and SEND2 SETTING are set to SUB OUT.

OUTPUT

GT-1000CORE USB OUT OUTPUT

SUB OUT

DRY

USB IN

INPUT

EFX OUT

Effect Chain

USB IN

INPUT

EFX OUT

Effect Chain

MIX

LEVEL

GT-1000CORE USB OUT

SUB OUT

MIX

LEVEL

OUTPUT

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-1000CORE’s OUTPUT.

Adjusts the level of the sound that is output to the computer from OUTPUT after passing through the GT-1000CORE’s effects.

Selects whether the sound of the GT-1000CORE, is output to the 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-1000CORE, is output directly.

Turn this on if you’re using the GT-1000CORE, by itself without connecting to a computer. (If this is off, only the sound that is input to USB will be output.)

SUB OUT

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-1000CORE’s SUB OUT.

Adjusts the level of the sound that is output to the computer from SUB OUT after passing through the GT-1000CORE’s effects.

Selects whether the sound of the GT-1000CORE, 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-1000CORE, is output directly.

Turn this on if you’re using the GT-1000CORE, by itself without connecting to a computer. (If this is off, only the sound that is input to USB will be output.)

* SUB OUT is enabled only when SEND1 SETTING and SEND2 SETTING are set to

SUB OUT.

DRY

Parameter Value

OUT

TO EFX

0–200%

Explanation

The guitar sound that is input to the

GT-1000CORE, is output without change (DRY sound); it is not processed by effects.

Adjusts the input level from the computer to the

GT-1000CORE’s effects.

GT-1000CORE USB OUT

OUTPUT

USB IN

INPUT

DRY OUT

TO EFX

Effect Chain

SUB OUT

PLAY OPTION

Here you can specify how the pedals will work during performance.

Parameter

PATCH

EXTENT MIN

PATCH

EXTENT MAX

Value

U001–P250,

PHRASE

LOOP MODE

PHRASE

LOOP REC

ACTION

Explanation

Sets the lower limit for the banks.

Sets the upper limit for the banks.

MONO

Mixes the L/R signals for mono operation.

The recording time is 38 seconds.

STEREO

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-1000CORE connected with an external MIDI device or with a second GT-1000CORE unit.

Reference

For more about MIDI, refer to “Connecting External MIDI Devices” in the owner’s manual.

MIDI SETTING

Parameter

RX CH (RX

CHANNEL)

OMNI MODE

TX CH (TX

CHANNEL)

DEVICE ID

MIDI THRU (MIDI

IN THRU)

USB THRU (USB

IN THRU)

SYNC CLK (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

Messages are transmitted from the MIDI

OUT connector.

USB OUT

USB/MIDI

Messages are transmitted from the USB port.

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

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 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

Operations are synchronized to MIDI clock messages received via MIDI or USB.

However, operations are automatically synchronized to the GT-1000CORE’s internal clock if the GT-1000CORE, is unable to receive the external Clock.

INTERNAL

MIDI (AUTO)

USB (AUTO)

Operations are synchronized to the

GT-1000CORE’s internal Clock.

Operations are synchronized to the

MIDI Clock received via MIDI. However, operations are automatically synchronized to the GT-1000CORE’s internal Clock if the GT-1000CORE 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-1000CORE’s internal Clock if the GT-1000CORE is unable to receive the external Clock.

CC#

CTL1 CC#

CTL2 CC#

CTL3 CC#

CTL4 CC#

CTL5 CC#

EXP1 CC#

EXP2 CC#

Parameter

CLK OUT (CLOCK

OUT)

MAP SEL (MAP

SELECT)

Value Explanation

Specifies whether MIDI clock will be output from the

GT-1000CORE.

OFF

MIDI clock is not output.

MIDI clock is output.

Specifies whether program change messages received by the

GT-1000CORE, 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.

CC#1–CC#31,

CC#64–CC#95

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-1000CORE and the patches to be switched to in the “Program

Change Map.”

Parameter

PC#1–PC#128

Value

U001–U250, P001–

P250

Explanation

This sets the patch number (U001–U250,

P001–P250) for the corresponding

Program Change number.

BULK DUMP

You can use Exclusive messages to provide another GT-1000CORE with identical settings, and save effect settings on a MIDI sequencer or other device.

