Roland | GT-PRO | Owner`s manual | Roland GT-PRO Owner`s manual

Owner’s Manual
Thank you, and congratulations on your choice of the BOSS GT-PRO
Guitar Effects Processor.
Before using this unit, carefully read the sections entitled:
• IMPORTANT SAFETY INSTRUCTIONS (page 2)
• USING THE UNIT SAFELY (page 3–4)
• IMPORTANT NOTES (page 5–6)
These sections provide important information concerning the proper
operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of
every feature provided by your new unit, Owner’s manual should be read in
its entirety. The manual should be saved and kept on hand as a convenient
reference.
■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate bottons.
[WRITE]
[SYSTEM]
WRITE button
SYSTEM button
• EXP pedal is an abbreviation of “Expression pedal.”
• Reference such as (p. **) indicate pages in this manual to which you can refer.
Copyright © 2005 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written
permission of BOSS CORPORATION.
03899334
‘05-3-1N
For EU Countries
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
Apparatus containing
Lithium batteries
ADVARSEL!
VARNING
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
Levér det brugte batteri tilbage til
leverandøren.
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Kassera använt batteri enligt
fabrikantens instruktion.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specified
by the manufacturer.
12. Unplug this apparatus during lightning storms or when
unused for long periods of time.
13. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
ADVARSEL
VAROITUS
Eksplosjonsfare ved feilaktig skifte av
batteri.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
Telephone :
2
GT-PRO
Guitar Effects Processor
Roland Corporation U.S.
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
to damage or
caused with
and all its
to domestic
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
001
008a
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• The unit should be connected to a power supply
only of the type described in the operating
instructions, or as marked on the rear side of unit.
..........................................................................................................
..........................................................................................................
002a
• Do not open or perform any internal modifications on the unit.
..........................................................................................................
003
• Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the “Information” sheet.
..........................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
009
• Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements
and short circuits. Damaged cords are fire and
shock hazards!
..........................................................................................................
010
• This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could cause
permanent hearing loss. Do not operate for a long
period of time at a high volume level, or at a level
that is uncomfortable. If you experience any hearing
loss or ringing in the ears, you should immediately
stop using the unit, and consult an audiologist.
..........................................................................................................
011
• Do not allow any objects (e.g., flammable
material, coins, pins); or liquids of any kind
(water, soft drinks, etc.) to penetrate the unit.
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
005
• This unit should be used only with a rack or stand
that is recommended by Roland.
..........................................................................................................
006
• When using the unit with a rack or stand recommended by Roland, the rack or stand must be
carefully placed so it is level and sure to remain
stable. If not using a rack or stand, you still need
to make sure that any location you choose for
placing the unit provides a level surface that will
properly support the unit, and keep it from
wobbling.
..........................................................................................................
..........................................................................................................
012a
• Immediately turn the power off, remove the
power cord from the outlet, and request servicing
by your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” sheet when:
• The power-supply cord, or the plug has been
damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been
spilled onto the unit; or
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally
or exhibits a marked change in performance.
..........................................................................................................
3
013
101a
• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
• The unit should be located so that its location or
position does not interfere with its proper ventilation.
..........................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
015
• Do not force the unit’s power-supply cord to
share an outlet with an unreasonable number of
other devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
016
• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” sheet.
102a
• Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from an
outlet.
..........................................................................................................
103a
• At regular intervals, you should unplug the
power plug and clean it by using a dry cloth to
wipe all dust and other accumulations away from
its prongs. Also, disconnect the power plug from
the power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug
and the power outlet can result in poor insulation
and lead to fire.
..........................................................................................................
104
• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
..........................................................................................................
023
• DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
026
• Do not put anything that contains water (e.g.,
flower vases) on this unit. Also, avoid the use of
insecticides, perfumes, alcohol, nail polish, spray
cans, etc., near the unit. Swiftly wipe away any
liquid that spills on the unit using a dry, soft
cloth.
..........................................................................................................
• Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107a
• Never handle the power cord or its plug with wet
hands when plugging into, or unplugging from,
an outlet.
..........................................................................................................
108a
• Before moving the unit, disconnect the power
plug from the outlet, and pull out all cords from
external devices.
..........................................................................................................
109a
• Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p. **).
..........................................................................................................
110a
• Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
4
IMPORTANT NOTES
291b
In addition to the items listed under “IMPORTANT SAFETY
INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages
2 and 3, please read and observe the following:
Power Supply
301
• Do not connect this unit to same electrical outlet that is
being used by an electrical appliance that is controlled by
an inverter (such as a refrigerator, washing machine,
microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical
appliance is used, power supply noise may cause this unit
to malfunction or may produce audible noise. If it is not
practical to use a separate electrical outlet, connect a
power supply noise filter between this unit and the
electrical outlet.
307
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
308
• Although the LCD and LEDs are switched off when the
POWER switch is switched off, this does not mean that the
unit has been completely disconnected from the source of
power. If you need to turn off the power completely, first
turn off the POWER switch, then unplug the power cord
from the power outlet. For this reason, the outlet into
which you choose to connect the power cord’s plug
should be one that is within easy reach and readily accessible.
Placement
351
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of interference.
Maintenance
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
Repairs and Data
452
• Please be aware that all data contained in the unit’s
memory may be lost when the unit is sent for repairs.
Important data should always be backed up in another
MIDI device (e.g., a sequencer), computer, or written
down on paper (when possible). During repairs, due care
is taken to avoid the loss of data. However, in certain
cases (such as when circuitry related to memory itself is
out of order), we regret that it may not be possible to
restore the data, and Roland assumes no liability
concerning such loss of data.
Memory Backup
501b
• This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have the
battery replaced with a fresh one as soon as possible to
avoid the loss of all data in memory. To have the battery
replaced, consult with your retailer, the nearest Roland
Service Center, or an authorized Roland distributor, as
listed on the “Information” sheet.
352a
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
352b
• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
354a
• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
355b
• When moved from one location to another where the
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
has completely evaporated.
5
IMPORTANT NOTES
Additional Precautions
Handling CD-ROMs
551
801
• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer) or computer.
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
552
852a
• Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s memory once it has
been lost. Roland Corporation assumes no liability
concerning such loss of data.
Copyright
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
• When exchanging audio signals through a digital
connection with an external instrument, this unit can
perform recording without being subject to the restrictions
of the Serial Copy Management System (SCMS). This is
because the unit is intended solely for musical production,
and is designed not to be subject to restrictions as long as
it is used to record works (such as your own compositions) that do not infringe on the copyrights of others.
(SCMS is a feature that prohibits second-generation and
later copying through a digital connection. It is built into
MD recorders and other consumer digital-audio
equipment as a copyright-protection feature.)
557
853
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
556
• A small amount of heat will radiate from the unit during
normal operation.
558a
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
• Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of
third-party copyrights arising through your use of this
unit.
559a
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
• Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
562
• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.
204
* Microsoft and Windows are registered trademarks of Microsoft Corporation.
206e
* Screen shots in this documents are reprinted with permission from Microsoft Corporation.
206j
* Windows® is known officially as: “Microsoft® Windows® operating system.”
207
* Apple and Macintosh are registered trademark of Apple Computer, Inc.
209
* MacOS is a trademark of Apple Computer, Inc.
220
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
231
* OMS is a registered trademark of Opcode Systems, Inc.
232
* FreeMIDI is a trademark of Mark of the Unicorn, Inc.
6
Contents
IMPORTANT SAFETY INSTRUCTIONS ....... 2
USING THE UNIT SAFELY ........................ 3
IMPORTANT NOTES................................ 5
Main Features ..................................... 10
Names of Things and What They Do .... 11
Front Panel....................................................................11
Rear panel .....................................................................13
Signal Flow ...................................................................14
Chapter 1
Playing Sounds ................................... 15
Making the Connections..............................................15
Turning on the Power ..................................................16
Adjusting the Input Level ............................................17
Adjusting the Output Level .........................................17
Adjusting the SUB OUT Output Level ............................. 17
Selecting the MAIN OUT
Output Device (Amp) (Main Output Select)................17
Selecting the SUB OUT
Output Device (Amp) (Sub Output Select) ...................... 18
Turning Off the Power..................................................18
Chapter 2
Creating Your Own Favorite Tones (Patches) .. 19
What is a Patch?...........................................................19
How to Switch Patches (Patch Change).....................19
Adjusting the Tones with the Knobs ..........................20
Turning the Effect On and Off .....................................20
Setting the Effects Simply (QUICK FX) ......................21
Calling Up Existing Patch Settings.............................21
Making More Precise Effect Settings .........................22
Changing the
Connection Order of Effects (Effect Chain) ...............22
Naming Patches (Patch Name) ...................................23
Chapter 3
Saving the Tones You Have Created .... 24
Storing Patches (Patch Write).....................................24
Copying Patches (Patch Copy) ...................................24
Exchanging Patches (Patch Exchange) .....................25
Initializing Patches .......................................................25
Initializing Patches with a Tone Similar to What You
Have in Mind .................................................................26
Storing Settings by Effect (User Quick Settings)...... 26
Copying the
PREAMP/SPEAKER Settings to Another Channel .... 27
Chapter 4
Introduction to Effects and Parameters..28
PREAMP/SPEAKER (Preamp/Speaker Simulator) .... 28
OVERDRIVE/DISTORTION........................................... 31
DELAY ........................................................................... 32
Using the HOLD (Hold Delay) .......................................... 34
CHORUS........................................................................ 34
REVERB ........................................................................ 35
COMP (Compressor).................................................... 35
WAH............................................................................... 36
FX-1/FX-2....................................................................... 36
ACS (Advanced Compressor) ............................................ 37
LM (Limiter).......................................................................... 37
TW (Touch Wah) .................................................................. 37
AW (Auto Wah).................................................................... 38
TM (Tone Modify)................................................................ 38
GS (Guitar Simulator).......................................................... 38
TR (Tremolo)......................................................................... 39
PH (Phaser) ........................................................................... 39
FL (Flanger)........................................................................... 40
PAN........................................................................................ 40
VB (Vibrato) .......................................................................... 40
UV (Uni-V) ............................................................................ 41
RM (Ring Modulator) .......................................................... 41
SG (Slow Gear) ..................................................................... 41
DF (Defretter)........................................................................ 41
STR (Sitar Simulator) ........................................................... 42
FB (Feedbacker) .................................................................... 42
AFB (Anti-feedback) ............................................................ 43
HU (Humanizer) .................................................................. 43
SL (Slicer)............................................................................... 43
WSY (Wave Synth)............................................................... 44
SEQ (Sub Equalizer)............................................................. 44
FX-2 ............................................................................... 45
HR (Harmonist).................................................................... 45
Creating Harmonist Scales (User Scale)............................ 46
PS (Pitch Shifter)................................................................... 46
PB (Pedal Bend) .................................................................... 47
OC (Octave)........................................................................... 47
RT (Rotary)............................................................................ 47
2CE (2 x 2 Chorus)................................................................ 48
AR (Auto Riff)....................................................................... 48
Creating Original Phrases (User Phrase) .......................... 49
SYN (Guitar Synth) .............................................................. 49
AC (Acoustic Processor)...................................................... 50
SH (Sound Hold) .................................................................. 51
SDD (Sub Delay)................................................................... 51
EQ (Equalizer)............................................................... 51
LOOP (External Effects Loop) 1/2............................... 52
PRE LOOP..................................................................... 53
AMP CTL (Amp Control) 1/2 ........................................ 54
MASTER ........................................................................ 54
NS (Noise Suppressor) ........................................................ 54
Patch Level ............................................................................ 55
Output.................................................................................... 55
Master BPM........................................................................... 55
FV (Foot Volume)................................................................. 55
FX CHAIN (Effect Chain).............................................. 56
7
Contents
NAME (Patch Name).....................................................56
ASSIGN..........................................................................56
Chapter 8
Using the GT-PRO Connected to the FC-200 .....81
Chapter 5
Creating Original Effects Types (Customize) .... 57
Setting the Functions Related to the FC-200............. 81
Customizing the COSM Preamps ...............................57
Customizing the Speakers ..........................................58
Customizing Overdrive/Distortion ..............................59
Customizing Pedal Wah...............................................60
Chapter 6
Using Pedals to Control the Effects ....... 61
Notes on Setting the Pedal Functions........................61
Use-Specific Guide.......................................................61
Setting the Operation of the
External Foot Switch (CTL 1, 2, 3, 4 Function) .......... 62
Setting the Operation of the
External EXP Pedal (EXP1, 2 Function)......................63
Setting the Operation for an
External MIDI Device (CC#7, CC#80, CC#1 Function) ... 64
Setting the FV (Foot Volume) Operation
for Individual Patches (EXP1/CC#7 Foot Volume) .... 65
Setting External Controller Functions
to Individual Patches (Assign) ....................................66
Quick Settings....................................................................... 66
Manual Settings.................................................................... 67
Internal Pedal System.......................................................... 70
Chapter 7
Using the GT-PRO with
External MIDI Devices Connected ......... 72
What Can You Do with MIDI? ......................................72
Notes Regarding the MIDI Messages
That Can Be Transmitted and Received ........................... 73
Making the Settings for MIDI Functions.....................73
Transmitting and Receiving MIDI Data.......................75
Transmitting Data
to an External MIDI Device (Bulk Dump) ........................ 75
Receiving Data
from an External MIDI Device (Bulk Load) ..................... 76
Setting the Program Change Map...............................77
Enabling/Disabling the
Program Change Map Settings (MIDI Map Select) ............. 78
Changing Patch Numbers
on an External MIDI Device from the GT-PRO ........... 78
About MIDI ....................................................................79
How MIDI messages are transmitted and received........ 79
Main types of MIDI message used by the GT-PRO ........ 79
About the MIDI implementation ....................................... 80
8
Switching Operation of the
GT-PRO for Use with the FC-200 (FC-200 Mode) ........... 81
Setting the Operation of the
FC-200’s CTL Pedal (FC-200 CTL Pedal) .......................... 81
Limiting the Range of Banks
Allowed in Switching (FC-200 Bank Limit) ..................... 81
Setting the Timing for
Switching Patches (FC-200 Program Change Out) ......... 82
Switching Banks
with the Number Pedals (FC-200 Bank Change)............. 82
Transmitting Settings
for the GT-PRO to the FC-200 ..................................... 82
Connecting ............................................................................ 82
Transmitting Settings Data to the FC-200......................... 83
Controlling the GT-PRO with the FC-200 ................... 83
Connecting ............................................................................ 83
How to Switch Patches........................................................ 83
Using the FC-200’s CTL and EXP Pedals.......................... 84
Switching the Effect On and Off
with the FC-200’s Pedals (Manual Mode)................... 85
Switching to Manual Mode ................................................ 85
Selecting the Effect
to Be Switched On and Off With the Pedals .................... 85
Advanced Settings....................................................... 86
Automatically Setting the FC-200 with the Corresponding
GT-PRO Settings When Turning On the GT-PRO ................... 87
Manual Mode........................................................................ 87
Connecting an
External MIDI Device in FC-200 Mode ............................. 87
Chapter 9
Using the GT-PRO
Connected to a Computer Via USB ........88
Before Connecting with USB ...................................... 88
About the Included Software ............................................. 88
Driver Mode.......................................................................... 88
Switching the Driver Mode ................................................ 88
Setting USB-Related Functions .................................. 89
Setting the Digital Audio Signal Input/Output .............. 89
Direct Monitor Settings ....................................................... 89
Recording the GT-PRO’s Output with a Computer ... 90
Applying Effects
with the GT-PRO to a Computer’s Audio Playback .. 90
Running the GT-PRO from a Computer ..................... 91
Contents
Chapter 10
Other Features .................................... 92
Controlling Various Parameters
Through the Guitar Volume.........................................92
Switching Preamp Channels
A and B Dynamically with the Guitar Volume ............... 92
Using the Guitar Volume to Change
Selected Effect Parameters (Assign Source) ..................... 93
Adjusting the Overall Sound
to Match the Usage Environment (Global).................94
Adjusting the overall sound ............................................... 94
Main Global EQ .................................................................... 94
Total NS ................................................................................. 94
Total REVERB ....................................................................... 94
Sub Global EQ ...................................................................... 95
Setting the Output Destination .......................................... 95
Output Channel.................................................................... 95
USB/Digital Out................................................................... 95
Adjusting the Display Contrast (LCD Contrast) ........ 96
Switching the
Sounds Input to the GT-PRO (Input Select)...............96
Adjusting the Tone of the Sounds Input
to the GT-PRO (Input Level/Input Presence) .............97
Keeping Effect Sounds Playing After Patches
Are Switched (Patch Change Mode)...........................97
Using the Identical
Preamp Settings in All Patches (Preamp Mode) ....... 98
Setting the System Preamp ................................................. 98
Limiting the Patches
That Can Be Switched (Patch Extent) ........................98
Changing the EXP Pedal Mode
When Patches are Switched (Assign Hold) ...............99
Setting the Knob Functions (Knob Mode) .................99
Switching the Output/Input Level .............................100
MAIN OUT Level............................................................... 100
SUB OUT Level................................................................... 100
LOOP 1/2 SEND Level ..................................................... 100
LOOP 1/2 RETURN Level................................................ 100
Checking the Effect Level with the Level Meter ...... 100
Tuning the Guitar (Tuner/Bypass) ............................101
Turning the Tuner Function On....................................... 101
About the Display During Tuning .................................. 101
How to Tune ....................................................................... 101
Changing the Tuner Settings............................................ 101
Appendices ....................................... 103
Installing &
Setup the USB Driver ......109
Driver installation
and settings (Windows) ......................110
About the Driver Modes............................................. 110
Installing the Special Driver ...................................... 111
Windows XP users ............................................................. 111
Windows 2000 users .......................................................... 114
Windows Me/98 users ...................................................... 117
Installing the OS-standard Driver ............................. 118
Windows XP/2000 users................................................... 118
Windows Me users ............................................................ 119
Windows 98 users .............................................................. 120
Driver settings ............................................................ 123
About the input and output devices ............................... 123
Input/output device settings ........................................... 124
Software settings ................................................................ 125
Driver installation
and settings (Macintosh) .....................126
About the Driver Modes............................................. 126
Installing the Special Driver ...................................... 127
Mac OS X users................................................................... 127
Driver settings .................................................................... 128
Mac OS 9 users.................................................................... 129
Installing the OS-standard Driver ............................. 136
Mac OS X users................................................................... 136
Mac OS 9 users.................................................................... 138
Setting the Special Driver’s Functions .....141
Adjusting the audio latency ...................................... 141
Using ASIO Direct Monitor ........................................ 141
Troubleshooting .................................143
Error Messages .......................................................... 143
Problems when using the GT-PRO........................... 143
Problems with the sound .................................................. 143
Other Problems................................................................... 144
Problems related to the USB Driver ......................... 145
Problems when using the USB Driver...................... 147
Deleting the Special Driver........................................ 151
Restoring the Factory Settings (Factory Reset)...... 103
List of Factory Settings ...................................................... 103
MIDI Implementation Chart........................................105
Specifications .............................................................106
GT-PRO Software System Requirements ....................... 108
Patch List............................................152
■ User Patch............................................................... 152
■ Preset Patch............................................................ 156
Index .................................................160
9
Main Features
Professional Guitar Effects System
Everything that has gone into the GT-PRO, from the use of only the finest analog parts, to the quality AD/DA converter for
superior wide dynamic range, to the balanced XLR and digital (coaxial) output connectors, is geared toward providing the
absolute best in sound, offering the pro guitarist an effects processor of unprecedented quality that is worthy of the name
“PRO.”
Highly Evolved COSM Amp/Speakers
The GT-PRO includes amp/speaker systems that can be used simultaneously, utilizing COSM amp/speakers featuring 46
different amp types, including newly modeled amps. You can combine amps flexibly in a variety of ways; for example, by
mixing two amps together or setting them up in a stereo arrangement. What’s more, you can customize the amp and speaker
combinations, giving you the freedom to create your own original amp types.