Parameter

FROM

Value

SYSTEM

U001–U250

STOMPBOX

TEMP

Explanation

System parameter settings

Settings for Patch Number U001 through

U250

Stomp box 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 5

Value (Category)

COMP (COMPRESSOR)

CMP: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)

Value (Target)

ON/OFF

TYPE

SUSTAIN

ATTACK

RATIO

TONE

LEVEL

DIR MIX

THRESHLD (THRESHOLD)

ON/OFF

TYPE

DRIVE

TONE

LEVEL

BOTTOM

DIR MIX

SOLO SW

SOLO LEVEL

ON/OFF

TYPE

GAIN

SAG

RESO (RESONANCE)

BASS

MIDDLE

TREBLE

PRESENCE

BRIGHT

LEVEL

GAIN SW

SOLO SW

SOLO LVL (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

MST DELY (MASTER DELAY)

M.DL:TAPE (MASTER DELAY:TAPE)

M.DL:SHMR (MASTER DELAY:SHIMMER)

M.DL:DUAL (MASTER DELAY:DUAL)

Value (Target)

LO GAIN

LM FREQ

LO CUT

HI CUT

31.5Hz

63Hz

125Hz

250Hz

500Hz

LM Q

LM GAIN

HM FREQ

HM Q

HM GAIN

HI GAIN

LEVEL

1kHz

2kHz

4kHz

8kHz

16kHz

LEVEL

ON/OFF

TIME

FEEDBACK

HI CUT

E.LEVEL

D.LEVEL

ON/OFF

TYPE

TIME

FEEDBACK

HI CUT

E.LEVEL

D.LEVEL

MOD RATE

MOD DEPTH

DUCK SENS

DUCK PRE DPT

DUCK POST DPT

TAP TIME

TRIGGER

LEVEL

AUTO TRIG (AUTO TRIGGER)

HEAD

PITCH

PITCH BAL

PITCH FBK

MODE

1:TYPE

1:TIME

1:FEEDBK (1:FEEDBACK)

1:HI CUT (1:HIGH CUT)

1:LEVEL (1:EFFECT LEVEL)

2:TYPE

2:TIME

2:FEEDBK (2:FEEDBACK)

2:HI CUT (2 HIGH CUT)

2:LEVEL (2:EFFECT LEVEL)

Value (Category)

M.DL:TWST (MASTER DELAY:TWIST)

M.DL:ECHO (MASTER DELAY:ECHO)

CHORUS

CHO:DUAL (CHORUS:DUAL)

FX1

FX2

FX3

1:ACG SIM (FX1:AC GUITAR SIM)

2:ACG SIM (FX2:AC GUITAR SIM)

3:ACG SIM (FX3:AC GUITAR SIM)

1:AC RES (FX1:AC RESONANCE)

2:AC RES (FX2:AC RESONANCE)

3:AC RES (FX3:AC RESONANCE)

1:AUTO WH (FX1:AUTO WAH)

2:AUTO WH (FX2:AUTO WAH)

3:AUTO WH (FX3:AUTO WAH)

TYPE

BODY

LEVEL

TYPE

RESO (RESONANCE)

TONE

LEVEL

FILTER MODE

RATE

DEPTH

FREQ (FREQUENCY)

RESO (RESONANCE)

WAVEFORM

E.LEVEL

DIR MIX

Value (Target)

MODE

RISE TIME

FALL TIME

FADE TIME

WOW&FLUT (WOW & FLUTTER)

SP HEAD (SPACE HEAD)

BIN HEAD (BINDRUM HEAD)

SELECTOR

ON/OFF

TYPE

RATE

DEPTH

PRE-DELY (PRE-DELAY)

WAVEFORM

E.LEVEL

D.LEVEL

LO CUT

HI CUT

1:RATE

1:DEPTH

1:PRE-DLY

1:WAVE (1:WAVEFORM)

1:LEVEL

1:LO CUT

1:HI CUT

2:RATE

2:DEPTH

2:PRE-DLY

2:WAVE (2:WAVEFORM)

2:LEVEL

2:LO CUT

2:HI CUT

OUTPUT (OUTPUT MODE)

ON/OFF

Value (Category)

1:CHORUS (FX1:CHORUS)

2:CHORUS (FX2:CHORUS)

3:CHORUS (FX3:CHORUS)

1:CH DUAL (FX1:CHORUS DUAL)

2:CH DUAL (FX2:CHORUS DUAL)

3:CH DUAL (FX3:CHORUS DUAL)

1:CH PRIM (FX1:CHORUS PRIME)

2:CH PRIM (FX2:CHORUS PRIME)

3:CH PRIM (FX3:CHORUS PRIME)

1:CHO CE1 (FX1:CHORUS CE-1)

2:CHO CE1 (FX2:CHORUS CE-1)

3:CHO CE1 (FX3:CHORUS CE-1)

1:CHO BS (FX1:CHORUS BASS)

2:CHO BS (FX2:CHORUS BASS)

3:CHO BS (FX3:CHORUS BASS)

1:C-VIBE (FX1:CLASSIC-VIBE)

2:C-VIBE (FX2:CLASSIC-VIBE)

3:C-VIBE (FX3:CLASSIC-VIBE)

1:COMP (FX1:COMPRESSOR)

2:COMP (FX2:COMPRESSOR)

3:COMP (FX3:COMPRESSOR)

1:COMP BS (FX1:COMPRESSOR BASS)

2:COMP BS (FX2:COMPRESSOR BASS)

3:COMP BS (FX3:COMPRESSOR BASS)

1:DEFRET (FX1:DEFRETTER)

2:DEFRET (FX2:DEFRETTER)

3:DEFRET (FX3:DEFRETTER)

Value (Target)

TYPE

RATE

DEPTH

PRE-DELY (PRE-DELAY)

WAVEFORM

E.LEVEL

D.LEVEL

LO CUT

HI CUT

1:RATE

1:DEPTH

1:PRE-DL (1:PRE-DELAY)

1:WAVE (1:WAVEFORM)

1:LEVEL

1:LO CUT

1:HI CUT

2:RATE

2:DEPTH

2:PRE-DL (2:PRE-DELAY)

2:WAVE (2:WAVEFORM)

2:LEVEL

2:LO CUT

2:HI CUT

SWEETNES (SWEETNESS)

BELL

HI CUT

MODE

RATE

DEPTH

E.LEVEL

TYPE

SUSTAIN

ATTACK

RATIO

TONE

LEVEL

DIR MIX

PREAMP (PREAMP SW)

GAIN (PREAMP GAIN)

LEVEL (PREAMP LEVEL)

TYPE

RATE

DEPTH

E.LEVEL

LO CUT

THRESHLD (THRESHOLD)

SENS

DEPTH

ATTACK

RESO (RESONANCE)

TONE

E.LEVEL

DIR MIX

Value (Category)

1:DEF BS (FX1:DEFRETTER BASS)

2:DEF BS (FX2:DEFRETTER BASS)

3:DEF BS (FX3:DEFRETTER BASS)

1:DIST (FX1:DISTORTION)

2:DIST (FX2:DISTORTION)

3:DIST (FX3:DISTORTION)

1:FEDBAK (FX1:FEEDBACKER)

2:FEDBAK (FX2:FEEDBACKER)

3:FEDBAK (FX3:FEEDBACKER)

1:FLANGR (FX1:FLANGER)

2:FLANGR (FX2:FLANGER)

3:FLANGR (FX3:FLANGER)

1:FL BASS (FX1:FLANGER BASS)

2:FL BASS (FX2:FLANGER BASS)

3:FL BASS (FX3:FLANGER BASS)

1:HARMO (FX1:HARMONIST)

2:HARMO (FX2:HARMONIST)

3:HARMO (FX3:HARMONIST)

1:HUMAN (FX1:HUMANIZER)

2:HUMAN (FX2:HUMANIZER)

3:HUMAN (FX3:HUMANIZER)

1:OCTAVE (FX1:OCTAVE)

2:OCTAVE (FX2:OCTAVE)

3:OCTAVE (FX3:OCTAVE)

Value (Target)

SENS

ATTACK

TONE

E.LEVEL

DIR MIX

TYPE

DRIVE

TONE

BOTTOM

E.LEVEL

DIR MIX

SOLO SW

SOLO LVL (SOLO LEVEL)

MODE

TRIGGER

DEPTH

RISE TIME

OCT RISE (OCT RISE TIME)

FEEDBACK

OCT FBK (OCT FEEDBACK)

VIB RATE

VIB DEPT (VIB DEPTH)

RATE

DEPTH

RESO (RESONANCE)

MANUAL

TURBO

WAVEFORM

STEP (STEP RATE)

SEPARATE (SEPARATION)