A Variety of COSM Effects
You can actually combine and use up to an amazing fifteen different effects simultaneously, connecting them in any sequence
you prefer to create an incredible spectrum of sound variations.
The GT-PRO features a wide variety of newly developed effects including “stereo dual delay,” “spring & modulation
reverb,” “sitar simulator,” “wave synth,” and more. The GT-PRO includes Quick FX for rapid and efficient control of
numerous different functions, EZ Tone, and an amazing array of other great features. Representing a culmination of all of
BOSS’s guitar effects technology, the GT-PRO truly is the ultimate guitar multi-effects device.
Solo Switch/Dynamic Sense/Internal Pedal System
The COSM amps feature a Solo Switch for each channel, which instantly imparts a feeling of greater power the moment it is
switched on. Additionally, Dynamic Sense provides seamless switching between two COSM amps in response to the nuances
of your picking. You can even control the different effects with the guitar volume knob.
The “Internal Pedal System,” which allows you to operate the pedals automatically, and other features all work to help you
increase the expressiveness of your performances.
External Loop & Amp Control
The GT-PRO provides three external loop setups for connecting external effects processors. In addition to rearranging the
order in which the GT-PRO’s effects are connected, if two sets of connectors are used in Stereo mode you can communicate
powerfully using external spacial effects.
The GT-PRO is also equipped with two amp control jacks, allowing you to switch channels for a connected preamp and
centralize control of foot-switch-operated external devices from the GT-PRO.
FC-200 Mode, Numerous Connectors
The GT-PRO includes an FC-200 mode, which lets you integrate an FC-200 MIDI foot controller (sold separately), giving you
true freedom in controlling your effects–with no rack size concerns–for functionality far surpassing that of floor type devices.
What’s more, the rear panel input and direct tune out jacks provide greater ease in connecting with rack systems.
The USB connector also enables you to connect the GT-PRO to a computer, and you can make detailed edits from the
computer with the included GT-PRO Editor/Librarian software. The GT-PRO achieves the flexibility needed for use
anywhere, whether it be on stage, in a studio, or even for home recording.
COSM (Composite Object Sound Modeling)
Composite Object Sound Modeling (COSM) is BOSS/Roland’s innovative and powerful sound modeling technology.
COSM analyzes the many factors that make up the original sound, such as the electrical and physical characteristics of
the original, and then produces a digital model that can reproduce the same sound.
10
Names of Things and What They Do
Front Panel
fig.002-010
24 25 26
23
1
2
3
5
4
20
6
7
21 22
8
9
28
27
29
10 11 12
30
13 14 15 16 17 18 19
1. INPUT
5. PREAMP/SPEAKER
INPUT Jack
TYPE Knob
The guitar is connected here.
Selects the preamp type.
INPUT LEVEL Knob
GAIN Knob
Adjusts the level of the signals input through the
INPUT jacks (both front and rear).
Adjusts the degree of preamp distortion.
PEAK Indicator
Adjusts the sound quality of the preamp’s lowfrequency range.
Indicates the status of the input level. This indicator
lights at 6 dB before the level at which distortion
begins.
2. OUTPUT
PHONES Jack
Connect headphones here.
* The output from the PHONES jack is a mix of the output
from the MAIN OUT jacks and SUB OUT jacks.
BASS Knob
MIDDLE Knob
Adjusts the sound quality of the preamp’s midrange
frequency.
TREBLE Knob
Adjusts the sound quality of the preamp’s highfrequency range.
PRESENCE Knob
MAIN Volume Knob
Adjusts the sound quality of the preamp’s ultra high
frequency range.
Adjusts the volume level of the output from the MAIN
OUT jacks.
LEVEL Knob
SUB Volume Knob
Adjusts the volume level of the output from the SUB
OUT jacks (1/4” phone type).
* The output from the SUB OUT (XLR type) connector is set
at a fixed level, regardless of the position of the SUB volume
knob.
3. Display
A variety of information about the GT-PRO appears
here. The left display shows the bank number.
4. PATCH/VALUE Dial
Adjusts the preamp volume level.
PREAMP/SPEAKER On/Off Button
Press to change the settings.
TYPE VARIATION Button
Switches the type variation.
CHANNEL Button
This switches between preamp Channels A and B.
SOLO Button
This switches the Solo switch (p. 29) on and off.
SPEAKER Button
Selects the speaker type.
Use this when switching patches and changing the
values of settings.
11
Names of Things and What They Do
6. COMP On/Off Button
Press to change the settings.
7. OS/DS On/Off Button
Press to change the settings.
8. WAH On/Off Button
Press to change the settings.
9. EQ On/Off Button
Press to change the settings.
10. DELAY On/Off Button
Press to change the settings.
11. CHORUS On/Off Button
Press to change the settings.
12. REVERB On/Off Button
Press to change the settings.
13. FX-1 On/Off Button
Press to change the settings.
14. FX-2 On/Off Button
Press to change the settings.
15. AMP CTL 1 On/Off Button
This switches the Amp Control 1 on and off.
16. AMP CTL 2 On/Off Button
This switches the Amp Control 2 on and off.
21. OUTPUT SELECT Button
Allows you to select an output appropriate for the
connected device.
Be sure to make this selection before you start to
perform.
22. SYSTEM Button
Use for making settings for the GT-PRO’s overall
operating environment.
The indicator lights when the GT-PRO is connected to
your computer.
23. EXIT Button
Use this to undo operations.
24. WRITE Button
Press to store settings.
25. SHIFT Button
Switches the Shift function on and off. While Shift is
activated, values change in units of ten when you turn
the PATCH/VALUE dial.
The function of certain buttons also changes if they are
pressed while Shift is activated.
26. TUNER/BYPASS Button
Press to use the tuner functions.
27. NAME/FX CHAIN Button
Use for naming patches (p. 23), or setting the effect
chain (p. 22).
28. MASTER Button
Press to change the settings.
17. PRE LOOP On/Off Button
This switches the Pre Loop on and off.
18. LOOP 1/2 On/Off Button
29. PATCH LEVEL Knob
Adjusts the volume level of the currently selected
patch.
Press to change the settings.
30. POWER Switch
19. ASSIGN On/Off Button
Press to change the settings.
20. PARAMETER Buttons
Press to select parameters.
To jump to the main parameters, hold down one of
these buttons while you press the other. With items for
which there aren’t that many parameters, the GT-PRO
jumps to the last (or initial) parameter.
12
Turns the power on and off.
Names of Things and What They Do
Rear panel
fig.00-0220
1
2
5
1. AMP CTL 1 Jack/AMP CTL 2 Jack
When using the AMP CONTROL function (p. 54),
connect to the jack used for switching guitar amp
channels.
2. CTL 3/4/EXP PEDAL 2 Jack
Connect the optional foot switches (such as the FS-6/
FS-5U) or expression pedal (such as the EV-5) here.
* With the factory settings, no function is assigned.
3. CTL 1/2 Jack
Connect the optional foot switches (such as the FS-6/
FS-5U) here.
4. EXP PEDAL 1 Jack
Connect an optional expression pedal (such as the EV5) here.
* With the factory settings, this is automatically set for use as
a foot volume (p. 55).
5. MIDI IN/OUT/THRU Connectors
Connect an FC-200 (p. 81) or other external MIDI
device here to transmit and receive MIDI information.
6. USB Connector
Use a USB cable to connect this connector to your
computer to exchange data between the GT-PRO and
the computer.
7. DIGITAL OUT Connector
Outputs digital audio signals.
8. LOOP 1/2 SEND/RETURN Jacks
When using LOOP 1/2 (p. 52), connect these to external
effects processors.
9. SUB OUT Jacks R/L (MONO)
There are 1/4” phone jacks that output unbalanced
signals.
Connect to amps, mixers, or other devices.
3
4
6
8
7
9
12
11
13
10
14 15
10. SUB OUT Connectors R/L
There are XLR type connectors that provide balanced
output. Connect to amps, mixers, or other devices.
* The SUB OUT R/L connectors are unaffected by the SUB
volume knob (p. 17) and SUB OUT Level (p. 100). Signals
are always output at a fixed level (+4 dBu).
11. GND LIFT Switch
This disconnects the 1: GND pin from the input’s
ground. Switch this to “ON” if humming or other noise
from ground loops becomes a problem. The GT-PRO is
normally used with this set to OFF.
12. MAIN OUT Jacks R/L (MONO)
There are 1/4” phone jacks that output unbalanced
signals.
13. PRE LOOP SEND/RETURN Jacks
When using PRE LOOP (p. 53), connect these to
external effects processors.
14. DIRECT OUT/TUNER OUT Jack
Signals input through the INPUT jacks (front and rear)
are output as is without change.
Use these jacks when connecting tuners and similar
devices.
15. INPUT Jack
The guitar is connected here.
Additionally, when the GT-PRO is installed in a system
rack, signals sent to the GT-PRO from other rack-type
equipment are input here.
* This jack cannot be used simultaneously with the INPUT
jack on the front panel. The front panel INPUT jack takes
precedence.
13
14
Guitar
RETURN 1
AMP CTL 1
(from USB)
SEND 1
Digital
Out
USB
USB/Digital
Out Level
SEND
BYPASS
Tuner
(You can change the order in which the effects are connected)
MULTI EFFECTS
Loop 1/2
RETURN 2
<Input Select>
SEND 2
(Rear)
RETURN
Pre
Loop
CONTROL
GT-PRO IN (Audio)
GUITAR IN
(Front)
CTL PEDAL 3, 4/
EXP PEDAL 2
AMP CTL 2
Foot Switch
GT-PRO OUT (Audio)
<Input Select>
(=USB In)
External
Effects Processor
Output
Channel
(=Guitar In)
Control OUT (MIDI)
CTL PEDAL 1, 2
EXP PEDAL 1
Guitar Amp
External
Effects Processor
Computer
Control IN (MIDI)
Expression
Pedal
Foot Switch
Expression
Pedal
External
Effects Processor
Control or MIDI signal
Audio signal
SUB
MAIN
USB
USB Mix
Channel
SUB
MAIN
(XLR Connector)
(1/4” Phone Jack)
SUB OUT L/R
MAIN OUT L/R
PHONES
DIGITAL OUT
DIRECT OUT/TUNER OUT
SUB
VOLUME
MAIN
VOLUME
USB Mix Level
Tuner
Mixer
Guitar Amp
Headphones
Recorder etc.
Names of Things and What They Do
Signal Flow
Chapter 1 Playing Sounds
Chapter 1
Making the Connections
fig.01-0010
Mixer
Guitar
Front Panel
Digital Recorder etc.
Stereo
Headphones
Tuner etc.
0
-50
NT
CE
CE
NT
Guitar Amp
EXP Pedal
(Roland EV-5 etc.)
Foot Switch
(FS-6 etc.)
EXP Pedal
(Roland EV-5 etc.)
External Effects Processor
OUTPUT
MIDI IN
INPUT
MIDI OUT
External Effects Processor
INPUT
OUTPUT
OUTPUT
INPUT
External Effects Processor
MIDI Sequencer etc.
MIDI Foot Controller
Roland FC-200
Computer
15
Chapter 1 Playing Sounds
* To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
* Raise the amp volume only after turning on the power to all
connected devices.
* When outputting in mono, connect the cable to the MAIN
OUT L (MONO) jack.
* Use only the specified expression pedal (Roland EV-5 or
Roland FV-300L; sold separately). By connecting any other
expression pedals, you risk causing malfunction and/or
damage to the unit.
* This instrument is equipped with balanced (XLR) type
connectors. Wiring diagrams for these connectors are shown
below. Make connections after first checking the wiring
diagrams of other equipment you intend to connect.
fig.XLRJack
-------------------------------------------• When using the unit with the EXP pedals connected to
the EXP PEDAL 1 jack and EXP PEDAL 2 jack, make
the settings given on p. 63 and p. 65.
• When using the unit with the foot switches connected
to the CTL 1/2 jack and CTL 3/4 jack, make the
settings given on p. 62.
• For more on using the AMP CTL 1 jack and AMP CTL 2
jack, refer to p. 54.
• For more on using the LOOP 1/2 SEND/RETURN
jacks, refer to p. 52.
--------------------------------------------
Turning on the Power
Once the connections have been completed (p. 15), turn on
power to your various devices in the order specified. By
turning on devices in the wrong order, you risk causing
malfunction and/or damage to speakers and other devices.
* When using the unit with an expression pedal connected to the
EXP PEDAL 1 and EXP PEDAL 2 jack, set Minimum
Volume to the “MIN” position.
* When using the unit with a foot switch (the optional FS-6)
connected to the CTL 1/2 jack and CTL 3/4 jack, set the
MODE switch and POLARITY switch as shown below.
fig.01-0020
1. Before turning on the power, confirm the following.
• Are all external devices properly connected?
• Is the volume on the GT-PRO, your amp, and all other
connected devices turned down to the minimum level?
2. Switch ON the POWER switch on the GT-PRO’s front
panel.
The display changes, showing the following. A few
seconds later, the unit enters the ordinary performance
mode.
* When using the unit with a foot switch (the optional FS-5U)
connected to the SUB EXP PEDAL/SUB CTL 1,2 jack, set the
polarity switch as shown below.
The screen that appears at this point is called the
“Play screen.”
fig.01-0050d
fig.01-0030
Polarity Switch
* You can use the special (optional Roland) PCS-31 connector
cord to connect two foot switches.
* Upon power-up, the patch most recently selected when the
power was last turned off is selected.
* This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
fig.01-0040
3. Next, turn on the power to any external effects
processors, then to the guitar amp (power amp).
PCS-31
White
16
Red
Chapter 1 Playing Sounds
Use the INPUT LEVEL knob to adjust the input level to suit
your guitar.
fig.01-0060
Selecting the MAIN OUT Output
Device (Amp) (Main Output Select)
Select the type of device connected to the MAIN OUT jack.
fig.01-0080
2
1
1. Play your guitar at the maximum loudness that you will
produce in normal playing.
3
2. Adjust the INPUT LEVEL knob until the PEAK
indicator lights briefly.
* The PEAK indicator will light 6 dB before clipping level (the
level where distortion begins).
1. Press [OUTPUT SELECT].
* If the input level is too high, the GT-PRO will not produce the
desired effects.
fig.01-0090d
When using the GT-PRO with different guitars, you can
conveniently adjust the input levels for each patch with
the INPUT LEVEL knob and adjust for the volume
differences between each guitar with SYS: Input Level.
Refer to “Adjusting the Tone of the Sounds Input to the
GT-PRO (Input Level/Input Presence)” (p. 97)
The Main Output Select settings screen appears.
2. Turn the PATCH/VALUE dial to select the type of
device connected to the MAIN OUT jack.
Value
Explanation
JC-120
Use this setting when connecting to Roland’s JC-120 guitar amp.
SMALL AMP
Use this setting when connecting to small
guitar amp.
COMBO AMP
Use this setting when connecting to the
guitar input of a combo amp other than
the JC-120 guitar amp (where the amp
and speaker or speakers are combined in
a single unit).
Adjusting the Output Level
Adjust the GT-PRO’s output level.
fig.01-0070
* Depending on you guitar amp, you may be able to obtain good
results with the “JC-120” setting.
• The level of the output from the MAIN OUT jacks is
adjusted with the MAIN volume knob.
STACK AMP
Use this setting when connecting to the
guitar input of a stack-type guitar amp
(where the amp and speaker or speakers
are separated).
JC-120 Return
Use this setting when connecting to RETURN of a JC-120.
COMBO Return
Use this setting when connecting to RETURN with a combo amp.
STACK Return
Use this setting when connecting to RETURN of a stack amp or rack mounted
power amp.
Set to STACK Return also when using a
guitar power amp and speaker cabinet
combination.
LINE/PHONES
Use this setting when using headphones
or when connecting to a multi-track recorder for recording.
Adjusting the SUB OUT Output Level
• The level of the output from the SUB OUT jacks (1/4”
phone type) is adjusted with the SUB volume knob.
* The output from the SUB OUT (XLR type) connector is set
at a fixed level, regardless of the position of the SUB volume
knob.
------------------------------------------The output from the PHONES jack is a mix of the output
from the MAIN OUT and SUB OUT.
When using headphones, use both the MAIN and SUB
knobs as required to adjust the volume level.
-------------------------------------------
* When using the speaker simulator, set this to LINE/PHONES.
3. Press [EXIT] to return to the Play screen.
17
Chapter 1
Adjusting the Input Level
Chapter 1 Playing Sounds
Selecting the SUB OUT Output
Device (Amp) (Sub Output Select)
Select the type of device connected to the SUB OUT jack/
connector.
fig.01-0081
3
2 1
Turning Off the Power
1. Before turning off the power, confirm the following.
• Is the volume on the GT-PRO, your amp, and all other
connected devices turned down to the minimum level?
2. Turn off the power to any external effects processors,
then to the guitar amp (power amp) and other devices.
3. Turn the GT-PRO’s power off.
4
* If you need to turn off the power completely, first turn off the
POWER switch, then unplug the power cord from the power
outlet. Refer to “Power Supply” (p. 5).
1. Press [OUTPUT SELECT].
2. Press PARAMETER [
][
] so that
“SUB: Output Sel.” is displayed.
fig.01-0100d
Guitar Tuning
You can use the GT-PRO’s built-in “tuner function” to
tune your guitar.
For instructions on using this function, refer to “Tuning
the Guitar (Tuner/Bypass)” (p. 101).
3. Turn the PATCH/VALUE dial to select the type of
device connected to the SUB OUT jack/connector.
* The types of devices that can be selected are the same as those
in Main Output Select.
4. Press [EXIT] to return to the Play screen.
To derive the maximum performance from the GT-PRO,
be sure to make the correct setting for Main Output
Select and Sub output Select, the one that’s most suitable
for your setup.
* The speaker simulator (p. 28) is enabled only when Main
Output Select/Sub Output Select is set to LINE/
PHONES.
* You cannot change the tone with Main Output Select/
Sub Output Select when PREAMP/SPEAKER On/Off
(p. 28) is set to Off.
18
Chapter 2 Creating Your Own Favorite Tones (Patches)
What is a Patch?
Each of these sets is called a “Patch,” with patches organized
by Bank (1–40) and Number (1–10) as shown below.
Chapter 2
The GT-PRO can store 400 combinations (or “sets”) of effects
and parameter settings.
How to Switch Patches
(Patch Change)
Whenever you’re at the Play screen, you can turn the
PATCH/VALUE dial to change patches.
fig.02-0040d
fig.02-0010
Bank 40
6
7
8
9
10
Bank 21
105
661 772 883 994 10
10
Bank 20
66 77 88 99 10
1
2
3
4
5
6111 7222 8333 9444 10555
Bank 1
6
7
8
9 10
10
10 5
666 1 777 2 888 3 999 4 10
1
2Number
3
4
5
11 22 33 44 55
1
2
3
4
5
User Banks (1–20)
Newly created effects settings are saved in the User banks.
Patches in these banks are called “User patches.”
A “U” appears in the right display when a User patch is
being used.
Bank
Bank - Number
To switch banks at a time, press [SHIFT] so its indicator is
lighted (Shift: ON), then rotate the PATCH/VALUE dial.
* Use the setting on p. 98 when you want to set the upper limit
for patches that can be selected with the PATCH/VALUE dial.
* Unconfirmed changes in settings are cleared when patches are
switched. If you want to save changed settings, carry out the
Write procedure (p. 24).
You can also set the unit so certain effects continue to be
used with a following patch after you switch patches. For
details, refer to “Keeping Effect Sounds Playing After
Patches Are Switched (Patch Change Mode)” (p. 97).
fig.02-0020d
If the Patch Does Not Switch
On the GT-PRO, you cannot switch patches in any screen
other than the Play screen. Press [EXIT] to return to the Play
screen (p. 16).
Preset Banks (21–40)
The Preset banks contain effect settings that really help bring
out the special characteristics of the GT-PRO. The patches in
these banks are called “Preset patches.” Although you cannot
overwrite the Preset patches with your own settings, you can
change (edit) a Preset patch’s settings, then save the result as
a User patch.
A “P” appears in the right display when a Preset patch is
being used.
fig.02-0030d
* When the GT-PRO is set to FC-200 mode (p. 81), the banks
are indicated by numbers one less than the normal numbers
(User: 0–19; Preset: 20–39).
19
Chapter 2 Creating Your Own Favorite Tones (Patches)
Adjusting the Tones with the Knobs
Turning the Effect On and Off
The GT-PRO panel features eight knob controls. These knobs
let you make adjustments or changes to the selected patch’s
tone quickly and easily.
The GT-PRO’s internal effects are switched on and off with
button controls. The indicator for an effect’s ON/OFF button
lights up when the effect is enabled.
fig.02-0050
* [AMP CTL1], [AMP CTL2], and [PRE LOOP] are switched
on and off when pressed once.
fig.02-0060
Knob
Explanation
PREAMP/SPEAKER
TYPE
Selects the preamp type.
* After pressing [TYPE VARIATION], you can select variations by
turning the knob to the type you want.
Adjusts the degree of preamp distortion.
The distortion gets stronger as the knob is
GAIN
turned to the right.
Adjusts the sound quality of the preamp’s
low-frequency range. The low frequencies
BASS
are boosted as the knob is turned to the right.
Adjusts the sound quality of the preamp’s
midrange. The midrange frequencies are
MIDDLE
boosted as the knob is turned to the right.
Adjusts the sound quality of the preamp’s
high-frequency range. The high frequencies
TREBLE
are boosted as the knob is turned to the right.
Adjusts the sound quality of the preamp’s
Ultra-high-frequency range. The high frePRESENCE
quencies are boosted as the knob is turned
to the right.
Adjusts the preamp volume level. The volume
LEVEL
increases as the knob is turned to the right.
1. Press the ON/OFF button for the effect you want to be
able to switch on and off.
PATCH LEVEL
4. Press [EXIT] to return to the Play screen.
Adjusts the overall volume level. The volume increases as the knob
is turned to the right.
When you want to save a tone created with the knob
controls, proceed as described in “Storing Patches (Patch
Write)” (p. 24).
If the power is turned off, or if the tone is switched
(Patch Change; p. 19) before you’ve carried out the Write
procedure, the newly created tone will be discarded.
* If you want to name the patch or edit the name, proceed to
“Naming Patches (Patch Name)” (p. 23) before you save.
20
The settings for the selected effect appear in the display.
* With FX-1 and FX-2, the settings for the currently selected
effect are shown.
fig.02-0070d
2. Press the ON/OFF button again to switch the effect on
or off.
The effect name flashes in the display when that effect is
disabled.
3. To select another effect to be switched on and off,
repeat Steps 1 and 2.
5. If you want to save a tone with the settings you’ve
made, proceed as described in “Storing Patches (Patch
Write)” (p. 24).
* If you want to name the patch or edit the name, proceed to
“Naming Patches (Patch Name)” (p. 23) before you save.
The [ASSIGN] indicator lights when any of the Assigns
1–12 (p. 66) is on.
Chapter 2 Creating Your Own Favorite Tones (Patches)
Setting the Effects Simply
(QUICK FX)
You can easily create new effect sounds just by selecting and
combining these Quick Settings.
fig.02-0080
Just as with the Quick Settings, you can call up and use only
the specific effect settings you need from the User and Preset
patches.
When there is a Preset patch you want to use as material, this
allows you to create patches simply and easily without any
need to make detailed settings.
fig.02-0100
3
1
2
4
3
1
1. Press the on/off button for the effect with the settings
you want to change.
The parameters for the selected effect appear in the
display.
During editing, the most recently edited parameter
appears (except PPEAMP/SPEAKER).
2. Press PARAMETER [
] so that the Quick Setting
select screen appears in the display.
1
2
4
1
1. Press the on/off button for the effect with the settings
you want to change.
The parameters for the selected effect appear in the
display.
2. Press PARAMETER [
] so that the Quick Setting
select screen appears in the display.
fig.02-0110d
fig.02-0090d
3. Rotate the PATCH/VALUE dial to select the Quick
Setting you want.
U**:
User Quick Setting (p. 26)
P**:
Preset Quick Setting
* “---: User Setting” indicates that the effect indicated in the
upper row of the display is set to be saved to the currently
selected patch, or that the settings are currently being
modified.
* When FX-1 or FX-2 has been selected in Step 1, the settings
for the effect selected by means of the FX1/FX2 Select
parameter (p. 36, p. 45) are switched.
* When Preamp/Speaker has been selected in Step 1, you can
choose different type of settings for channel A and B.
3. Use the PATCH/VALUE dial to select the patch with
the settings you want to call up.
* Patches are displayed following the Quick Settings.
fig.02-0120d
4. Press [EXIT] to return to the Play screen.
5. If you want to save a tone with the settings you’ve
made, proceed as described in “Storing Patches (Patch
Write)” (p. 24).
* If you want to name the patch or edit the name, proceed to
“Naming Patches (Patch Name)” (p. 23) before you save.
4. Press [EXIT] to return to the Play screen.
5. If you want to save a tone with the settings you’ve
made, proceed as described in “Storing Patches (Patch
Write)” (p. 24).
* If you want to name the patch or edit the name, proceed to
“Naming Patches (Patch Name)” (p. 23) before you save.
21
Chapter 2
Each effect includes prepared sample settings called “Quick
Settings.”
Calling Up Existing Patch Settings
Chapter 2 Creating Your Own Favorite Tones (Patches)
Making More Precise Effect Settings
Each effect comprises several different kinds of parameters.
You can more precisely create the sounds you want by
editing each of these parameters individually.
* For more detail of the each effect parameters, refer to “Chapter
4 Introduction to Effects and Parameters” (p. 28).
Changing the Connection
Order of Effects (Effect Chain)
Here’s how you can change the order in which the effects are
connected.
fig.02-0140
1
2
3
3
1
2 3
2
fig.02-0130
6
1
5
3
1. Press [NAME/FX CHAIN] twice.
The effect chain screen appears.
1. Press the on/off button for the effect with the settings
you want to change.
fig.02-0150d
The parameters for the selected effect appear in the
display.
2. Press PARAMETER [
][
] to select the
parameter whose settings are to be changed.
When more than one parameter is shown in the display,
press PARAMETER [
][
] to move the cursor to
the parameter to be set.
You can jump to the core parameters by pressing
PARAMETER [
] (or [
]) while holding down
PARAMETER [
] (or [
]). With items for which
there aren’t that many parameters, the GT-PRO jumps to
the last (or first) parameter.
3. Rotate the VALUE dial to change the value of a setting.
4. Repeat Steps 2 and 3 for any other parameter settings
you want to change.
5. If you further want to change parameter settings in any
other effects, repeat Steps 1 through 4.
6. Press [EXIT] to return to the Play screen.
7. If you want to save a tone with the settings you’ve
made, proceed as described in “Storing Patches (Patch
Write)” (p. 24).
* If you want to name the patch or edit the name, proceed to
“Naming Patches (Patch Name)” (p. 23) before you save.
22
* Effects are shown in lowercase letters when turned off.
2. Use the PATCH/VALUE dial or PARAMETER [
]
[
] to move the cursor to the point where you want
to have an effect inserted.
* “DGT” indicates output to the DIGITAL OUT connector/
USB connector.
3. Press the ON/OFF button for the effect you want to
insert.
The selected effect is inserted at the cursor position.
* Use [MASTER] to set the Noise Suppressor, use [ASSIGN] to
set the Foot Volume, and use [OUTPUT SELECT] to set the
Digital Out.
4. If you want to change the sequence further, repeat
Steps 2 and 3.
* Effects can be switched on and off even while making the
settings for the connection order. With effects appearing to the
left and right of the cursor, the ON/OFF button corresponding
to the effect can be pressed to turn them on/off.
5. Press [EXIT] to return to the Play screen.
6. If you want to save the sequence you’ve set up, proceed
as described in “Storing Patches (Patch Write)” (p. 24).
* If you want to name the patch or edit the name, proceed to
“Naming Patches (Patch Name)” (p. 23) before you save.
Chapter 2 Creating Your Own Favorite Tones (Patches)
Naming Patches (Patch Name)
Chapter 2
Each patch can be given a name (Patch Name) consisting of
up to sixteen characters. You’ll probably want to take
advantage of this feature by assigning names that suggest the
sound you’ll obtain, or the song in which it’ll be used.
fig.02-0160
3
2
1
5
1. Press [NAME/FX CHAIN].
The patch name setting screen appears.
fig.02-0170d
Cursor
2. Press PARAMETER [
][
the text area you want to edit.
] to move the cursor to
3. Rotate the PATCH/VALUE dial to change the
characters.
You can use the following functions when changing text
characters.
Button
Function
INS
Inserts a blank space at the cursor position.
DEL
Deletes the character at the cursor position and shifts the characters following it
to the left.
CAPS
Switches the character at the cursor position between upper and lower case.
4. If you want to edit names further, repeat Steps 2 and 3.
5. Press [EXIT] to return to the Play screen.
6. If you want to save a patch name, proceed as described
in “Storing Patches (Patch Write)” (p. 24).
23
Chapter 3 Saving the Tones You Have Created
Storing Patches (Patch Write)
Copying Patches (Patch Copy)
When you want to keep a tone created with the Quick
Settings or a tone with altered parameter values, use the
“Write procedure” to save it to a User patch.
You can copy a Preset or User patch to another User patch.
fig.03-0030
3
fig.03-0010
2
2,4
1,3
1. Select the copy-source patch.
Refer to “How to Switch Patches (Patch Change)” (p. 19).
1. Press [WRITE].
2. Press [WRITE].
The screen for specifying the save-destination User patch
appears in the display.
fig.03-0020d
Destination user Patch
2. Rotate the PATCH/VALUE dial to select the savedestination User patch.
The screen for specifying the copy-destination patch
number appears in the display.
fig.03-0040d
Destination User Patch
3. Rotate the PATCH/VALUE dial to select the copydestination User patch.
* This step is unnecessary if the current User patch is
acceptable.
* To cancel the copy, press [EXIT]. The Play screen returns to
the display.
* To cancel the Write procedure, press [EXIT]. The Play screen
returns to the display.
* You can also use the procedure described in “How to Switch
Patches (Patch Change)” (p. 19) to select the copy destination.
* You can also use the procedure described in “How to Switch
Patches (Patch Change)” (p. 19) to select the save destination.
3. Press [WRITE].
The GT-PRO switches to the write-destination patch, and
you’re returned to the Play screen.
* The sound of the patch previously stored at the write
destination will be lost once the write is executed.
24
4. Press [WRITE].
The GT-PRO switches to the copy-destination patch, and
you’re returned to the Play screen.
* The sound of the patch previously stored at the copy
destination will be lost once the copy is executed.
Chapter 3 Saving the Tones You Have Created
Exchanging Patches
(Patch Exchange)
On the GT-PRO, you can “swap” or exchange the positions
of two User patches. The following explains how this is done.
fig.03-0050
Initializing Patches
You can return (initialize) the User patches to their original
standard settings.
This is convenient when you want to create a new patch from
scratch.
fig.03-0070
4
3
3
Chapter 3
2,5
1. Select the exchange source patch.
Refer to “How to Switch Patches (Patch Change)” (p. 19).
2. Press [WRITE].
2,4
1. Select the User patch you want to initialize.
Refer to “How to Switch Patches (Patch Change)” (p. 19).
2. Press [WRITE].
3. Press PARAMETER [
].
The content of the display changes, and the GT-PRO is
ready for the exchange destination User patch to be
specified.
3. Press PARAMETER [
The screen for specifying the initialize-destination patch
number appears in the display.
fig.03-0080d
fig.03-0060d
Destination User Patch
Destination User Patch
4. Rotate the PATCH/VALUE dial to select the exchange
destination User patch.
* To cancel the exchange, press [EXIT]. The Play screen returns
to the display.
* You can also use the procedure described in “How to Switch
Patches (Patch Change)” (p. 19) to select the exchange
destination.
5. Press [WRITE].
The patch stored in the exchange source memory
location and the patch stored in the exchange destination
memory location are exchanged, and you’re returned to
the Play screen.
] twice.
* You can use the PATCH/VALUE dial to change the selection
of the User patch to be initialized.
* To cancel the initialization, press [EXIT]. The Play screen
returns to the display.
4. Press [WRITE].
The GT-PRO switches to the initialized patch, and the
Play screen returns to the display.
* The tones stored in patches are lost once the initialization is
executed.
25
Chapter 3 Saving the Tones You Have Created
Initializing Patches with a Tone
Similar to What You Have in Mind
Storing Settings by Effect
(User Quick Settings)
If you already have a clear idea about the kind of sound you
want to create, you can save yourself a lot of trouble by
starting out with a patch that is relatively similar to what you
have in mind, then tweak its settings until you arrive at what
you want. In addition to the patches actually used in
performances, the GT-PRO also offers a collection of sample
settings that are a great help in creating new patches.
These are called “EZ Tones.”
In addition to storing settings in the form of patches, you can
also store settings in terms of their effect.
You can use the EZ Tone function to quickly find and call up
settings that are close to the sound you want to create.
fig.03-0090
4,6
3,5
Since you can use such stored settings in other patches, just
like with the Preset Quick Settings (p. 21), storing the settings
you like ahead of time as effects is a convenient way to create
new patches.
Effects That Can Be Stored
PREAMP for each channels
EQ
OVERDRIVE/DISTORTION
WAH
DELAY
LOOP 1/2
CHORUS
FX-1/FX-2 Effects
REVERB
ASSIGN
COMP
fig.03-0120
3,4
4 1,5
2,7
1. Select the User patch you want to initialize.
Refer to “How to Switch Patches (Patch Change)” (p. 19).
2. Press [WRITE].
2
3. Press PARAMETER [
2
] three times.
The screen in which you specify the EZ Tone you want
to use appears.
fig.03-0100d
EZ Tone
1. Press [WRITE].
2. Press the ON/OFF button for the effect whose settings
you want to save.
The screen for specifying the destination to which to
save the settings appears.
fig.03-0130d
Destination Effect
4. Rotate the PATCH/VALUE dial to select the EZ tone.
5. Press PARAMETER [
].
The cursor moves to the patch number for the patch to
be initialized.
fig.03-0110d
Destination User Patch
In case of Assign 1–12 (p. 66)
Press [ASSIGN] several times in order to select the savesource assign number.
* For PREAMP/SPEAKER, the setting in currently chosen
channel set by Channel Select (p. 28) will be saved.
6. Rotate the PATCH/VALUE dial to select the
initialization destination User patch.
* To cancel the initialization, press [EXIT]. The Play screen
returns to the display.
7. Press [WRITE].
The GT-PRO switches to the initialized patch, and the
Play screen returns to the display.
* The tones stored in patches are lost once the initialization is
executed.
26
* For FX-1/FX-2, the settings in currently chosen effects set by
FX1/FX2 Select (p. 36, p. 45) will be saved.
3. Use the PATCH/VALUE dial to select the destination
for the settings.
Chapter 3 Saving the Tones You Have Created
4. When you want to change the User Quick Setting name
(12 characters), use PARAMETER [
][
] to
move the cursor, and use the PATCH/VALUE dial to
change the characters.
fig.03-0140d
Copying the PREAMP/SPEAKER
Settings to Another Channel
You can take the PREAMP/SPEAKER settings for one
channel and copy them to another channel.
fig.03-0150
Button
Function
INS
Inserts a blank space at the cursor position.
DEL
Deletes the character at the cursor position and shifts the characters following it
to the left.
CAPS
Switches the character at the cursor position between upper and lower case.
5. Press [WRITE].
The settings are saved, and the Play screen returns to the
display.
Chapter 3
You can use the following functions when changing text
characters.
1,3
2,4
1. Press [CHANNEL A] or [CHANNEL B] to select the
copy-source channel.
2. Press [WRITE].
3. Press [CHANNEL A] or [CHANNEL B] to select the
copy-destination channel.
The channel copy screen appears in the display.
You can alternatively rotate the PATCH/VALUE dial to
change the copy-destination channel.
* If you press the button for the same channel as the copy source,
a channel other than the copy-source channel is selected for the
copy destination.
fig.03-0160d
Copy-source channel
Copy-destination channel
* To cancel the copy, press [EXIT]. The Play screen returns to
the display.
4. Press [WRITE].
The settings are copied, and the Play screen returns to
the display.
5. If you want to keep a tone for which you have made
settings, use the “Write procedure” (p. 24) to save it to a
User patch.
27
Chapter 4 Introduction to Effects and Parameters
In this chapter you will find detailed descriptions for each of
the GT-PRO’s onboard effects, and the parameters used to
control them.
PREAMP/SPEAKER (Preamp/
Speaker Simulator)
The sound being input to each effect is called the “direct
sound,” and the sound modified by the effect is called
the “effect sound.”
COSM technology plays an indispensable role in simulating
the distinguishing characteristics of various guitar amps in
the “Preamp” section, and is also used to simulate various
speaker sizes and cabinet constructions in the “Speaker
Simulator.”
The trademarks listed in this document are trademarks
of their respective owners, which are separate companies
from BOSS.
Those companies are not affiliated with BOSS and have
not licensed or authorized BOSS’s GT-PRO.
Their marks are used solely to identify the equipment
whose sound is simulated by BOSS’s GT-PRO.
Parameter/
Range
Explanation
On/Off
Turns the PREAMP/SPEAKER effect on/
off.
Off, On
Channel Mode
Single, Dual Mono,
Dual L/R, Dynamic
Selects how the two channels are to be used.
Single
Only the channel selected with Channel Select is used.
fig.04-0010
A
B
Dual Mono
The output of Channels A and B is mixed.
fig.04-0020
A
B
Dual L/R
Channel A is output from the left and Channel B is output from the
right.
fig.04-0030
A
L
B
R
Dynamic
Channels A and B are switched according to the guitar input volume
level. This produces dynamic tonal changes in response to the picking dynamics.
* For more information, refer to “Controlling Various Parameters
Through the Guitar Volume” (p. 92).
fig.04-0040
A
B
Input Level
Channel Select
A, B
Selects the preamp channel whose settings
are to be changed.
Channel Delay Time
0–50ms
The output from Channel B is slightly delayed.
Adjusting this increases the sense of depth and breadth in the sound.
* This parameter is enabled when Channel mode is set to Dual Mono or
Dual L/R.
28
Chapter 4 Introduction to Effects and Parameters
Parameter/
Range
Explanation
Dynamic Sens
0–100
Effective with Dynamic selected for Channel Mode. Adjusting the sensitivity in response to the input level changes the timing
of the channel switches.
Type *1
refer to Type List
0–100
Adjusts the tone for the low frequency
range.
Adjusts the tone for the middle frequency
range.
Treble *1
0–100
Adjusts the tone for the high frequency
range.
Adjusts the tone for the ultra high frequency
range.
Level *1
0–100
Adjusts the volume of the entire preamp.
* Be careful not to raise the Level setting too high.
Bright *1
Off, On
This is the built-in speaker of the amp you
selected with “Type.”
1x8”
This is a compact open-back speaker cabinet
with one 8-inch speaker.
1x10”
This is a compact open-back speaker cabinet
with one 10-inch speaker.
1X12”
This is a compact open-back speaker cabinet
with one 12-inch speaker.
2X12”
This is a general open-back speaker cabinet
with two 12-inch speakers.
4X10”
This is an optimal speaker cabinet for a large
enclosed amp with four 10-inch speakers.
4X12”
This is an optimal speaker cabinet for a large
enclosed amp with four 12-inch speakers.
8X12”
This is a double stack of two cabinets, each
with four 12-inch speakers.