E.LEVEL

LO DAMP

HI DAMP

LO CUT

HI CUT

DIR MIX

VOICE

1:HARMO (1:HARMONY)

1:PRE-DL (1:PRE-DELAY)

1:FEEDBK (1:FEEDBACK)

1:LEVEL

2:HARMO (2:HARMONY)

2:PRE-DL (2:PRE-DELAY)

2:LEVEL

D.LEVEL

MODE

VOWEL1

VOWEL2

SENS

RATE

DEPTH

MANUAL

LEVEL

TYPE

-2OCT

-1OCT

D.LEVEL

RANGE

OC.LEVEL (POLY OCTAVE LEVEL)

Value (Category)

1:OC BASS (FX1:OCTAVE BASS)

2:OC BASS (FX2:OCTAVE BASS)

3:OC BASS (FX3:OCTAVE BASS

1:OVRTON (FX1:OVERTONE)

2:OVRTON (FX2:OVERTONE)

3:OVRTON (FX3:OVERTONE)

1:PAN (FX1:PAN)

2:PAN (FX2:PAN)

3:PAN (FX3:PAN)

1:PHASER (FX1:PHASER)

2:PHASER (FX2:PHASER)

3:PHASER (FX3:PHASER)

1:P.SHIFT (FX1:PITCH SHIFT)

2:P.SHIFT (FX2:PITCH SHIFT)

3:P.SHIFT (FX3:PITCH SHIFT)

1:RNG MOD (FX1:RING MOD)

2:RNG MOD (FX2:RING MOD)

3:RNG MOD (FX3:RING MOD)

Value (Target)

2-Oct

1-Oct

D.LEVEL

LOWER (LOWER LEVEL)

UPPER (UPPER LEVEL)

UNISON (UNISON LEVEL)

D.LEVEL

DETUNE

OUTPUT (OUTPUT MODE)

RATE

DEPTH

WAVEFORM

E.LEVEL

DIR MIX

TYPE

STAGE

RATE

DEPTH

RESO (RESONANCE)

MANUAL

LO DAMP

HI DAMP

LO CUT

HI CUT

BI-PHASE

WAVEFORM

STEP (STEP RATE)

SEPARATE (SEPARATION)

E.LEVEL

DIR MIX

VOICE

1:PITCH

1:FINE (1:PITCH FINE)

1:FEEDBK (1:FEEDBACK)

1:PRE-DL (1:PRE-DELAY)

1:LEVEL

1:MODE

2:PITCH

2:FINE (2:PITCH FINE)

2:PRE-DL (2:PRE-DELAY)

2:LEVEL

2:MODE

D.LEVEL

INTELLI (INTELLIGENT)

FREQ (FREQUENCY)

MOD RATE (FREQUENCY MOD

RATE)

MOD DEPT (FREQUENCY MOD

DEPTH)

E.LEVEL

DIR MIX

Value (Category)

1:ROTARY (FX1:ROTARY)

2:ROTARY (FX2:ROTARY)

3:ROTARY (FX3:ROTARY)

1:SITAR (FX1:SITAR SIM)

2:SITAR (FX2:SITAR SIM)

3:SITAR (FX3:SITAR SIM)

1:SLICER (FX1:SLICER)

2:SLICER (FX2:SLICER)

3:SLICER (FX3:SLICER)

1:SL GEAR (FX1:SLOW GEAR)

2:SL GEAR (FX2:SLOW GEAR)

3:SL GEAR (FX3:SLOW GEAR)

1:SG BASS (FX1:SLOW GEAR BASS)

2:SG BASS (FX2:SLOW GEAR BASS)

3:SG BASS (FX3:SLOW GEAR BASS)

1:S-HOLD (FX1:SOUND HOLD)

2:S-HOLD (FX2:SOUND HOLD)

3:S-HOLD (FX3:SOUND HOLD)

1:S-BEND (FX1:S-BEND)

2:S-BEND (FX2:S-BEND)

3:S-BEND (FX3:S-BEND)

1:TCH WAH (FX1:TOUCH WAH)

2:TCH WAH (FX2:TOUCH WAH)

3:TCH WAH (FX3:TOUCH WAH)

1:TW BASS (FX1:TOUCH WAH BASS)

2:TW BASS (FX2:TOUCH WAH BASS)

3:TW BASS (FX3:TOUCH WAH BASS)