Custom1
Custom speaker 1
Custom2
Custom speaker 2
Mic Type *1
Presence *1
0–100
Original
Turns the bright setting on/off.
see below
This setting selects the simulated mic type.
DYN57
General dynamic mic used for instruments
and vocals. Optimal for use in miking guitar
amps.
DYN421
Dynamic mic with extended low end.
CND451
Small condenser mic for use with instruments.
CND87
Condenser mic with flat response.
FLAT
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).
Off
Bright is not used.
On
Bright is switched on to create a lighter and crisper tone.
* Depending on the “Type” setting, this may not be displayed.
Gain SW *1
Low, Middle, High
Provides for selection from three levels of
distortion: Low, Middle, and High. Distortion will successively increase for settings of
“Low,” “Middle” and “High.”
Mic Dis. (Mic Distance) *1
Off Mic, On Mic
Simulates the distance between the mic and
speaker.
Off Mic
This setting points the mic away from the speaker.
On Mic
* The sound of each Type is created on the basis that the Gain is set to
“Middle.” So, normally set it to “Middle.”
Provides conditions whereby the mic is directed more towards the
speaker.
Solo Sw *1
Mic Pos. (Mic Position) *1
Off, On
Pressing [SOLO] switches the tone to one
suitable for solos.
Solo Level *1
0–100
Adjusts the volume level when the Solo
switch is ON.
SP Type (Speaker Type) *1
see below
Select the speaker type.
* The speaker simulator effect is not applied to the sound output from
MAIN OUT when Main Output Select (p. 17) is set to anything other
than LINE/PHONES.
* The speaker simulator effect is not applied to the sound output from
SUB OUT when Sub Output Select (p. 18) is set to anything other than
LINE/PHONES.
Center, 1–10
This simulates the microphone position.
Center
Simulates the condition that the microphone is set in the middle of
the speaker cone.
1–10
Simulates the condition that the microphone is moved away from
the center of the speaker cone.
Mic Level *1
0–100
Adjusts the volume of the microphone.
Direct Level *1
0–100
Adjusts the volume of the direct sound.
*1 You can make separate settings for Channel A and
Channel B.
29
Chapter 4
Middle *1
0–100
This turns off the speaker simulator.
Adjusts the distortion of the amp.
Bass *1
Explanation
Off
This sets the type of the guitar preamp.
Gain *1
0–120
Parameter/
Range
Chapter 4 Introduction to Effects and Parameters
Type List
Type
Type
This gives a mellow, clean sound.
BrightClean
A bright, clean tone.
TW CLEAN
This models a Fender Twin Reverb.
Models the sound of the Channel 2 RAW
Mode on the MESA/Boogie DUAL Rectifier.
R-FIER Vnt1
Models the sound of the Channel 2 VINTAGE Mode on the MESA/Boogie DUAL
Rectifier.
R-FIER Mdn1
Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL
Rectifier.
R-FIER Vnt2
Models the sound of the Channel 3 VINTAGE Mode on the MESA/Boogie DUAL
Rectifier.
R-FIER Mdn2
Models the sound of the Channel 3 MODERN Mode on the MESA/Boogie DUAL
Rectifier.
This models a Fender Pro Reverb.
Tweed
This models a Fender Bassman 4 x 10” Combo.
Warm Crunch
This gives a mellow, crunch sound.
CRUNCH
Blues
Wild Crunch
StackCrunch
R-FIER Raw
This is a sound suited to jazz.
This is a sound with flat response. Good for
acoustic guitar
Crunch
R-FIER Cln
Models the sound of the Channel 1 CLEAN
Mode on the MESA/Boogie DUAL Rectifier.
This is the sound of the Roland JC-120.
Full Range
Clean TWIN
Pro Crunch
R-FIER
Explanation
JC CLEAN
JC-120
Warm Clean
Jazz Combo
This is a crunch sound that can produce natural distortion.
This is a sound suited to blues.
T-AMP
T-AMP Clean
This models a Hughes & Kettner Triamp
AMP1.
T-AMP Crunch
This models a Hughes & Kettner Triamp
AMP2.
T-AMP Lead
This models a Hughes & Kettner Triamp
AMP3.
Edge Lead
A sharp lead sound.
This is a crunch sound with wild distortion.
This is a crunch sound with high gain.
COMBO
VO Drive
This models the drive sound of a VOX AC30TB.
VO Lead
This models the lead sound of the VOX AC30TB.
VO Clean
This models the clean sound of the VOX
AC-30TB.
MATCH Drive
This models the sound input to left input on
a Matchless D/C-30.
Fat MATCH
This models the sound of a Matchless with a
modified high gain.
MATCH Lead
This models the sound input to right input
on a Matchless D/C-30.
BG Lead
This models the lead sound of the MESA/
Boogie combo amp.
BG Drive
BG LEAD
Explanation
HiGAIN
SLDN
Drive Stack
Lead Stack
This models a Soldano SLO-100.
This is a drive sound with high gain.
This is a lead sound with high gain.
Heavy Lead
A powerful lead sound featuring extreme
distortion.
5150 Drive
This models the lead channel of a Peavey
EVH 5150.
METAL
Metal Stack
Metal Lead
This is a drive sound suited to metal.
This models a MESA/Boogie with TREBLE
SHIFT SW on.
Custom1
Custom amp 1
This models the rhythm channel of a
MESA/Boogie.
Custom2
Custom amp 2
BG Rhythm
Custom3
Custom amp 3
SmoothDrive
This is a smooth drive sound.
Mild Drive
This is a mellow drive sound.
MS1959 (I)
This models the sound input to Input I on a
Marshall 1959.
MS1959 (II)
This models the sound input to Input II on a
Marshall 1959.
MS1959 (I+II)
This models the sound of a Marshall 1959
with Inputs I and II connected in parallel.
MS HiGain
This models the sound of a Marshall with a
modified midrange boost.
Power Stack
This provides the sound of a stack amp with
active type tone circuitry.
MS STACK
30
This is a lead sound suited to metal.
CUSTOM
Chapter 4 Introduction to Effects and Parameters
OVERDRIVE/DISTORTION
This effect distorts the sound to create long sustain.
It provides 30 types of distortion and three different custom
settings.
Parameter/
Range
Explanation
On/Off
Off, On
Turns the OD/DS effect on/off.
Type
refer to Type List
Selects the type of distortion.
Drive
Adjusts the depth of distortion.
Bottom
Type
Explanation
Booster
This is a booster that works very well with
COSM amps.
Blues OD
This is a crunch sound of the BOSS BD-2.
Crunch
A lustrous crunch sound with an added element of amp distortion.
Natural OD
This is an overdrive sound that provides
distortion with a natural feeling.
Turbo OD
This is the high-gain overdrive sound of the
BOSS OD-2.
Fat OD
OD-1
T-Scream
Warm OD
This is a mellow overdrive sound.
This is the sound of the BOSS OD-1.
This models an Ibanez TS-808.
Overdrive with special mid range tone.
Distortion
This gives a basic, traditional distortion
sound.
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.
Mild DS
This is a distortion sound that provides a
mild distortion.
Tone
Drive DS
RAT
GUV DS
DST+
-50–+50
-50–+50
Adjusts the tone for the low frequency
range.
Adjusts the tone.
Turning this to the left produces a mild tone, while turning it to the
right creates a sharper tone.
Effect Level
0–100
Adjusts the volume of the overdrive/distortion sound.
Direct Level
0–100
Adjusts the volume of the direct sound.
This is a powerful distortion sound.
This models a Proco RAT.
This models an Marshall GUV’ NOR.
This models an MXR DISTORTION+.
Solid DS
This is a distortion sound featuring an edge
effect.
Mid DS
This distortion sound features a boosted
midrange.
Stack
A fat sound with an added element of a
stack amp’s distortion.
Modern DS
Power DS
R-MAN
Metal Zone
Heavy Metal
Sound of a large high gain amp.
Sound of Overdrive through a stack amp.
This models a ROCKMAN.
This is the sound of the BOSS MT-2.
This creates a heavier distortion sound.
Lead
Produces a distortion sound with both the
smoothness of an overdrive along with a
deep distortion.
Loud
This is a distortion sound with a boosted
low end.
Sharp
This is a distortion sound with a boosted
high end.
Mechanical
This distortion sound boosts the low and
high ends, yielding a mechanical-sounding
distortion.
‘60s FUZZ
Oct FUZZ
MUFF FUZZ
Custom1
Custom2
Custom3
This models a FUZZFACE.
This models an ACETONE FUZZ.
This models an Electro-Harmonix Big Muff
π.
Custom OD/DS 1
Custom OD/DS 2
Custom OD/DS 3
31
Chapter 4
0–120
Type List
Chapter 4 Introduction to Effects and Parameters
DELAY
Parameter/
Range
This effect adds delayed sound to the direct sound, giving
more body to the sound or creating special effects.
Parameter/
Range
Explanation
Hold
Up to 2.8 seconds of performance content is recorded, then played
back repeatedly. You can also layer this as you perform something
else, then record these together (overdub), allowing you to produce
what is called “sound-on-sound.”
* For more detail the operation, refer to“Using the HOLD (Hold Delay)”
(p. 34).
On/Off
Off, On
Turns the DELAY Effect on/off.
Type
see below
This selects which type of delay.
Single
Delay sound of 0 to 1800 ms delay time.
Pan
This delay is specifically for stereo output. This allows you to obtain
the tap delay effect that divides the delay time, then deliver them to
L and R channels.
fig.04-0050
Tap Time
Effect Level
DELAY
INPUT
Delay Time
OUTPUT L
OUTPUT R
* If you switch patches with the Type set to either Dual Series, Dual
Parallel, or Dual L/R 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.
* When the Type is switched from Modulate to Hold (or Hold to
Modulate), the following settings are switched to OFF and the held
sound is cleared.
• When FX (1 or 2) with FB (Feedbacker: p. 42) (OSC) selected is
ON
• When AR (Auto Riff: p. 48) Hold is ON
• When SH (Sound Hold: p. 51) Hold is ON
Delay Time
0 ms–1800 ms,
BPM
Feedback
Stereo
The direct sound is output from the left channel, and the effect sound
is output from the right channel.
Dual Series
This is a delay comprising two different delays connected in series.
Each delay time can be set in a range from 0 ms to 900 ms.
fig.04-0060
D1
D1: Delay 1
D2: Delay 2
D2
Dual Parallel
–BPM
[
] several times to display the Master BPM settings screen.
Tap Time
0%–100%
(Type = Pan)
Feedback
fig.04-0070
0–100
D1
This determines the delay time.
* When set to BPM, the value of each parameter will be set according to the
value of the Master BPM (p. 55) specified for each patch. This makes it
easier to achieve effect sound settings that match the tempo of the song
(synchronizing the time to twice or four times the time length of the BPM
when the set time is increased). When setting to BPM, press PARAMETER
This is a delay comprising two delays connected in parallel. Each delay time can be set in a range from 0 ms to 900 ms.
Adjusts the delay time of the left channel delay. This setting adjusts the L channel delay
time relative to the R channel delay time
(considered as 100%).
Adjusts the amount of feedback.
“Feedback” is returning a delay signal to the input. A higher value
will increase the number of the delay repeats.
D2
High Cut (High Cut Filter)
Dual L/R
This is a delay with individual settings available for the left and right
channels. Delay 1 goes to the left channel, Delay 2 to the right.
fig04-0080
D1
L
D2
R
Reverse
This produces an effect where the sound is played back in reverse.
Analog
This gives a mild analog delay sound. The delay time can be set within the range of 0 to 1800 ms
Tape
This setting provides the characteristic wavering sound of the tape
echo. The delay time can be set within the range of 0 to 1800 ms.
Warp
This simultaneously controls the delay sound’s feedback level and
volume to produce a totally unreal delay.
Modulate
This delay adds a pleasant wavering effect to the sound.
32
Explanation
700 Hz–11.0 kHz, Flat
This sets the frequency at which the high cut
filter begins to take effect.
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency. When it is set to “Flat,” the high
cut filter is off or has no effect.
Delay1 Time *1
0 ms–900 ms,
BPM
–BPM
This determines the delay time of the
Delay1.
* When set to BPM, the value of each parameter will be set according to the
value of the Master BPM (p. 55) specified for each patch. This makes it
easier to achieve effect sound settings that match the tempo of the song
(synchronizing the time to twice or four times the time length of the BPM
when the set time is increased). When setting to BPM, press PARAMETER
[
] several times to display the Master BPM settings screen.
Delay1 Feedback *1
0–100
Adjusts the amount of feedback of the Delay1.
A higher value will increase the number of the delay repeats.
Chapter 4 Introduction to Effects and Parameters
Parameter/
Range
Explanation
Delay1 HiCut (Delay 1 High Cut Filter) *1
700 Hz–11.0 kHz, Flat
This sets the frequency at which the high cut
filter of the Delay1 begins to take effect.
You can change the value in increments of ten by
pressing [SHIFT] so its indicator is lighted before you
rotate the PATCH/VALUE dial.
When it is set to “Flat,” the high cut filter is off or has no effect.
Delay1 Level *1
0–120
Adjusts the volume of the Delay1.
Delay2 Time *1
0 ms–900 ms,
BPM
–BPM
This determines the delay time of the
Delay2.
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Delay2 Feedback *1
0–100
Adjusts the amount of feedback of the
Delay2.
Delay2 Hicut (Delay 2 High Cut Filter) *1
700 Hz–11.0 kHz, Flat
• After [DELAY] is pressed several times, the interval
between presses of the button is then used as the delay
time setting.
* When Type is set to Dual Series or Dual Parallel, the delay
time for Delay 2 is changed; when set to Dual L/R, both
delay times are changed.
• You can change the Master BPM by setting the delay
time to the BPM and pressing [DELAY] several times.
* When the Type is set to Dual Series, Dual Parallel, or Dual
L/R, the delay time for Delay 2 is set to the BPM.
This sets the frequency at which the high cut
filter of the Delay2 begins to take effect.
When it is set to “Flat,” the high cut filter is off or has no effect.
Delay2 Level *1
0–120
Adjusts the volume of the Delay2.
Warp SW *2
Off, On
Turns the Warp on/off.
This parameter is assigned to the CTL pedal.
Warp Rise Time *2
0–100
Adjusts how rapidly the warped delay
sound rises.
Warp Feedback Depth *2
0–100
Adjusts the feedback level of the warped delay sound.
Warp E.Level Depth *2
0–100
Adjusts the volume of the warped delay
sound.
Mod. Rate (Modulation Rate) *3
0–100
Adjusts the modulation rate of the delay
sound.
Mod. Depth (Modulation Depth) *3
0–100
Adjusts the modulation depth of the delay
sound.
Effect Level
0–120
Adjusts the volume of the delay sound.
Direct Level
0–100
Adjusts the volume of the direct sound.
*1 Setting available when Type is set to Dual Series, Dual
Parallel, or Dual L/R.
*2 Setting available when Type is set to Warp.
*3 Setting available when Type is set to Modulate.
33
Chapter 4
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the time to twice or four times the time length of
the BPM when the set time is increased).
You can use [DELAY] as a tap input button (but only
while changing settings) if you first press [SHIFT] so its
indicator is lit (Shift: ON).
Chapter 4 Introduction to Effects and Parameters
CHORUS
Using the HOLD (Hold Delay)
* Recording and playback of performances and other operations
are carried out with pedals while Hold is in effect. Connect
external pedals (foot switches) or an FC-200.
1. Referring to p. 62–p. 67 of “Chapter 6 Using Pedals to
Control the Effects,” assign the following functions to
the connected external pedal (or foot switch) or FC-200
pedals.
Parameter/
Range
Explanation
On/Off
Off, On
Turns the CHORUS effect on/off.
Target: Hold Dly Rec/Dub
Source Mode: Normal
Mode
Target: Hold Dly Stop
Source Mode: Normal
Mono, Stereo1, Stereo2 Selection for the chorus mode.
2. Press [DELAY], then press PARAMETER [
so that “Type” is displayed.
][
]
* If the delay is off, pressing [DELAY] once switches the delay
on.
3. Rotate the PATCH/VALUE dial to select “Hold.”
* After switching to HOLD, you cannot perform any operation
during the 2.8-second period before the unit switches to
recording standby. Wait for at least 2.8 seconds before moving
on to the next step.
4. Press [EXIT] to return to the Play screen.
5. Press the pedal to which Hold Dly Rec/Dub is
assigned.
Recording starts when you press the pedal.
The bank indicated in the left part of the display flashes
while recording is in progress.
6. Press the pedal to which Hold Dly Rec/Dub is assigned
again to stop recording.
Playback of the recorded content begins simultaneously
(and the bank indicated in the left part of the display
lights).
* The maximum recording time is 2.8 seconds. If the recording
time exceeds 2.8 seconds, the recording stops automatically,
and the recorded content is then played back.
* An oscillating sound may be audible with extremely short
recording times.
7. When layering recordings, repeat Steps 5 and 6.
* The recorded content is cleared when the Type or patch is
switched to a different setting or when the power is turned off.
8. To return to recording standby, press the pedal to
which Hold Dly Stop is assigned.
The unit returns to recording standby, and the bank
indicated in the left part of the display goes blank for a
set interval and then flashes.
* When playback is stopped, the recorded content is erased.
* To start recording again, wait 2.8 seconds, then carry out step 5.
34
In this effect, a slightly detuned sound is added to the
original sound to add depth and breadth.
Mono
This chorus effect outputs the same sound from both L and R.
Stereo1
This is a stereo chorus effect that adds different chorus sounds to L
and R.
Stereo2
This is a stereo chorus effect produced by synthesizing the spatial
characteristics of the direct sound and the effect sound.
Rate
0–100,
BPM
–BPM
Adjusts the rate of the chorus effect.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Depth
0–100
Adjusts the depth of the chorus effect.
To use it for doubling effect, set the value to “0.”
Pre Delay
0.0 msec–40.0 msec
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).
Low Cut (Low Cut Filter)
Flat, 55 Hz–800 Hz
This sets the frequency at which the low cut
filter begins to take effect.
This lets you cut the low-end component below the set frequency to
create a clear, distinct low end, thereby bringing out the high end of
the effect. When “Flat” is selected, the low cut filter will have no effect.
High Cut (High Cut Filter)
700 Hz–11.0 kHz, Flat
This sets the frequency at which the high cut
filter begins to take effect.
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency. When “Flat” is selected, the
high cut filter will have no effect.
Effect Level
0–100
Adjusts the volume of the effect sound.
Chapter 4 Introduction to Effects and Parameters
REVERB
COMP (Compressor)
This effect adds reverberation to the sound.
This is an effect that produces a long sustain by evening out
the volume level of the input signal. You can switch it to a
“limiter” to suppress only the sound peaks and prevent
distortion.
Parameter/
Range
Explanation
On/Off
Off, On
Turns the REVERB effect on/off.
Type
see below
This selects the reverb type. Various different simulations of space are offered.
Parameter/
Range
Explanation
On/Off
Off, On
Turns the COMP effect on/off.
Type
Ambience
Compressor, Limiter
This selects whether the compressor or limiter is used.
Sustain (Type= Compressor)
Room
Adjusts the range (time) over which lowlevel signals are boosted. Larger values will
result in longer sustain.
Simulates the reverberation in a small room. Provides warm reverberations.
0–100
Hall1
Attack (Type= Compressor)
Simulates the reverberation in a concert hall. Provides clear and spacious reverberations.
0–100
Hall2
Simulates the reverberation in a concert hall. Provides warm reverberations.
Higher values result in s sharper attack, creating a more clearly defined sound.
Threshold (Type= Limiter)
Plate
Simulates plate reverberation (a reverb unit that uses the vibration of
a metallic plate). Provides a metallic sound with a distinct upper
range.
Spring
This simulates the sound of a guitar amp's built-in spring reverb.
Modulate
This reverb adds the wavering sound found in hall reverb to provide
an extremely pleasant reverb sound.
Reverb Time
0.1 sec–10.0 sec
0 msec–100 msec
0–100
Adjust this as appropriate for the input signal from your guitar.
When the input signal level exceeds this threshold level, limiting will
be applied.
Release (Type= Limiter)
0–100
Adjusts the time from when the signal level
drops below the threshold until when limiting is removed.
Tone
Adjusts the length (time) of reverberation.
-50–+50
Adjusts the time until the reverb sound appears.
0–100
Pre Delay
Adjusts the strength of the picking attack
when the strings are played.
Adjusts the tone.
Level
Adjusts the volume.
Low Cut (Low Cut Filter)
Flat, 55 Hz–800 Hz
This sets the frequency at which the low cut
filter begins to take effect.
This lets you cut the low-end component below the set frequency to
create a clear, distinct low end, thereby bringing out the high end of
the effect. When “Flat” is selected, the low cut filter will have no effect.
High Cut (High Cut Filter)
700 Hz–11.0 kHz, Flat
This sets the frequency at which the high cut
filter begins to take effect.
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency. When “Flat” is selected, the
high cut filter will have no effect.
Density
0–10
Adjusts the density of the reverb sound.
Effect Level
0–100
Adjusts the volume of the reverb sound.
Direct Level
0–100
Adjusts the volume of the direct sound.
35
Chapter 4
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.
Chapter 4 Introduction to Effects and Parameters
WAH
FX-1/FX-2
You can control the wah effect in real time by adjusting the
EXP pedal connected to the EXP PEDAL 1 or 2 jack or FC-200
EXP pedal.
With FX-1 and FX-2, you can select the effect to be used from
the following.
You can select the same effect for FX-1 and FX-2.
Effect
When you have an EXP pedal connected to the EXP PEDAL 1
jack or FC-200 EXP pedal, you can set the pedal so that it
automatically begins functioning as a wah pedal when this
effect is switched on (p. 63, p. 64).
Parameter/
Range
ACS
LM
TW
AW
TM
GS
TR
PH
FL
PAN
Explanation
On/Off
Off, On
Turns the WAH effect on/off.
Type
see below
This selects the wah type.
CRY WAH
This models the sound of the CRY BABY
wah pedal popular in the `70s.
VO WAH
Fat WAH
This models the sound of the VOX V846.
This a wah sound featuring a bold tone.
Light WAH
This wah has a refined sound with no unusual characteristics.
7String WAH
Wah featuring a broader range of variations
for the seven-string guitar.
Reso WAH
Custom1
Custom2
Custom3
This completely original effect offers enhancements on the characteristic resonances
produced by analog synth filters.
Custom wah 1
Custom wah 2
Custom wah 3
Pdl Position (Pedal Position)
0–100
Adjusts the position of the wah pedal.
Level
0–100
Adjusts the volume.
FX-1
VB
FX-2
Common UV
RM
SG
DF
STR
FB
AFB
HU
SL
WSY
SEQ
HR
PS
PB
OC
RT
FX-2
2CE
Only
AR
SYN
AC
SH
SDD
Advanced Compressor
p. 37
Limiter
p. 37
Touch Wah
p. 37
Auto Wah
p. 38
Tone Modify
p. 38
Guitar Simulator
p. 38
Tremolo
p. 39
Phaser
p. 39
Flanger
p. 40
Pan
p. 40
Vibrato
p. 40
Uni-V
p. 41
Ring Modulator
p. 41
Slow Gear
p. 41
Defretter
p. 41
Sitar Simulator
p. 42
Feedbacker
p. 42
Anti-Feedback
p. 43
Humanizer
p. 43
Slicer
p. 43
Wave Synth
p. 44
Sub Equalizer
p. 44
Harmonist
p. 45
Pitch Shifter
p. 46
Pedal Bend
p. 47
Octave
p. 47
Rotary
p. 47
2x2 Chorus
p. 48
Auto Riff
p. 48
Guitar Synth
p. 49
Acoustic Processor
p. 50
Sound Hold
p. 51
Sub Delay
p. 51
Parameter/
Range
Explanation
On/Off
Off, On
Switches the FX-1 (FX-2) effect on/off.
FX1/FX2 Select
see above
36
Selects the effect to be used.
Chapter 4 Introduction to Effects and Parameters
ACS (Advanced Compressor)
LM (Limiter)
This is an effect that produces a long sustain by evening out
the volume level of the input signal. You can also use it as a
“limiter” to suppress only the sound peaks and prevent
distortion.
The limiter attenuates loud input levels to prevent distortion.
Parameter/
Range
Explanation
Type
Parameter/
Range
Explanation
Type
see below
Selects the limiter type.
BOSS Limitr
Rack 160D
Vtg Rack U
This selects a stereo limiter.
see below
Selects the compressor type.
BOSS Comp
This models a BOSS CS-3.
Attack
Hi-BAND
This is a compressor that adds an even
stronger effect in the high end.
0–100
This is a compressor with a light effect.
This models a MXR DynaComp.
This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
Threshold
0–100
Fat
When applied heavily, this compressor effect provides a fat tone with a boosted
midrange.
Mild
When applied heavily, this compressor effect produces a sweet tone with the high end
cut.
Ratio
Stereo Comp
This selects a stereo compressor.
0–100
Adjusts the range (time) over which lowlevel signals are boosted. Larger values will
result in longer sustain.
Attack
0–100
Adjusts the strength of the picking attack.
Larger values will result in a sharper attack,
creating a more clearly defined sound.
Tone
-50–+50
Adjusts the tone.
Level
0–100
Adjusts the volume.
Adjusts the strength of the picking attack
when the strings are played.
Higher values result in s sharper attack, creating a more clearly defined sound.
ORANGE
Sustain
This models a UREI 1178.
Adjust this as appropriate for the input signal from your guitar.
When the input signal level exceeds this threshold level, limiting will
be applied.
1: 1–∞: 1
This selects the compression ratio used with
signals in excess of the threshold level.
Release
0–100
Adjusts the time from when the signal level
drops below the threshold until when limiting is removed.
Level
0–100
Adjusts the volume.
TW (Touch Wah)
You can produce a wah effect with the filter changing in
response to the guitar level.
Parameter/
Range
Explanation
Mode
LPF, BPF
Selects the wah mode.
LPF (Low Pass Filter)
This creates a wah effect over a wide frequency range.
BPF (Band Pass Filter)
This creates a wah effect in a narrow frequency range.
Polarity
Down, Up
Selects the direction in which the filter will
change in response to the input.
Up
The frequency of the filter will rise.
Down
The frequency of the filter will fall.
Sens
0–100
Adjusts the sensitivity at which the filter
will change in the direction determined by
the polarity setting.
Higher values will result in a stronger response. With a setting of
“0,” the strength of picking will have no effect.
37
Chapter 4
Light
D-Comp
This models a dbx 160X.
Chapter 4 Introduction to Effects and Parameters
Parameter/
Range
TM (Tone Modify)
Explanation
This changes the tone of the connected guitar.
Frequency
Adjusts the center frequency of the Wah effect.
0–100
Peak
Adjusts the way in which the wah effect applies to the area around the center frequency.
0–100
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.
Direct Level
0–100
Adjusts the volume of the direct sound.
Level
Parameter/
Range
Type
see below
Selects the type of tone modification.
Fat
Presence
Mild
Tight
Enhance
Fat tone with boosted mid range.
Resonator1, 2, 3
0–100
Explanation
Adjusts the volume of the effect sound.
Bright tone with boosted high-mid range.
Mild tone with the high end cut back.
Tone with the low frequencies cut.
Tone with the high frequencies boosted.
This produces a tone with greater power
and punch by adding resonance in the lowfrequency range and midrange.
Low
AW (Auto Wah)
-50–+50
This changes the filtering over a periodic cycle, providing an
automatic wah effect.
Parameter/
Range
High
-50–+50
Adjusts the tone for the High frequency
range
Resonance
Explanation
Mode
0–100
LPF, BPF
Adjusts the tone for the low frequency
range.
Selects the wah mode.
LPF (Low Pass Filter)
Level
This creates a wah effect over a wide frequency range.
0–100
This adjusts the strength of the low-end and
midrange resonance when Type is set to
Resonator 1, 2, or 3.
Adjusts the volume.
BPF (Band Pass Filter)
This creates a wah effect in a narrow frequency range.
Frequency
Adjusts the center frequency of the Wah effect.
0–100
Peak
Adjusts the way in which the wah effect applies to the area around the center frequency.
0 –100
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.
Rate
0–100,
BPM
–BPM
Adjusts the frequency of the auto wah.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
Adjusts the volume of the direct sound.
Level
0–100
38
Parameter/
Range
Adjusts the volume of the effect sound.
Explanation
Type
see below
Selects the type of the guitar simulator.
‘S’→’H’
Changes from a single-coil pickup tone to a
humbucking pickup tone.
‘H’→’S’
Changes from a humbucking pickup tone to
a mixed tone of two single-coil pickups.
‘H’→’HF’
Changes from a humbucking pickup tone to
a single-coil pickup half tone.
‘S’→Hollow
Changes a single-coil pickup tone to a fullacoustic tone with the body resonance added.
‘H’→Hollow
Changes a humbucking pickup tone to a
full-acoustic tone with the body resonance
added.
‘S’→AC
Changes a single-coil pickup tone to an
acoustic guitar tone.
‘H’→AC
Changes a humbucking pickup tone to an
acoustic guitar tone.
‘P’→AC
Changes a piezo pickup tone to an acoustic
guitar tone.
Adjusts the depth of the auto wah effect.
Direct Level
0–100
Simulation of the characteristics of particular guitar
components such as pickups and different guitar bodies
allows you to switch among a number of different guitar
types all while using a single guitar.
] several times to
Depth
0–100
GS (Guitar Simulator)
Chapter 4 Introduction to Effects and Parameters
Parameter/
Range
PH (Phaser)
Explanation
Low
Adjusts the tone for the low frequency
range.
-50–+50
High
Adjusts the tone for the High frequency
range
-50–+50
Body
Adjusts the way the body sounds when
Type is set to ‘S’ → Hollow, ‘H’ → Hollow,
‘S‘ → AC, ‘H’ → AC, or ‘P’ → AC.
0–100
The body sound increases as the value is raised; reducing the value
produces a tone similar to that from a piezo pickup.
By adding varied-phase portions to the direct sound, the
phaser effect gives a whooshing, swirling character to the
sound.
Parameter/
Range
Type
Selects the number of stages that the phaser
effect will use.
4 Stage
This is a four-phase effect. A light phaser effect is obtained.
8 Stage
This is an eight-phase effect. It is a popular
phaser effect.
Adjusts the volume.
12 Stage
This is a twelve-phase effect. A deep phase
effect is obtained.
Bi-Phase
This is the phaser with two phase shift circuits connected in series.
TR (Tremolo)
Rate
Tremolo is an effect that creates a cyclic change in volume.
0–100,
BPM
Parameter/
Range
Explanation
Wave Shape
0–100
Adjusts changes in volume level.
Rate
0–100,
BPM
–BPM
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Depth
0–100
Adjusts the depth of the effect.
–BPM
This sets the rate of the phaser effect.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Depth
0–100
Determines the depth of the phaser effect.
Manual
Adjusts the center frequency of the phaser
effect.
0–100
Resonance
Determines the amount of resonance (feedback).
0–100
Increasing the value will emphasize the effect, creating a more unusual sound.
Step Rate
Off, 0–100,
BPM
–BPM
This sets the cycle of the step function that
changes the rate and depth.
When it is set to a higher value, the change will be finer. Set this to
“Off” when not using the Step function.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Effect Level
0–100
Adjusts the volume of the phaser.
Direct Level
0–100
Adjusts the volume of the direct sound.
39
Chapter 4
see below
Level
0–100
Explanation
Chapter 4 Introduction to Effects and Parameters
FL (Flanger)
PAN
The flanging effect gives a twisting, jet-airplane-like
character to the 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.
Parameter/
Range
Explanation
Rate
Parameter/
Range
0–100,
BPM
–BPM
This sets the rate of the flanging effect.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Depth
0–100
Determines the depth of the flanging effect.
Manual
0 –100
Adjusts the center frequency at which to apply the effect.
Resonance
0–100
Increasing the value will emphasize the effect, creating a more unusual sound.
Separation
0–100
Adjusts the diffusion. The diffusion increases as the value increases.
Low Cut (Low Cut Filter)
Flat, 55 Hz–800 Hz
This sets the frequency at which the low cut
filter begins to take effect.
This lets you cut the low-end component below the set frequency to
create a clear, distinct low end, thereby bringing out the high end of
the effect. When “Flat” is selected, the low cut filter will have no effect.
Effect Level
0–100
Adjusts the volume of the flanger.
Direct Level
0–100
Wave Shape
0–100
Adjusts changes in volume level.
Rate
0–100,
BPM
–BPM
Adjusts the volume of the direct sound.
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Depth
0–100
Determines the amount of resonance (feedback).
Explanation
Adjusts the depth of the effect.
VB (Vibrato)
This effect creates vibrato by slightly modulating the pitch.
Parameter/
Range
Explanation
Rate
0–100,
BPM
–BPM
Adjusts the rate of the vibrato.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Depth
0–100
Adjusts the depth of the vibrato.
Trigger
Off, On
This selects on/off of the vibrato.
* It is assumed that this parameter will be assigned (p. 66) to the foot
switch.
Rise Time
0–100
40
This sets the time passing from the moment
the trigger is turned on until the set vibrato
is obtained.
Chapter 4 Introduction to Effects and Parameters
UV (Uni-V)
SG (Slow Gear)
Although this resembles a phaser effect, it also provides a
unique undulation that you can’t get with a regular phaser.
This produces a volume-swell effect (“violin-like” sound).
Parameter/
Range
Parameter/
Range
Explanation
Explanation
Sens
Rate
0–100
0–100,
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.
BPM
–BPM
Adjusts the rate of the Uni-V effect.
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
Adjusts the volume.
This simulates a fretless guitar.
Parameter/
Range
RM (Ring Modulator)
Tone
This creates a bell-like sound by ring-modulating the guitar
sound with the signal from the internal oscillator. The sound
will be unmusical and lack distinctive pitches.
-50–+50
Explanation
Normal, Intelligent
This selects the mode for the ring modulator.
Normal
This is a normal ring modulator.
Intelligent
By ring-modulating the input signal, a bell like sound is created. The
intelligent ring modulator changes the oscillation frequency according to the pitch of the input sound and therefore produces a sound
with the sense of pitch, which is quite different from “Normal.” This
effect does not give a satisfactory result if the pitch of the guitar
sound is not correctly detected. So, you must use single notes, not
chords.
Adjusts the amount of blurring between the
notes.
This controls the input sensitivity of the defretter.
Attack
0–100
Mode
Explanation
Sens
0–100
Parameter/
Range
Adjusts the time needed for the volume to
reach its maximum from the moment you
begin picking.
DF (Defretter)
Adjusts the depth of the Uni-V effect.
Level
0–100
0–100
] several times to
Depth
0–100
Rise Time
Adjusts the attack of the picking sound.
Depth
0–100
This controls the rate of the harmonics.
Resonance
0–100
Adds a characteristically resonant quality to
the sound.
Effect Level
0–100
Adjust the volume of the defretter sound.
Direct Level
0–100
Adjust the volume of the direct sound.
Frequency
0–100
Adjusts the frequency of the internal oscillator.
Effect Level
0–100
Adjusts the volume of the effect sound.
Direct Level
0–100
Adjusts the volume of the direct sound.
41
Chapter 4
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
Adjusts the sensitivity of the slow gear.
Chapter 4 Introduction to Effects and Parameters
STR (Sitar Simulator)
FB (Feedbacker)
This simulates the sound of the sitar.
This allows you to use feedback playing techniques.
Parameter/
Range
Explanation
Tone
-50–+50
This adjusts the tone.
The high end is boosted as the value increases.
Sens
0–100
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.
Depth
0–100
This adjusts the amount of effect applied.
Resonance
0–100
This adjusts the undulation of the resonance.
Buzz
0–100
Adjusts the amount of characteristic buzz
produced by the “buzz bridge” when the
strings make contact with it.
Effect Level
0–100
* You can use the foot switch to switch the effect on and off. For
more details, refer to p. 66.
Parameter/
Range
Explanation
Mode
OSC, Natural
Select either oscillator “OSC” or natural
“Natural.”
OSC (Oscillator)
An artificial feedback sound will be created internally.
When OSC is selected, the effect is activated after a single note is
played and the note stabilizes. A feedback effect is created when the
effect switches on; the feedback disappears when the OSC effect
switches off.
Natural
Analyzes the pitch of the guitar sound being input, and then creates
a feedback sound.
Rise Time *1
This determines the time needed for the volume of the feedback sound to reach its maximum from the moment the effect is turned
on.
0–100
Adjust the volume of the sitar sound.
Direct Level
0–100
* Note that the notes you want to apply feedback to must be
played singly and cleanly.
Rise Time (▲) *1
Adjust the volume of the direct sound.
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.
0–100
F.B.Level (Feedback Level)
0–100
Adjusts the volume of the feedback sound.
F.B.Level (▲) *1
Adjusts the volume of the one octave higher
feedback sound.
0–100
Vibrato Rate *1
0–100,
BPM
–BPM
Adjusts the rate of the vibrato when the
feedbacker is on.
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Vibrato Depth *1
0–100
Adjusts the depth of the vibrato when the
feedbacker is on.
*1 Setting available with Mode set to OSC.
42
Chapter 4 Introduction to Effects and Parameters
AFB (Anti-feedback)
This prevents the acoustic feedback that can be produced by
the body resonances of a guitar.
Parameter/
Range
Explanation
Freq1–3 (Frequency 1–3)
Set the fixed frequency point at which feedback will be cancelled.
0–100
Parameter/
Range
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
0–100
Depth1–3
Manual *3
0–100
This can create human vowel-like sounds.
Parameter/
Range
Adjusts the depth of the effect.
This determines the point where the two
vowels are switched.
0–100
When it is set to “50,” vowel 1 and vowel 2 are switched in the same
length of time. When it is set to lower than “50,” the time for vowel
1 is shorter. When it is set to higher than “50,” the time for vowel 1 is
longer.
Level
0–100
Adjusts the volume.
Explanation
*1 Setting available with Mode set to Picking or Auto.
Mode
Picking, Auto,
Random
*2 Setting available with Mode set to Picking.
This sets the mode that switches the vowels.
*3 Setting available with Mode set to Auto.
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
By adjusting the rate and depth, two vowels (Vowel 1 and Vowel 2)
can be switched automatically.
SL (Slicer)
This consecutively interrupts the sound to create the
impression that a rhythm backing phrase is being played.
Random
Five vowels (a, e, i, o, u) are called out at random by adjusting the
rate and depth.
Vowel 1 *1
a, e, i, o, u
Parameter/
Range
Explanation
Pattern
Selects the first vowel.
fig.04-061d
Select the slice pattern that will be used to
cut the sound.
P1–P20
Rate
0–100,
BPM
Vowel 1
Vowel 2
Vowel 2 *1
a, e, i, o, u
Selects the second vowel.
Sens *2
0–100
Adjusts the sensitivity of the humanizer.
When it is set to a lower value, no effect of the humanizer is obtained
with weaker picking, while stronger picking produces the effect.
When it is set to a higher value, the effect of the humanizer can be obtained whether the picking is weak or strong.
Rate
0–100,
BPM
–BPM
Adjusts the cycle for changing the two vowels.
–BPM
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 (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Trigger Sens
0–100
Adjust the sensitivity of triggering.
With low settings of this parameter, softly picked notes will not retrigger the phrase (i.e., the phrase will continue playing), but strongly picked notes will retrigger the phrase so that it will playback from
the beginning. With high settings of this parameter, the phrase will
be retriggered even by softly picked notes.
43
Chapter 4
HU (Humanizer)
] several times to
Depth
You can set up to three cancellation points.
Adjusts the degree of the anti-feedback at
each of the three cancellation points.