ATTACK

DUTY

TRIGGER

E.LEVEL

DIR MIX

SENS

RISE TIME

LEVEL

SENS

RISE TIME

LEVEL

TRIGGER

RISE TIME

LEVEL

TRIGGER

PITCH

RISE TIME

FALL TIME

FILTER (FILTER MODE)

POLARITY

SENS

FREQ (FREQUENCY)

RESO (RESONANCE)

DECAY

E.LEVEL

DIR MIX

FILTER (FILTER MODE)

POLARITY

SENS

FREQ (FREQUENCY)

RESO (RESONANCE)

DECAY

E.LEVEL

DIR MIX

Value (Target)

SPEED (SPEED SELECT)

SLOW (SLOW RATE)

FAST (FAST RATE)

RISE TIME

FALL TIME

MIC DIST (MIC DISTANCE)

ROT/HORN (ROTOR/HORN

BALANCE)

DRIVE

E.LEVEL

DIR MIX

SENS

DEPTH

RESO

BUZZ

TONE

E.LEVEL

DIR MIX

PATTERN

RATE

Value (Category)

1:TREM (FX1:TREMOLO)

2:TREM (FX2:TREMOLO)

3:TREM (FX3:TREMOLO)

1:VIBRAT (FX1:VIBRATO)

2:VIBRAT (FX2:VIBRATO)

3:VIBRAT (FX3:VIBRATO)

REVERB

REV SHIMR (REVERB SHIMMER)

REV DUAL (REVERB DUAL)

REV TECO (REVERB TERA ECHO)

PEDAL FX

Value (Target)

RATE

DEPTH

WAVEFORM

TRIGGER

RISE TIME

E.LEVEL

DIR MIX

RATE

DEPTH

COLOR

TRIGGER

RISE TIME

E.LEVEL

DIR MIX

ON/OFF

TYPE

TIME

DENSITY

PRE-DELY (PRE-DELAY)

TONE

E.LEVEL

D.LEVEL

LO CUT

HI CUT

LO DAMP

HI DAMP

MOD RATE

MOD DEPT (MOD DEPTH)

DUCK SENS

DUCK PRE (DUCK PRE DEPTH)

DUCK PST (DUCK POST DEPTH)

1:PITCH

1:LEVEL

2:PITCH

2:LEVEL

1:TYPE

1:TIME

1:PRE-DL (1:PRE-DELAY)

1:DENSTY (1:DENSITY)

1:TONE

1:LEVEL

1:LO CUT

1:HI CUT

2:TYPE

2:TIME

2:PRE-DL (2:PRE-DELAY)

2:DENSTY (2:DENSITY)

2:TONE

2:LEVEL

2:LO CUT

2:HI CUT

MODE

SPREAD (SPREAD TIME)

FEEDBACK

TRIGGER

ON/OFF

TYPE

E.LEVEL

DIR MIX

Value (Category)

PDL BEND (PEDAL BEND)

PDL WAH (PEDAL WAH)

FOOT VOL (FOOT VOLUME)

DIVIDER 1

DIVIDER 2

DIVIDER 3

MIXER 1

MIXER 2

MIXER 3

SND/RET1 (SEND/RETURN 1)

SND/RET2 (SEND/RETURN 2)

LOOPER

AMP CTL (AMP CONTROL)

MASTER

SUB OUT

TUNER

PATCH

USB AUDIO

OUT GEQ L (OUTPUT GLOBAL EQ L) *1

OUT GEQ R (OUTPUT GLOBAL EQ R) *1

SUB GEQ L (SUB OUT GLOBAL EQ L) *1

SUB GEQ R (SUB OUT GLOBAL EQ R) *1

PREAMP *2

TOTAL RV (TOTAL REVERB)

TOTAL NS (TOTAL NOISE SUPPRESSOR)

Value (Target)

PITCHMIN (PITCH MIN)

PITCHMAX (PITCH MAX)

PDL POS (PEDAL POSITION)

WAH TYPE

PDL POS (PEDAL POSITION)

PDL MIN (PEDAL MIN)

PDL MAX (PEDAL MAX)

VOL MIN (VOLUME MIN)

VOL MAX (VOLUME MAX)

CURVE (VOLUME CURVE)

PDL POS (PEDAL POSITION)

MODE

CHANNEL (CHANNEL SELECT)

A:DYNAMC (A:DYNAMIC)