Explanation
Chapter 4 Introduction to Effects and Parameters
WSY (Wave Synth)
SEQ (Sub Equalizer)
This is a synth sound that processes the guitar input signal.
This adjusts the tone as a sub equalizer. A parametric type is
adopted for the high-middle and low-middle range.
Parameter/
Range
Explanation
Parameter/
Range
Wave
Saw, Square
Selects a wave type which the synth sound
is based.
Saw
Creates a synth sound with a saw waveform (
).
Square
Creates a synth sound with the square waveform (
).
Cutoff Freq (Cutoff Frequency)
0–100
Adjusts the frequency where the harmonics
contents of the sound are cut off.
Resonance
0–100
This adjusts the amount of resonance (and
the tone coloration) in the synth sound.
The higher the value, the more the synth tone coloration is emphasized.
FLT.Sens (Filter Sensitivity)
0–100
This adjusts the amount of filtering applied
in response to the input.
FLT.Decay (Filter Decay)
0–100
This sets the time needed for the filter to finish its sweep.
FLT.Depth (Filter Depth)
0–100
Adjusts the depth of the filter.
When the value is higher, the filter will change more drastically.
Low Cut (Low Cut Filter)
Flat, 55 Hz–800 Hz
Low EQ
-20 dB–+20 dB
Adjusts the low frequency range tone.
Low-Middle Frequency
20.0 Hz–10.0 kHz
Specify the center of the frequency range
that will be adjusted by the “Low-Middle
EQ.”
Low-Middle Q
0.5–16
Adjusts the width of the area affected by the
EQ centered at the “Low-Middle Frequency.”
Higher values will narrow the area.
Low-Middle EQ
-20 dB–+20 dB
Adjusts the “Low-Middle Frequency” range
tone.
High-Middle Frequency
20.0 Hz–10.0 kHz
Adjusts the volume of the synth sound.
High-Middle Q
Adjusts the volume of the direct sound.
0.5–16
Direct Level
0–100
This sets the frequency at which the low cut
filter begins to take effect.
This lets you cut the low-end component below the set frequency to
create a clear, distinct low end, thereby bringing out the high end of
the effect. When “Flat” is selected, the low cut filter will have no effect.
Synth Level
0–100
Explanation
Specify the center of the frequency range
that will be adjusted by the “High-Middle
EQ.”
Adjusts the width of the area affected by the
EQ centered at the “High-Middle Frequency.”
Higher values will narrow the area.
High-Middle EQ
-20 dB–+20 dB
Adjusts the “High-Middle Frequency”
range tone.
High EQ
-20 dB–+20 dB
Adjusts the high frequency range tone.
High Cut (High Cut Filter)
700 Hz–11.0 kHz, Flat
This sets the frequency at which the high cut
filter begins to take effect.
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency. When it is set to “Flat,” the high
cut filter is off or has no effect.
Level
-20 dB–+20 dB
44
Adjusts the volume before the equalizer.
Chapter 4 Introduction to Effects and Parameters
FX-2
Parameter/
Range
You can use the following effects in FX-2 in addition to
whatever effect is shared by FX-1 and FX-2.
Pre Delay *1
0 ms–300 ms,
BPM
Effect
–BPM
harmonist
p. 45
Pitch Shifter
p. 46
Pedal Bend
p. 47
Octave
p. 47
Rotary
p. 47
2 x 2 Chorus
p. 48
Auto Riff
p. 48
Guitar Synth
p. 49
Acoustic Processor
p. 50
0–100
Sound Hold
p. 51
Level *1
Sub Delay
p. 51
0–100
Adjusts the time from when the direct
sound is heard until the harmonist sounds
are heard. Normally you can leave this set at
“0ms.”
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the time to twice or four times the time length of
the BPM when the set time is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Feedback
Adjusts the feedback amount of the harmonist sound.
Adjusts the volume of the harmony sound.
Key
Parameter/
Range
Explanation
On/Off
Off, On
Switches the FX-2 effect on/off.
C (Am)–B (G#m)
Specify the key of the song you are playing.
By specifying the key, you can create harmonies that fit the key of the song.
The key setting corresponds to the key of the song (#, b) as follows.
fig.04-0090
FX2 Select
p. 36, see above
Selects the effect to be used.
HR (Harmonist)
“Harmonist” is an effect where the amount of shifting is
adjusted according to an analysis of the guitar input,
allowing you to create harmonics based on diatonic scales.
* Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
Parameter/
Range
Direct Level
Explanation
Voice
1-Voice, 2-Mono,
2-Stereo
0–100
Adjusts the volume of the direct sound.
*1 HR1 and HR2 are set individually.
This selects the number of voices for the
pitch shift sound (harmony).
1-Voice
One-voice pitch-shifted sound output in monaural.
2-Mono
Two-voice pitch-shifted sound (HR1, HR2) output in monaural.
2-Stereo
Two-voice pitch-shifted sound (HR1, HR2) output through left and
right channels.
Harmony *1
-2 oct–+2 oct,
Scale 1–Scale29
This determines the pitch of the sound added to the input sound, when you are making
a harmony.
It allows you to set it by up to 2 octaves higher or lower than the input sound. When the scale is set to “Scale 1–Scale29,” this parameter
sets the user scale number to be used.
45
Chapter 4
HR
PS
PB
OC
RT
2CE
AR
SYN
AC
SH
SDD
Explanation
Chapter 4 Introduction to Effects and Parameters
Creating Harmonist Scales (User Scale)
PS (Pitch Shifter)
When “Harmony” is set to any value from -2oct to +2oct, and
the harmony does not sound the way you intend, use a “User
scale.”
This effect changes the pitch of the original sound (up or
down) within a range of two octaves.
Parameter/
Range
You can set any of 29 different “User scales.”
1. Press [FX-2], then press PARAMETER [
that “FX Select” is displayed.
][
] so
2. Rotate the PATCH/VALUE dial to select “HR.”
Explanation
Voice
1-Voice, 2-Mono,
2-Stereo
Selects the number of voices for the pitch
shift sound.
1-Voice
3. Press PARAMETER [
][
] to select “HR1
Harm” (or “HR2 Harm”), then rotate the PATCH/
VALUE dial to select a setting from “Scale 1-29.”
4. Press PARAMETER [
] a number of times so that
the User scale settings screen is displayed.
fig.04-0100d
One-voice pitch-shifted sound output in monaural.
2-Mono
Two-voice pitch-shifted sound (PS1, PS2) output in monaural.
2-Stereo
Two-voice pitch-shifted sound (PS1, PS2) output through left and
right channels.
Mode *1
Fast, Medium, Slow,
Mono
5. Press PARAMETER [
][
] to move the cursor,
then rotate the PATCH/VALUE dial to set the User
scale.
A chord can be input with a normal pitch shifter. The response is
slower in the order of Fast, Medium and Slow, but the modulation is
lessened in the same order.
“Mono” is used for inputting single notes.
When the pitch is being changed using Assign (p. 66), this provides
the same effect as a pedal bend.
User:
Pitch *1
You can change the number of the user scale.
-24–+24
DIR (Direct):
Fine *1
Sets the note name of the input sound. You can also play
individual notes on the guitar and let the GT-PRO
interpret the note name.
EFF (Effect):
Adjusts the amount of pitch shift (the
amount of pitch change) in semitone steps.
-50–+50
Make fine adjustments to the pitch shift.
The amount of the change in the Fine “100” is equivalent to that of
the Pitch “1.”
Pre Delay *1
Sets the note name of the output sound.
0 ms –300 ms,
The triangle next to the note name indicates the octave.
BPM
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.
Selection for the pitch shifter mode.
–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
“0ms.”
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the time to twice or four times the time length of
the BPM when the set time is increased).
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Feedback
0–100
Adjusts the feedback amount of the pitch
shift sound.
Level *1
0–100
Adjusts the volume of the pitch shift sound
Direct Level
0–100
Adjusts the volume of the direct sound.
*1 With Voice set to 2-Mono or 2-Stereo, you can select two
sounds.
46
Chapter 4 Introduction to Effects and Parameters
PB (Pedal Bend)
RT (Rotary)
This lets you use the pedal to get a pitch bend effect.
This produces an effect like the sound of a rotary speaker.
The EXP pedal automatically switches to the pedal bend
function when PB is selected.
* Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
Parameter/
Range
Speed Sel (Speed Select)
Slow, Fast
When you have an EXP pedal connected to the EXP PEDAL 1
jack or FC-200 EXP pedal, you can set the pedal so that it
automatically begins functioning as a pedal bend when this
effect is switched on (p. 63, p. 64).
0–100,
BPM
–BPM
Pitch Min
-24–+24
This sets the pitch at the point where the expression pedal is fully lifted.
Pitch Max
-24–+24
This sets the pitch at the point where the expression pedal is all the way down.
Pdl Position (Pedal Position)
0–100
Rate (Fast)
0–100
BPM
–BPM
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
0–100
Adjusts the volume of the pitch bend sound.
Fall Time
Adjusts the volume of the direct sound.
0–100
This parameter adjusts the time it takes for
the rotation speed to change when switched
from “Slow” to “Fast.”
This parameter adjusts the time it takes for
the rotation speed to change when switched
from “Fast” to “Slow.”
Depth
OC (Octave)
0–100
This adds a note one octave lower, creating a richer sound.
Parameter/
Range
] several times to
Rise Time
Direct Level
0–100
This parameter adjusts the speed of rotation
when set to “Fast.”
* When the Rate (Slow) or Rate (Fast) set to BPM, the value of each
parameter will be set according to the value of the Master BPM (p. **)
specified for each patch. This makes it easier to achieve effect sound
settings that match the tempo of the song (synchronizing the cycle to
one-half or one-fourth of the BPM when the set cycle rate is increased).
Adjusts the pedal position for pedal bend.
Effect Level
This parameter adjusts the speed of rotation
when set to “Slow.”
This parameter adjusts the amount of depth
in the rotary effect.
Explanation
Range
Range 1, 2, 3, 4
This selects the pitch range for the input
sound to which you want to add the effects.
Range 1
7th string, open (B) to 1st string, 24th fret (E)
Range 2
7th string, open (B) to 1st string, 12th fret (E)
Range 3
7th string, open (B) to 1st string, open (E)
Range 4
7th string, open (B) to 4th string, 2nd fret (E)
Octave Level
0–100
Adjusts the volume of the sound one octave
below.
Direct Level
0–100
Adjusts the volume of the direct sound.
47
Chapter 4
Explanation
This parameter changes the simulated
speaker’s rotating speed (Slow or Fast).
Rate (Slow)
0–100,
Parameter/
Range
Explanation
Chapter 4 Introduction to Effects and Parameters
2CE (2 x 2 Chorus)
AR (Auto Riff)
Two separate stereo chorus units are used for the lowfrequency and high-frequency ranges in order to create a
more natural chorus sound.
This allows you to automatically produce a phrase simply by
picking a single note. This can be used to easily play
extremely rapid phrases.
Parameter/
Range
Explanation
Xover f (Crossover Frequency)
100 Hz–4.00 kHz
This parameter sets the frequency at which
the frequency components of the direct
sound are divided into bass and treble
bands.
Low Rate
0–100,
BPM
–BPM
Adjust the speed of the chorus effect for the
low frequency range.
] several times to display the Master BPM settings screen.
Low Depth
Low Pre Delay
0.0 msec–40.0 msec
Parameter/
Range
Preset1–Preset30,
User1–User10
Adjust the time from when the low frequency range direct sound is output until the effect sound is output.
Tempo
0–100,
BPM
–BPM
Adjust the speed of the chorus effect for the
high frequency range.
* When set to BPM, the value of each parameter will be set according to the
value of the Master BPM (p. 55) specified for each patch. This makes it
easier to achieve effect sound settings that match the tempo of the song
(synchronizing the cycle to one-half or one-fourth of the BPM when the
set cycle rate is increased). When setting to BPM, press PARAMETER
[
] several times to display the Master BPM settings screen.
High Depth
0–100
Adjust the depth of the chorus effect for the
high frequency range.
If you wish to use this as a doubling effect, use a setting of “0.”
High Pre Delay
0.0 msec–40.0 msec
Adjust the time from when the high frequency range direct sound is output until
the effect sound is output.
Adjusts the speed of the phrase.
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
0–100
0–100,
–BPM
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the cycle to one-half or one-fourth of the BPM
when the set cycle rate is increased).
Low Level
High Rate
If “Loop” is turned “On,” the phrase will be
played back continuously.
Off, On
Sens
Adjust the volume of the low frequency
range.
Select the phrase.
Loop
Extending the pre-delay will produce the sensation of multiple
sounds (doubling effect).
0–100
Explanation
User-programmed phrases are used when User 1-10 is selected.
BPM
Adjust the depth of the chorus effect for the
low frequency range. If you wish to use this
as a doubling effect, use a setting of “0.”
0–100
* Reception of large amounts of MIDI data while Auto Riff is
playing may result in disturbances in the sound.
Phrase
* When set to BPM, the value of each parameter will be set according to the
value of the Master BPM (p. 55) specified for each patch. This makes it
easier to achieve effect sound settings that match the tempo of the song
(synchronizing the cycle to one-half or one-fourth of the BPM when the
set cycle rate is increased). When setting to BPM, press PARAMETER
[
* Because of the need to analyze the pitch, chords (two or more
sounds played simultaneously) cannot be played.
] several times to
Adjust the sensitivity of triggering.
With low settings of this parameter, softly picked notes will not retrigger the phrase (i.e., the phrase will continue playing), but strongly picked notes will retrigger the phrase so that it will playback from
the beginning. With high settings of this parameter, the phrase will
be retriggered even by softly picked notes.
No retriggering occurs when the value is set to “0.”
Key *1
C (Am)–B (G#m)
Select the key of the song that you wish to
play.
Attack
0–100
By adding an attack to each note of the
phrase you can produce a sensation as
though the notes were being picked.
Hold
Off, On
If you turn hold “On” after you pick a note,
the effect sound will continue even after
there is no input signal.
Effect Level
0–100
Adjusts the volume of the phrase.
Direct Level
Extending the pre-delay will produce the sensation of multiple
sounds (doubling effect).
0–100
High Level
*1 Setting available with Phrase set to Preset1–30.
0–100
48
Adjust the volume of the high frequency
range.
Adjusts the volume of the direct sound.
Chapter 4 Introduction to Effects and Parameters
Creating Original Phrases
(User Phrase)
SYN (Guitar Synth)
In addition to the 30 different prepared phrases, you can also
create up to ten of your own original phrases (User phrases).
1. Press [FX-2], then press PARAMETER [
that “FX Select” is displayed.
][
] so
2. Rotate the PATCH/VALUE dial to select “AR.”
3. Press [FX-2] a number of times to select “Phrase,” then
rotate the PATCH/VALUE dial to select “User 1–10.”
fig.04-0110d
* When you use a guitar synthesizer, observe the following
points.
• It does not work properly when a chord is played. Be sure
to mute all the other strings and play in a single note.
• When you are to play the next string while a certain
sound is still playing, perfectly mute the previous sound
then play the next one with a clear attack.
• If the unit cannot detect the attack, it may not sound
correctly.
Parameter/
Range
Chapter 4
4. Press PARAMETER [
] a number of times until you
have the User Phrase settings screen displayed.
This detects the pitch of an electric guitar and outputs a
synthesizer sound.
Explanation
Sens
0–100
5. Press PARAMETER [
][
] to move the cursor,
then rotate the PATCH/VALUE dial to set the User
phrase.
Adjusts the input sensitivity.
The response of the internal sound source is better with a higher sensitivity value, but the malfunctions will be increased on the other
hand. So, try to set it as high as possible without causing malfunction.
Wave
User:
specify the user phrase number.
Square, Saw, Brass,
Bow
This selects a wave type that is the source of
the guitar synthesizer.
IN:
Square
Sets the note name of the input sound. You can also play
individual notes on the guitar and let the GT-PRO judge
the note name.
The unit detects the pitch and attack information from the input guitar sound, then send the square waveform (
) from the internal sound generator.
STEP:
The unit detects the pitch and attack information from the input guitar sound, then send the saw waveform (
) from the internal
sound generator.
Sets the step of the phrase. You can also play on the
guitar and put the step forward.
Saw
Brass
The unit directly processes the input guitar sound and creates a guitar synthesizer sound. It gives a quick sound rise and send the sound
with a sharp edge.
OUT:
Range
Specify the note name of the output
sound. The minus (-) and plus (+) sym-C –-B, C, +Db – +C
bols indicate sounds above or below the
set note name.
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.
–
Indicates a tie. This carries over the same
note from the previous step.
end
Determines the last step. The step immediately before the one for which “end”
has been set becomes the actual last step.
Bow
The unit directly processes the input guitar sound and creates a guitar synthesizer sound. It outputs a soft sound without attack.
Chromatic *1
Off, On
This switches on or off the chromatic function.
When it is on, the pitch change of the synthesizer sound is in semitone steps. This does not respond to pitch changes less than a semitone, such as what might be obtained with bending or vibrato. Thus,
this is effectively used for realistically playing musical instruments
whose pitch will change in steps greater than a semitone, such as a
keyboard.
Octave Shift *1
0, -1, -2
This allows you to shift the pitch of the internal sound module in an octave step from the
guitar sound.
PWM Rate (Pulse Width Modulation Rate) *2
0–100
This gives breadth or fatness to the sound by
applying modulation to the waveform (only
to Square) in the internal sound module.
A higher value will quicken the rate of the modulation.
49
Chapter 4 Introduction to Effects and Parameters
Parameter/
Range
Explanation
PWM Depth (Pulse Width Modulation Depth) *2
0–100
Adjusts the depth of the PWM.
When it is set to “0,” no PWM effect is obtained.
Cutoff Frequency
0–100
Adjusts the frequency where the harmonics
contents of the sound are cut off.
Resonance
0–100
Adjusts how much of the harmonics contents around the cutoff frequency should be
emphasized.
Filter Sens
0–100
Adjusts the sensitivity of the filter.
When it is set to a lower value, the filter is affected only with stronger
picking. When it is set higher, the filter changes even with weaker
picking. When it is set to “0,” the depth of the filter will be the same
no matter how the picking strength may be.
Filter Decay
0–100
This sets the time needed for the filter to finish its sweep.
Filter Depth
-100–+100
Adjusts the depth of the filter.
When the value is higher, the filter will change more drastically. The
polarity of the filter will be opposite with “+” and “-.”
Attack
Decay, 0–100
Adjusts the time needed for a synthesizer
sound to reach its maximum.
When it is set to a lower value, the sound will rise quickly. When it
is set higher, the sound will rise slowly. When it is set to “Decay,” the
sound will rise quickly and turn to a Release status regardless of the
input of the guitar sound.
* When “Brass” or “Bow” is selected for the wave, the attack time will
not be quicker from a certain level even if the attack is set to “Decay” or
“0.”
Release
0–100
Velocity
0–100
0–100
*2 Parameter setting included when Wave is set to
“Square.”
AC (Acoustic Processor)
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/
Range
Small, Medium,
Bright, Power
This is the sound of a small-bodied acoustic guitar.
Medium
This is a standard, unadorned acoustic guitar sound.
Bright
This is a bright acoustic guitar sound.
Power
This is a powerful acoustic guitar sound.
Bass
50
Adjusts the low-end balance.
Middle
-50–+50
Adjusts the midrange balance.
Middle Freq
20.0 Hz–10.0 kHz
Specifies the frequency range to be adjusted
with Middle.
Treble
Adjusts the high-end balance.
Presence
-50–+50
0–100
* It is assumed that this parameter will be assigned (p. 66) to the foot
switch.
Selects the modeling type.
Small
Hold *1
If you turn on the hold while a synthesizer sound is being output, the
synthesizer sound will be held until you turn it off.
Explanation
Type
Level
The hold function can sustain the output of
the synthesizer sound.
Adjusts the volume of the direct sound.
*1 Parameter setting included when Wave is set to
“Square” or “Saw.”
When it is set to high, the volume change will be greater depending
on the picking strength. When it is set to “0,” no volume change is
caused even by changing the picking manner.
Off, On
Adjusts the volume of the synthesizer
sound.
Direct Level
-50–+50
This adjusts the amount of the volume
change of the synthesizer sound.
Explanation
Synth Level
-50–+50
This determines the time needed for the
synthesizer sound to reach zero from the
moment the input of the guitar sound is
completed.
* When “Brass” or “Bow” is selected for the wave, the guitar signal itself
is processed. That is, the synthesizer sound will go down when the
guitar signal goes down no matter how long the release may be set.
0–100
Parameter/
Range
Adjusts the balance in the extended upper
range.
Adjusts the volume.
Chapter 4 Introduction to Effects and Parameters
EQ (Equalizer)
SH (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.
Adjusts the tonal quality. A parametric type equalizer is used
for the upper and lower midrange.
Parameter/
Range
On/Off
Off, On
Parameter/
Range
Turns the EQ on/off.
Low Cut (Low Cut Filter)
Explanation
Flat, 55 Hz–800 Hz
Hold
Off, On
Explanation
Switches the hold sound on and off.
This sets the frequency at which the low cut
filter begins to take effect.
This lets you cut the low-end component below the set frequency to
create a clear, distinct low end, thereby bringing out the high end of
the effect. When “Flat” is selected, the low cut filter will have no effect.
Rise Time
Low EQ
0–100
Adjusts how rapidly the Sound Hold sound
is produced.
-20 dB–+20 dB
Adjusts the volume of the hold sound.
20.0 Hz–10.0 kHz
Effect Level
0–120
This is a delay with the maximum delay time of 400 ms. This
effect is useful for making the sound fatter.
BPM
–BPM
Adjusts the width of the area affected by the
EQ centered at the “Lo-Middle frequency.”
Higher values will narrow the area.
Higher values will narrow the area.
-20 dB–+20 dB
Adjusts the low-middle frequency range
tone.
High-Middle Frequency
Adjusts the delay time.
20.0 Hz–10.0 kHz
When setting to BPM, press PARAMETER [
display the Master BPM settings screen.
] several times to
Feedback
Adjusts the volume that is returned to the
input.
Feedback refers to returning the delayed signal back into the input
of the delay. Higher settings will result in more delay repeats.
Specify the center of the frequency range
that will be adjusted by the “Hi-MidDle
EQ.”
High-Middle Q
0.5–16
Adjusts the width of the area affected by the
EQ centered at the “Hi-Middle frequency.”
Higher values will narrow the area.
Higher values will narrow the area.
High-Middle EQ
-20 dB–+20 dB
Adjusts the high-middle frequency range
tone.
High EQ
-20 dB–+20 dB
Adjusts the high frequency range tone.
High Cut (High Cut Filter)
Effect Level
0–120
Specify the center of the frequency range
that will be adjusted by the “Lo-Middle
EQ.”
Low-Middle EQ
* When set to BPM, the value of each parameter will be set according to
the value of the Master BPM (p. 55) specified for each patch. This makes
it easier to achieve effect sound settings that match the tempo of the
song (synchronizing the time to twice or four times the time length of
the BPM when the set time is increased).
0–100
0.5–16
Explanation
Delay Time
0 ms–400 ms,
Low-Middle Frequency
Low-Middle Q
SDD (Sub Delay)
Parameter/
Range
Adjusts the low frequency range tone.
Adjusts the volume of delay sound.
700 Hz–11.0kHz, Flat
This sets the frequency at which the high cut
filter begins to take effect.
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency. When “Flat” is selected, the
high cut filter will have no effect.
Level
-20 dB–+20 dB
Adjusts the volume before the equalizer.
51
Chapter 4
Normally, this is controlled with the foot switch connected to the
CTL 1/2 jack or CTL 3/4 jack or assigned to the FC-200’s CTL pedal
(p. 66).
Chapter 4 Introduction to Effects and Parameters
LOOP (External Effects Loop) 1/2
This allows you to connect an external effects device to the
LOOP 1/2 SEND and RETURN jacks and use it as part of the
GT-PRO’s effects.
You can get “stereo” effects by using two sets of SEND/
RETURN jacks. This is particularly effective when you are
connecting spatial effects.
* You cannot set LOOP 1 and LOOP 2 separately to different
positions in Effect Chain (p. 22).
When Type is Set to Stereo 1 or Stereo 2
Parameter/
Range
Explanation
Mode
Normal, Direct Mix,
Branch Out
Switches the LOOP mode.
Normal
Outputs the input to LOOP to the SEND 1/2 jacks and the input
from the RETURN 1/2 jacks to the circuit post-LOOP.
Use this when you want to connect an external effects device serially
in the GT-PRO’s effects chain.
fig.04-0160
Parameter/
Range
Explanation
SEND
On/Off
Off, On
Switches the LOOP 1/2 on/off.
Type
see below
Switches the LOOP 1/2 type.
Stereo 1
Signals are output in stereo from the SEND 1/2 jacks and input in
stereo to the RETURN 1/2 jacks.
RETURN
Direct Mix
Outputs the input to LOOP to the SEND 1/2 jacks, mixes the input
from the RETURN 1/2 jacks with the input to LOOP (the direct
sound), then outputs this to the circuit post-LOOP. Use this when
you want to mix the GT-PRO’s effects sounds together with the
sound with the external effects device applied to it.
fig.04-0170
fig.04-0120
External
Effects
Processor
SEND 1
SEND 2
SEND
RETURN 2
RETURN 1
L
R
Stereo 2
Signals are output in mono from the SEND 1/2 jacks and input in
stereo to the RETURN 1/2 jacks.
RETURN
Branch Out
outputs the input to LOOP to the SEND 1/2 jacks. The input from the
RETURN 1/2 jacks is disregarded. For example, using this with the
GT-PRO’s reverb and delay immediately ahead of the loop allows
you to use the SEND 1/2 jacks as a direct out.
fig.04-0180
fig.04-0130
SEND
External
Effects
Processor
SEND 1
SEND 2
RETURN 2
RETURN 1
L
Send Level
0–200
R
Return Level
S/R1→S/R2
SEND/RETURN 1 and SEND/RETURN 2 are connected in series.
fig.04-0140
External
Effects
Processor
SEND 1
RETURN 1
External
Effects
Processor
SEND 2
RETURN 2
L
R
S/R1&S/R2
SEND/RETURN 1 and SEND/RETURN 2 are connected in parallel.
fig.04-0150
External
Effects
Processor
L
R
SEND 1
RETURN 1
SEND 2
RETURN 2
External
Effects
Processor
52
Adjusts the volume of the output to the external effects device.
0–200
Adjusts the volume of the input from the external effects device.
Chapter 4 Introduction to Effects and Parameters
When Type is Set to S/R1→S/R2 or S/R1&S/R2
Parameter/
Range
Explanation
This selects how SEND/RETURN 1 and
SEND/RETURN 2 are used.
S/R1
Only SEND/RETURN 1 are used.
S/R2
Only SEND/RETURN 2 are used.
S/R1&S/R2
Both SEND/RETURN 1 and SEND/RETURN 2 are used.
Mode 1
Switches the SEND/RETURN 1 mode.
PRE LOOP
You can connect an external effects processor to the PRE
LOOP SEND/RETURN jacks and use it as one of the GTPRO’s effects.
This is convenient when you want to have distortion, wah, or
other external effects processors connected ahead of the
effects chain (p. 22).
Switch PRE LOOP on and off by pressing [PRE LOOP].
Normal
Outputs the input to LOOP to the SEND 1 jack and the input from
the RETURN 1 jack to the circuit post-LOOP.
Use this when you want to connect an external effects device serially
in the GT-PRO’s effects chain.
Direct Mix
Outputs the input to LOOP to the SEND 1 jack, mixes the input from
the RETURN 1 jack with the input to LOOP (the direct sound), then
outputs this to the circuit post-LOOP. Use this when you want to mix
the GT-PRO’s effects sounds together with the sound with the external effects device applied to it.
Branch Out
outputs the input to LOOP to the SEND 1 jack. The input from the
RETURN 1 jack is disregarded. For example, using this with the GTPRO’s reverb and delay immediately ahead of the loop allows you to
use the SEND 1 jack as a direct out.
Send 1 Level
0–200
Adjusts the volume of the input from the external effects device.
• You cannot change the connection sequence in PRE
LOOP. Effects are always connected ahead of the front
panel INPUT LEVEL knob.
• Guitar synths, the Harmonist effect, and other effects
that use processes requiring detection of performance
data may not function properly when PRE LOOP is
switched on with distortion effects connected to PRE
LOOP.
• PRE LOOP is unavailable when the Input Select (p. 90, p.
96) parameter is set to “USB In.”
Adjusts the volume of the output to the external effects device.
Return 1 Level
0–200
Adjusts the volume of the input from the external effects device.
Mode 2
Normal, Direct Mix,
Branch Out
Switches the SEND/RETURN 2 mode.
Normal
Outputs the input to LOOP to the SEND 2 jack and the input from
the RETURN 2 jack to the circuit post-LOOP.
Use this when you want to connect an external effects device serially
in the GT-PRO’s effects chain.
Direct Mix
Outputs the input to LOOP to the SEND 2 jack, mixes the input from
the RETURN 2 jack with the input to LOOP (the direct sound), then
outputs this to the circuit post-LOOP. Use this when you want to mix
the GT-PRO’s effects sounds together with the sound with the external effects device applied to it.
Branch Out
outputs the input to LOOP to the SEND 2 jack. The input from the
RETURN 2 jack is disregarded. For example, using this with the GTPRO’s reverb and delay immediately ahead of the loop allows you to
use the SEND 2 jack as a direct out.
Send 2 Level
0–200
Adjusts the volume of the output to the external effects device.
53
Chapter 4
Normal, Direct Mix,
Branch Out
Explanation
Return 2 Level
0–200
Select
S/R1, S/R2,
S/R1&S/R2
Parameter/
Range
Chapter 4 Introduction to Effects and Parameters
AMP CTL (Amp Control) 1/2
MASTER
By connecting your guitar amp’s channel switching jack to
the GT-PRO’s AMP CTL 1 (AMP CTL 2) jack, you can then
use [AMP CTL 1] ([AMP CTL 2]) to switch the amp channel.
The following parameters can be set with MASTER.
There are two systems, AMP CTL 1 and AMP CTL 2, that
you can use.
This combining of the GT-PRO and the amp channels allows
you to get an even wider variety of distortion sounds.
Since the Amp Control setting is handled as one of the effects
parameters saved to each individual patch, it allows you to
switch guitar amp channels with each patch.
fig.04-0190
Open
Guitar Amp
(amps channel switching jack)
GT-PRO
(AMP CTL 1/2 jack)
Short
Guitar Amp
(amps channel switching jack)
GT-PRO
(AMP CTL 1/2 jack)
AMP CTL 1
AMP CTL 2
Lit
AMP CTL 1
AMP CTL 2
• NS (Noise Suppressor)
• Patch Level
• Output
• Master BPM
• FV (Foot Volume)
NS (Noise Suppressor)
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.
* Please connect the noise suppressor in the signal path prior to
the reverberation type effect. This setup will prevent an
natural break of the reverberation type effect.
Off
* To determine how the amp channels are switched when the
circuit is open and shorted, refer to the amp owner’s manual,
or actually confirm the sounds by operating the amp.
With Amp Control, not only can you switch amp
channels, you can also use it to switch the external effect
device’s effects on and off, like a foot switch controller.
Parameter/
Range
Explanation
On/Off
Off, On
Switches the noise suppressor effect on/off.
This parameter can be set with the PATCH/VALUE dial.
When NS is On, the [MASTER] indicator lights.
* Even if [MASTER] is pressed, you cannot switch the noise suppressor
on and off.
Threshold
0–100
Adjust this parameter as appropriate for the
volume of the noise.
If the noise level is high, a higher setting is appropriate. If the noise
level is low, a lower setting is appropriate. Adjust this value until the
decay of the guitar sound is as natural as possible.
* High settings for the threshold parameter may result in there being no
sound when you play with your guitar volume turned down.
Release
0–100
Adjusts the time from when the noise suppressor begins to function until the noise
level reaches “0.”
Detect
Input, NS Input,
FV Out
This controls the noise suppressor based on
the volume level for the point specified in
Detect.
Input
Input volume from input jack.
NS Input
Noise suppressor input volume.
FV Out
Volume after passing through Foot Volume.
54
Chapter 4 Introduction to Effects and Parameters
Patch Level
FV (Foot Volume)
This is a volume control effect.
Parameter/
Range
Explanation
Patch Level
0–200
Adjusts the volume of the patch.
* When making the settings determining each pedal's foot
volume operations, refer to “Setting the FV (Foot Volume)
Operation for Individual Patches (EXP1/CC#7 Foot Volume)”
(p. 65)
Output
Parameter/
Range
Explanation
Parameter/
Range
Output
Sets the output destination.
Explanation
Level
0–100
MAIN
Adjusts the volume.
Outputs to MAIN OUT.
Vol.Curve (Volume Curve)
SUB
Slow1, Slow2, Normal, Selects how the actual volume changes in reFast
sponse to the level controlled with Volume.
Outputs to SUB OUT.
fig.04-0200
MAIN+SUB
Outputs to MAIN OUT and SUB OUT.
Volume
st
Fa
Master BPM
Parameter/
Range
al
rm
No
2
ow
Sl
Explanation
Master BPM
40–250
Adjust the BPM value for each patch.
* BPM (beats per minute) indicates the number of quarter note beats that
occur each minute.
* When you have an external MIDI device connected, the Master BPM
synchronizes to the external MIDI device’s tempo, making it impossible
to set the Master BPM. To enable setting of the Master BPM, set
“MIDI: Sync Clock” (p. 74) to Internal.
When the pedal
is fully raised
1
ow
Sl
When the pedal
is fully advanced
EXP Pedal
Use the following settings when changing the foot
volume with an expression pedal connected to the EXP
PEDAL 2 jack.
Control with the Master BPM
• Set the EXP 2 function (p. 63) to “Foot Volume.”
By making use of the Assign settings (p. 66), things can
be set up so that a foot switch connected to the GT-PRO
is used for inputting the Master BPM.
• In Assign (p. 66), set “FV: Level” as the target and
“EXP PEDAL 2” as the source.
You may be unable to achieve the proper Foot Volume
effect with certain Effect Chain (p. 22) settings.
(Example)
FB (OSC Mode: p. 42) or SYN (p. 49) connected at a later
point in the chain than FV
55
Chapter 4
MAIN, SUB,
MAIN+SUB
Normally, this is controlled with the expression pedal
connected to the EXP PEDAL 1 jack or the FC-200’s EXP
pedal.
Chapter 4 Introduction to Effects and Parameters
FX CHAIN (Effect Chain)
NAME (Patch Name)
Here’s how you can change the order in which the effects are
connected.
Each patch can be given a name (Patch Name) consisting of
up to sixteen characters. You’ll probably want to take
advantage of this feature by assigning names that suggest the
sound you’ll obtain, or the song in which it’ll be used.
1. Press [NAME/FX CHAIN] twice.
The effect chain setting screen appears.
fig.02-0150d
1. Press [NAME/FX CHAIN].
The patch name edit screen appears.
fig.02-0170d
* Effects are shown in lowercase letters when turned off.
2. Use the PATCH/VALUE dial or PARAMETER [
]
[
] to move the cursor to the point where you want
to have an effect inserted.
* “DGT” indicates output to the DIGITAL OUT connector/
USB connector.
3. Press the On/Off button for the effect you want to
insert.
Cursor
2. Press PARAMETER [
][
the text area you want to edit.
] to move the cursor to
3. Rotate the PATCH/VALUE dial to change the
characters.
You can use the following functions when changing text
characters.
The selected effect is inserted at the cursor position.
* Use [MASTER] to set the Noise Suppressor, use [ASSIGN] to
set the Foot Volume, and use [OUTPUT SELECT] to set the
Digital Out/USB.
4. If you want to change the sequence further, repeat
Steps 2 and 3.
5. Press [EXIT] to return to the Play screen.
6. If you want to save the sequence you’ve set up, use the
Write procedure (p. 24) to save it to a User patch.
* Effects can be switched on and off even while making the
settings for the connection order. With effects appearing to the
left and right of the cursor, the ON/OFF button corresponding
to the effect can be pressed to turn them on/off.
Button
Function
INS
Inserts a blank space at the cursor position.
DEL
Deletes the character at the cursor position and shifts the characters following it
to the left.
CAPS
Switches the character at the cursor position between upper and lower case.
4. If you want to edit names further, repeat Steps 2 and 3.
5. Press [EXIT] to return to the Play screen.
6. If you want to save the sequence you’ve set up, use the
Write procedure (p. 24) to save it to a User patch.
ASSIGN
Set this when controlling multiple effects with the foot switch
or expression pedal connected to the GT-PRO or via MIDI or
other external data.
For more detailed information, refer to “Setting External
Controller Functions to Individual Patches (Assign)” (p. 66).
56
Chapter 5
Creating Original Effects Types (Customize)
With the GT-PRO’s Customize function, you can rely on your
own sensibilities and create a totally new effect by tweaking
the settings for the “Preamp/Speaker Simulator,”
“Overdrive/Distortion,” and “Pedal Wah.” The result can
then be saved on the GT-PRO as “Custom” settings.
Parameter/
Range
Explanation
Type
fig.05-0030d
You can also use these custom settings in other patches.
Customizing the COSM Preamps
You can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
* The sound of any patch that uses Custom 1, 2, or 3 will be
altered if the custom settings are edited.
fig.05-0010
3,5 2,4
see below
Selects the basic type of preamp.
JC Clean
TW Clean
This is the sound of the Roland JC-120.
This models a Fender Twin Reverb.
This is a crunch sound that can produce natural distortion.
VO Drive
This models the drive sound of a VOX AC30TB.
BG Lead
This models the lead sound of the MESA/
Boogie combo amp.
MS HiGain
This models the sound of a Marshall with a
modified midrange boost.
Modern Stk
Models the sound of the Channel 2 MODERN Mode on the MESA/Boogie DUAL
Rectifier.
Bottom
fig.05-0040d
1
7
1. Press the PREAMP/SPEAKER On/Off button to
display the PREAMP/SPEAKER edit screen.
2. Press PARAMETER [
parameter.
][
] to call up the Type
-50–+50
Adjusts the amount of distortion in the low
frequencies.
Edge
fig.05-0050d
3. Rotate the PATCH/VALUE dial to call up “Custom 1,”
“Custom 2,” or “Custom 3.”
fig.05-0020d
-50–+50
Adjusts the amount of distortion in the high
frequencies.
Bass Freq (Bass Frequency)
fig.05-0060d
4. Press PARAMETER [
parameters.
][
] to show the custom
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
6. Repeat Steps 4 and 5 as needed.
-50–+50
Adjusts the frequency affected by the BASS
knob.
Treble Freq (Treble Frequency)
fig.05-0070d
7. Press [EXIT] to return to the Play screen.
-50–+50
Adjusts the frequency affected by the TREBLE knob.
Preamp Low
fig.05-0080d
-50–+50
Adjusts the preamp section’s low-frequency
tone.
57
Chapter 5
Crunch
Chapter 5 Creating Original Effects Types (Customize)
Parameter/
Range
Explanation
Parameter/
Range
Preamp High
Explanation
Speaker Size
fig.05-0090d
fig.05-0120d
-50–+50
Adjusts the preamp section’s high-frequency tone.
5”–15”
Selects the size of speaker.
Color Low
fig.05-0130d
Customizing the Speakers
You can make two different sets of settings, Custom 1 and
Custom 2.
* The sound of any patch that uses Custom 1 or 2 will be altered
if the custom settings are edited.
-10–+10
Adjusts the speaker section’s low-frequency
tone.