A:SENS (A:DYNAMIC SENS)

A:FILTER

A:CUTOFF (A:CUTOFF

FREQUENCY)

B:DYNAMC (B:DYNAMIC)

B:SENS (B:DYNAMIC SENS)

B:FILTER

B:CUTOFF (B:CUTOFF

FREQUENCY)

MODE

A:LEVEL

B:LEVEL

A/B BAL (A/B BALANCE)

SPREAD

ST LINK (STEREO LINK)

ON/OFF

MODE

SEND (SEND LEVEL)

RETURN (RETURN LEVEL)

ADJUST

PLAY LVL (PLAY LEVEL)

AMP CTL 1

AMP CTL 2

PATCH LV (PATCH LEVEL)

BPM

KEY

CARRYOVR (CARRYOVER)

BS MODE (BASS MODE)

LEVEL (OUTPUT LEVEL)

PATCH (PATCH SELECT)

OUT MIXLV (OUTPUT MIX LEVEL)

SUB MIXLV (SUB OUT MIX LEVEL)

LO GAIN

MID GAIN

HI GAIN

LEVEL

TYPE

GAIN

BASS

MIDDLE

TREBLE

LEVEL

THRESHLD

Value (Category)

INPUT

Value (Target)

INPUT L

INPUT R

*1 Operates as stereo if STEREO LINK is ON.

*2 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 Value Explanation

KNOB LOCK

OFF, ON

Specifies whether knob operations will be disabled. If this is ON, knob operations will be disabled.

* You can also press both the [EXIT] and [A] buttons together to disable knob operations. To enable, press the [EXIT] and [A] buttons together once more.

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

* This is enabled when CTL 4, 5 SETTING is set to AMP CTL.

EXP HOLD

Parameter Value

OFF

EXP1 (EXP1 HOLD)

EXP2 (EXP2 HOLD)

Explanation

The operational status of the EXP PEDAL 1/2’s

FUNCTION (p. 33) is not carried over when

patches are switched.

If the EXP PEDAL 1/2’s FUNC (p. 33) 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.

GROUND LIFT

Parameter

MAIN

SUB

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-1000CORE’s chassis.

GND

The ground of the OUTPUT L, R jacks is connected to the chassis (no ground lift).

LIFT

The ground of the OUTPUT jacks is disconnected from the chassis.

Specifies whether the ground of the SEND 1, 2 jacks and the

RETURN 1, 2 jacks are connected to the GT-1000CORE’s chassis or disconnected.

TYPE1

The ground of the SEND 1, 2 jacks and the RETURN 1,

2 jacks is connected to the chassis (no ground lift).

TYPE2

The ground of the SEND 1 jack is disconnected from the chassis, and the ground of the RETURN 1, 2 jacks is connected to the chassis (no ground lift).

TYPE3

The ground of the SEND 1, 2 jacks is connected to the chassis (no ground lift), and the ground of the RETURN

1, 2 jacks is disconnected from the chassis.

* When SEND1 SETTING and SEND2 SETTING are used as SEND and the sound doesn’t seem right, change the SEND RETURN setting to TYPE 1.

OTHER

Parameter

AUTO OFF

LCD CONTRAST

Value Explanation

The GT-1000CORE 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-1000CORE.

Here you can adjust the brightness of the characters in the display.

1–10 Higher values increase the brightness.

This sets how the SEND and RETURN jacks are used.

SEND1 SETTING,

SEND2 SETTING

CTL 4,5 SETTING

SEND

SUB OUT

The jacks are used as SEND and RETURN jacks.

You can connect an external effects processor between the SEND jack and RETURN jack, and use it as one of the GT-1000CORE’s effects processors.

The SEND jack is used as a SUB OUT jack.

You can send a signal separate from the

OUTPUT jack to a PA system or other equipment.

In this case, the RETURN jack works as an AUX

IN jack. The input signal is output from the

OUTPUT jack along with the sound going through the GT-1000CORE effects.

* Be aware that if a plug is not plugged into the RETURN jack, the signal sent to SUB OUT is also output to OUTPUT.

SUB OUT, AUX

MUTE

SUB OUT, AUX MUTE

This sets how the CTL 4, 5/EXP 2 jack is used.

CTL IN

AMP CTL

Operates as the CTL 4, 5/EXP 2 jack.

You can control the various parameters by plugging in a footswitch or expression pedal.

Operates as the AMP CLT 1, 2 jack.

If you connect this to the channel switch jack of a guitar amp, you can use the GT-1000CORE to switch channels.

* When SEND1 SETTING and SEND2 SETTING are used as SEND and the sound doesn’t seem right, change the SEND RETURN setting to TYPE 1.

FACTORY RESET

Initializes the GT-1000CORE to its factory-set condition.

Parameter

FROM, TO

Value

SYSTEM

U001–U250

STOMPBOX

Explanation

System parameter settings

Settings for Patch Numbers

U001–U250

Settings for STOMPBOX

TUNER

Here you can make settings for the TUNER.

Parameter Value Explanation

MODE (TUNER

MODE)

NORMAL, STREAM

PITCH

435–445 Hz (default:

440 Hz)

MUTE

OUTPUT

TYPE

OFFSET

Specifies the meter display method for the monophonic tuner.

Specifies the reference pitch.

BYPASS

-5–-1, ---

Sound will not be output while tuning.

While tuning, the sound of the guitar being input to the GT-1000CORE will be output without change. All effects will be off.

THRU

Allows you to tune while hearing the current effect sound.

* Only for monophonic tuner.

6-REG (6-REGULAR),

6-DROP D,

7-REG (7-REGULAR),

7-DROP A,

4-B REG (4-B REGULAR),

5-B REG (5-B REGULAR)

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.

Press the [WRITE] button.

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

Exchanging Patches (PATCH EXCHANGE)

On the GT-1000CORE, 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.

Use knob [1] to select the save-destination (U001–

U250).

You can use knobs [3]–[5] and [SELECT] knob to edit the name.

Editing a name

To edit the patch name, use knob [SELECT] 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 [SELECT] knob

Operation

Selects the type of characters

Delete one character (delete)

Switch uppercase/lowercase

Insert one space (insert)

Changes the character

Moves the cursor

Press the [WRITE] button once again.

A confirmation message appears.

Press the [5] knob.

The patches will be exchanged. If you decide to cancel the exchange operation, press knob [4].

The patch is written.

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).

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 U001 at U002, patch U002 and subsequent patches are shifted (renumbered) backward by one.

(Patch U002 becomes U003.)

NOTE

When you execute the insert operation, the last user patch (U250) is deleted.

Press the [WRITE] button.

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

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.

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 [5] knob.

The patch is inserted at the specified position. If you decide to choose the insert operation, press knob [4].

The patch will be initialized. If you decide to cancel the initialize operation, press knob [4].

Reklama

Contents

Basic Operation

Basic Procedure for Effect Editing

Press the [EFFECT] button.

Editing while viewing all parameters

Turn the [SELECT] knob to select the item that you want to set.

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

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

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 [SELECT] to select the block that you want to move.

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

Using STOMPBOX

Press the [EFFECT] button.

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

Reading STOMPBOX Settings into a Patch

Press the [EFFECT] button.

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

Use the PAGE [

] [

] buttons to move to the last page.

Use the PAGE [

] [

] buttons to move to the last page.

Press the [5] knob.

Press the [5] knob.

Turn knob [SELECT] to select the STOMPBOX type.

Press the [SELECT] knob.

Editing the STOMPBOX

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

Turn knob [SELECT] to select the STOMPBOX type.

Press the [5] (STOMPBOX COPY) knob.

Writing Patch Settings into a STOMPBOX

Press the [EFFECT] button.

Use the [SELECT] 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 [4] (WRITE TO STOMPBOX) knob.

Turn knob [1] to select the writing-destination

STOMPBOX.

Use knobs [3]–[5] and [SELECT] knob to name the

STOMPBOX.

Basic MENU Operations

Press the [MENU] button.

Press a knob [1]–[5] to select the item that you want to edit.

Once again press a knob [1]–[5] to select the item that you want to edit.

Use knobs [1]–[5] and [SELECT] knob 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

REVERSE

TAPE

SHIMMER

DUAL

WARP

TWIST

SPACE EC (SPACE ECHO)

ECHO PX (TAPE ECHO PX)

BIN ECHO (BIN DRUM ECHO)

CHORUS

COMMON

DUAL

FX1–FX3

AC.G SIM (AC. GUITAR SIMULATOR)

AC RESO (AC RESONANCE)

AUTO WAH

CHORUS

COMMON