Color High
fig.05-0140d
fig.05-0100
2,4
3
-10–+10
Adjusts the speaker section’s high-frequency tone.
Speaker Num (Speaker Number)
fig.05-0150d
1
6
1. Press the PREAMP/SPEAKER [SPEAKER].
2. Rotate the PATCH/VALUE dial to call up “Custom 1”
or “Custom 2.”
x1, x2, x4, x8
Sets the number of speakers.
Cabinet
fig.05-0160d
fig.05-0110d
Open, Close
Selects the speaker cabinet type.
Open
3. Press PARAMETER [
parameters.
][
] to show the custom
4. Rotate the PATCH/VALUE dial to change the setting’s
value.
5. Repeat Steps 3 and 4 as needed.
6. Press [EXIT] to return to the Play screen.
58
This is an open-backed cabinet.
Close
This type of cabinet features an enclosed rear panel.
Chapter 5 Creating Original Effects Types (Customize)
Customizing
Overdrive/Distortion
You can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
Parameter/
Range
Explanation
Type
fig.05-0190d
* The sound of any patch that uses Custom 1, 2, or 3 will be
altered if the custom settings are edited.
fig.05-0170
3,5 2,4
7 1
2. Press PARAMETER [
parameter.
][
] to call up the Type
OD-1
OD-2
CRUNCH
Selects the basic type of overdrive/distortion.
This is the sound of the BOSS OD-1.
This is a overdrive sound with high gain.
This is a crunch sound.
DS-1
This gives a basic, traditional distortion
sound.
DS-2
This creates a heavier distortion sound.
METAL-1
This is a metal sound with a characteristic
midrange.
METAL-2
FUZZ
This gives a heavy metal sound.
This gives a basic, traditional fuzz sound.
Bottom
fig.05-0200d
3. Rotate the PATCH/VALUE dial to call up “Custom 1,”
“Custom 2,” or “Custom 3.”
fig.05-0180d
-50–+50
Adjusts the amount of distortion in the low
frequencies.
Top
fig.05-0210d
4. Press PARAMETER [
parameters.
][
] to show the custom
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
6. Repeat Steps 4 and 5 as needed.
-50–+50
Adjusts the amount of distortion in the high
frequencies.
Low
fig.05-0220d
7. Press [EXIT] to return to the Play screen.
-50–+50
Adjusts low-frequency tone.
High
fig.05-0230d
-50–+50
Adjusts the high-frequency tone.
59
Chapter 5
1. Press the OVERDRIVE/DISTORTION On/Off button
to display the OD/DS effect screen.
see below
Chapter 5 Creating Original Effects Types (Customize)
Customizing Pedal Wah
You can make three different sets of settings, Custom 1,
Custom 2, and Custom 3.
The sound of any patch that uses Custom 1, 2, or 3 will be
altered if the custom settings are edited.
Parameter/
Range
Explanation
Type
fig.05-0260d
fig.05-0240
3,5 2,4
see below
Selects the basic type of wah.
CRY WAH
This models the sound of the CRY BABY
wah pedal popular in the `70s.
VO WAH
Fat WAH
Light WAH
7
1
7String WAH
This models the sound of the VOX V846.
This a wah sound featuring a bold tone.
This wah has a refined smooth sound.
Wah featuring a broader range of variations
for the seven-string guitar.
Q
1. Press [WAH] to display the Pedal Wah edit screen.
2. Press PARAMETER [
parameter.
][
fig.05-0270d
] to call up the “Type”
3. Rotate the PATCH/VALUE dial to call up “Custom 1,”
“Custom 2,” or “Custom 3.”
fig.05-0250d
-50–+50
Adjusts the amount of characteristic effect
applied to the wah tone.
Range Low
fig.05-0280d
4. Press PARAMETER [
parameters.
][
] to show the custom
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
-50–+50
Selects the tone produced when the pedal is
back.
Range High
fig.05-0290d
6. Repeat Steps 4 and 5 as needed.
7. Press [EXIT] to return to the Play screen.
-50–+50
Selects the tone produced when the pedal is
forward.
Presence
fig.05-0300d
-50–+50
60
Adjusts the tonal quality of the wah effect.
Chapter 6 Using Pedals to Control the Effects
Notes on Setting the Pedal Functions
When Setting the FV (Foot Volume)
Function Separately for Individual Patches
With the GT-PRO, each effect features various different
parameters, and you can adjust these as you perform to
produce even more effective changes in your tones.
The manner in which the FV (Foot Volume: p. 55) is
controlled is determined for individual patches via the EXP
pedal connected to the EXP PEDAL 1 jack or via Control
Change No. 7 (CC#7) transmitted from the FC-200 or other
external MIDI device.
You can assign and control the parameters you want to
external pedals (expression pedals, foot switches) connected
to the GT-PRO and to external MIDI devices (such as the FC200).
On top of all this, the GT-PRO features an “Internal Pedal
System,” which lets you produce effects including automatic
changes of parameters in real time, thus enabling you to
create an even greater wealth of tonal changes.
“Setting the FV (Foot Volume) Operation for Individual
Patches (EXP1/CC#7 Foot Volume)” (p. 65)
* When controlling the foot volume with an expression pedal
connected to the EXP PEDAL 2 jack, set “FV: Level” as the
target and “EXP PEDAL 2” as the source in Assign (p. 66).
Use-Specific Guide
Setting External Controller Functions to
Individual Patches
Using External Controllers With the
Same Functions Assigned at All Times
If you want to assign and control effect parameters freely
with the external pedal (foot switch or expression pedal)
connected to the GT-PRO, use the “Assign” settings.
If, for example, you want to use an external expression pedal
exclusively as a volume pedal, you can have the setting for
the external pedal (expression pedal or foot switch) function
be applied globally for the GT-PRO.
You can also use “Assign” to make settings enabling control
using Control Change messages from an FC-200 or other
external MIDI device.
“Setting the Operation of the External EXP Pedal (EXP1, 2
Function)” (p. 63)
When Using an External MIDI Device to
Control the Same Function at All Times
If, for example, you want to use the external expression pedal
of the FC-200 (MIDI Foot Controller) connected via MIDI to
the GT-PRO exclusively as a volume pedal, assign the setting
that determines how Control Change messages from the
external MIDI device work as a global setting applied to the
entire GT-PRO.
Chapter 6
“Setting the Operation of the External Foot Switch (CTL 1, 2,
3, 4 Function)” (p. 62)
In each patch you can assign up to 12 configurations of
settings (Assign Numbers 1–12), which determine which
external controllers (pedal or MIDI device) are used to
control the parameters you select.
* You can use the Internal Pedal System with “Assign.”
“Setting External Controller Functions to Individual Patches
(Assign)” (p. 66)
When using “ASSIGN,” set the following settings to
“Assignable” (or “Auto”).
“ASSIGN” do not function when a different setting is
selected.
CTL 1, 2, 3, 4 Function (p. 62)
EXP 1, 2 Function (p. 63)
“Setting the Operation for an External MIDI Device (CC#7,
CC#80, CC#1 Function)” (p. 64)
CC#7, CC#80, CC#1 Function (p. 64)
61
Chapter 6 Using Pedals to Control the Effects
Setting the Operation of the External
Foot Switch (CTL 1, 2, 3, 4 Function)
fig.06-0030
3
2
1
This applies the settings determining the function of the foot
switches connected to the CTL 1/2 and CTL 3/4 jacks as
global settings for the entire GT-PRO.
* The correspondence between the pedal switch (A/B) and CTL
function when an FS-6 is connected is shown below.
5
fig.06-0010
1. Press [SYSTEM].
2. Press PARAMETER [
][
] so that “CTL1 Func,”
“CTL2 Func,” “CTL3 Func,” or “CTL4 Func” is
displayed.
fig.06-0040d
CTL 4
CTL 3
CTL 2
CTL 1
* The following shows the correspondence between the foot
switch and CTL function when two foot switches are
connected using a special connection cable (Roland PCS-31:
sold separately).
fig.06-0020
3. Use the PATCH/VALUE dial to select the external foot
switch function.
4. Repeat Steps 2 and 3 as needed.
PCS-31
Red
PCS-31
White
Red
White
5. Press [EXIT] to return to the Play screen.
Value
Assignable
CTL 4
CTL 3 CTL 2
CTL 1
* When connecting foot switches individually, the settings for
the CTL Function 1 and CTL Function 2 are enabled.
Preamp Ch A/B
Solo On/Off
FX-1 On/Off
Comp On/Off
Wah On/Off
Loop On/Off
OD/DS On/Off
Preamp On/Off
EQ On/Off
FX-2 On/Off
Delay On/Off
Chorus On/Off
Reverb On/Off
Pre Loop On/Off
Amp Ctl1 On/Off
62
Explanation
The pedal functions as the type of controller
set with Assign (p. 66) in each individual
patch.
Switches between Preamp channel A and B.
Switches the Preamp SOLO on and off.
Switches the FX-1 on and off.
Switches the COMP on and off.
Switches the WAH on and off.
Switches the LOOP 1/2 on and off.
Switches the OVERDRIVE/DISTORTION
on and off.
Switches the PREAMP/SPEAKER on and
off.
Switches the EQ on and off.
Switches the FX-2 on and off.
Switches the DELAY on and off.
Switches the CHORUS on and off.
Switches the REVERB on and off.
Switches the PRE LOOP on and off.
Switches the AMP CTL 1 on and off.
Chapter 6 Using Pedals to Control the Effects
Value
Amp Ctl2 On/Off
MANUAL On/Off
Explanation
Switches the AMP CTL 2 on and off.
Switches the Manual Mode (p. 85) on and
off.
Switches the TUNER/BYPASS on and off.
TUNER On/Off
Master BPM (TAP) Used for tap input of the Master BPM.
Delay Time (TAP) Used for tap input of the delay time.
MIDI Start/Stop
MMC Play/Stop
Patch Level Inc1
Patch Level Inc2
Patch Level Dec1
Patch Level Dec2
Hold Dly Rec/Dub
Hold Dly Stop
Solo A&B On/Off
Patch Num. Dec
Patch Bank Inc
Patch Bank Dec
Increases the patch volume level by 20 units.
Decreases the patch volume level by 10
units.
Decreases the patch volume level by 20
units.
Switches Hold recording (dubbing) on and
off when “Hold” (p. 32) is selected for the
delay type.
When “Hold” is selected for the delay type, the
performance is instantly stopped.
Switches the preamp SOLO, for both channel A and B, on and off.
* If one of the two channels is off, both will be
turned on.
Switches to the next higher patch number in
the same bank as the currently selected
patch.
Switches to the next lower patch number in
the same bank as the currently selected
patch.
Switches to the next higher bank number.
Switches to the next lower bank number.
This applies the setting determining the function of the EXP
pedals connected to the EXP PEDAL 1 and EXP PEDAL 2
jacks as global settings for the entire GT-PRO.
fig.06-0050
3
2
1
5
1. Press [SYSTEM].
2. Press PARAMETER [
][
or “EXP2 Func” is displayed.
] so that “EXP1 Func”
fig.06-0060d
3. Use the PATCH/VALUE dial to select the external EXP
pedal function.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
Value
Auto
(EXP1 Func only)
Explanation
The pedal normally is used as a “foot volume” pedal. When Pedal Wah (p. 36) or
Pedal Bend (p. 47) is switched on, the EXP
pedal then automatically functions as a
“pedal wah” or “pedal bend” pedal.
When Pedal Wah and Pedal Bend are switched off, this automatically functions as a “foot volume” pedal.
Assignable
Foot Volume
Patch Level
The pedal is used as the controller set in Assign (p. 66) for each patch.
The pedal functions as a “foot volume” pedal.
The pedal is used as the patch level controller.
Pedal Wah
The pedal is used as a “pedal wah” pedal
when Pedal Wah is switched on.
Pedal Bend
The pedal is used as a “pedal bend” pedal
when Pedal Bend is switched on.
63
Chapter 6
Patch Num. Inc
Controls the Start/Stop of external MIDI devices (such as sequencers).
Controls the Play/Stop of external MIDI devices (such as hard disk recorders).
Increases the patch volume level by 10 units.
Setting the Operation of the External
EXP Pedal (EXP1, 2 Function)
Chapter 6 Using Pedals to Control the Effects
Setting the Operation for an External MIDI
Device (CC#7, CC#80, CC#1 Function)
These settings are applied to the entire GT-PRO, controlling
the GT-PRO by means of Control Change messages from an
FC-200 or other external MIDI device connected to the GTPRO via MIDI.
The following describes the settings for Control Change No.
7 (CC#7), No. 80 (CC#80), and No. 1 (CC#1).
When the FC-200 is set to its default settings, the
correspondence between CC#7, CC#80, and CC#1 and
the FC-200’s controllers is as shown below.
CC#7:
EXP pedal
CC#80:
CTL pedal
CC#1:
External expression pedal connected to the
FOOT SW/EXP 1 jack.
fig.06-0070
2
Value
Auto
1
Explanation
The pedal normally is used as a “foot volume” pedal. When Pedal Wah (p. 36) or
Pedal Bend (p. 47) is switched on, the CC#7
then automatically functions as a “pedal
wah” or “pedal bend” pedal.
When Pedal Wah and Pedal Bend are switched off, this automatically functions as a “foot volume” pedal.
Assignable
Foot Volume
Patch Level
When Using the FC-200
3
CC#7
The pedal is used as the controller set in Assign (p. 66) for each patch.
The pedal functions as a “foot volume” pedal.
The pedal is used as the patch level controller.
Pedal Wah
The pedal is used as a “pedal wah” pedal
when Pedal Wah is switched on.
Pedal Bend
The pedal is used as a “pedal bend” pedal
when Pedal Bend is switched on.
If operating the expression pedal or FC-200 EXP pedal
with the EXP1 function, EXP2 function, and CC#7
function all set, be sure to have different functions
assigned to each pedal.
If the same function is assigned to different pedals,
operation normally functions according to the value of
the last pedal adjusted, but may not work as intended
when Assign Hold (p. 99) is set to “On.”
CC#80
5
Value
Assignable
1. Press [SYSTEM].
2. Press PARAMETER [
][
] so that “CC#7 Func,”
“CC#80 Func,” or “CC#1 Func” is displayed.
fig.06-0080d
Preamp Ch A/B
Solo On/Off
FX-1 On/Off
Comp On/Off
Wah On/Off
Loop On/Off
OD/DS On/Off
Preamp On/Off
4. Repeat Steps 2 and 3 as needed.
EQ On/Off
FX-2 On/Off
Delay On/Off
Chorus On/Off
Reverb On/Off
Pre Loop On/Off
Amp Ctl1 On/Off
Amp Ctl2 On/Off
5. Press [EXIT] to return to the Play screen.
MANUAL On/Off
3. Use the PATCH/VALUE dial to set how the Control
Change messages are used.
Explanation
The pedal functions as the type of controller
set with Assign (p. 66) in each individual
patch.
Switches between Preamp channel A and B.
Switches the Preamp SOLO on and off.
Switches the FX-1 on and off.
Switches the COMP on and off.
Switches the WAH on and off.
Switches the LOOP 1/2 on and off.
Switches the OVERDRIVE/DISTORTION
on and off.
Switches the PREAMP/SPEAKER on and
off.
Switches the EQ on and off.
Switches the FX-2 on and off.
Switches the DELAY on and off.
Switches the CHORUS on and off.
Switches the REVERB on and off.
Switches the PRE LOOP on and off.
Switches the AMP CTL 1 on and off.
Switches the AMP CTL 2 on and off.
Switches the Manual Mode (p. 85) on and
off.
Switches the TUNER/BYPASS on and off.
TUNER On/Off
Master BPM (TAP) Used for tap input of the Master BPM.
Delay Time (TAP) Used for tap input of the delay time.
64
Chapter 6 Using Pedals to Control the Effects
Value
MIDI Start/Stop
MMC Play/Stop
Patch Level Inc1
Patch Level Inc2
Patch Level Dec1
Patch Level Dec2
Hold Dly Rec/Dub
Hold Dly Stop
Solo A&B On/Off
Patch Num. Inc
Patch Num. Dec
Increases the patch volume level by 20 units.
Decreases the patch volume level by 10
units.
Decreases the patch volume level by 20
units.
Switches Hold recording (dubbing) on and
off when “Hold” (p. 32) is selected for the
delay type.
When “Hold” is selected for the delay type,
the performance is instantly stopped.
Switches the preamp SOLO, for both channel A and B, on and off.
* If one of the two channels is off, both will be
turned on.
Switches to the next higher patch number in
the same bank as the currently selected
patch.
Switches to the next lower patch number in
the same bank as the currently selected
patch.
Switches to the next higher bank number.
Setting the FV (Foot Volume) Operation for
Individual Patches (EXP1/CC#7 Foot Volume)
The manner in which the FV (Foot Volume: p. 55) is
controlled is determined in each individual patch by the EXP
pedal connected to the EXP PEDAL 1 jack or the Control
Change No. 7 (CC#7) transmitted from the FC-200 or other
external MIDI device.
fig.06-0090
3
2
1
5
1. Press [ASSIGN].
2. Press PARAMETER [
][
“CC#7 FV” is displayed.
] so that “EXP1 FV” or
fig.06-0100d
Switches to the next lower bank number.
Chapter 6
Patch Bank Inc
Patch Bank Dec
Explanation
Controls the Start/Stop of external MIDI devices (such as sequencers).
Controls the Play/Stop of external MIDI devices (such as hard disk recorders).
Increases the patch volume level by 10 units.
CC#1
Value
Assignable
Foot Volume
Patch Level
Explanation
The pedal is used as the controller set in Assign (p. 66) for each patch.
The pedal functions as a “foot volume” pedal.
The pedal is used as the patch level controller.
Pedal Wah
The pedal is used as a “pedal wah” pedal
when Pedal Wah is switched on.
Pedal Bend
The pedal is used as a “pedal bend” pedal
when Pedal Bend is switched on.
3. Rotate the PATCH/VALUE dial to change the setting’s
value.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
6. To save the settings, use the Write procedure (p. 24).
Parameter/
Range
Explanation
On/Off
Off, On
Press [ASSIGN] to switch the foot volume
setting on and off.
Foot Volume Min
0–100
Sets the volume level when the pedal is
completely released.
Foot Volume Max
0–100
Sets the volume level when the pedal is fully
depressed.
65
Chapter 6 Using Pedals to Control the Effects
Setting External Controller Functions
to Individual Patches (Assign)
This sets, on an individual patch basis, the functions of
external pedals (foot switches or expression pedals)
connected to the GT-PRO, and the control of parameters by
means of Control Change messages from external MIDI
devices (such as the FC-200).
In each patch you can set up to twelve different types
(Assign numbers) determining which parameter is to be
controlled by a particular controller.
The Assign settings can be completed simply and easily
using the “Quick Settings,” or you can use the “Manual
Settings” to select and set parameters individually.
* Set the CTL 1, 2, 3, and 4 Function (p. 62), EXP 1 and 2
Function (p. 63), and CC#7, CC#80, and CC#1 Function (p.
64) settings to “Assignable” (or “Auto”).
Display
Explanation
Quick ASSIGN
Current Setting
- - -: User Setting
Quick ASSIGN
U**:
User Quick Setting (p. 26)
Quick ASSIGN
P**:
Preset Quick Setting
U**-** ASSIGN
Patch Name
User Patch
P**-** ASSIGN
Patch Name
Preset Patch
When you select a User patch or Preset patch, you can use the
existing patch’s assign settings just as they are.
5. To use the Quick Settings with other Assigns, repeat
Steps 2–4.
6. Press [EXIT] to return to the Play screen.
Quick Settings
7. To save the settings, use the Write procedure (p. 24).
When you select prepared settings (Quick Settings), the
relevant parameters are then instantly set to their optimal
values. This lets you finish making the settings simply,
instead of setting each individual parameter separately.
fig.06-0110
4
2
6
1,3
1. Press [ASSIGN].
2. Press PARAMETER [
][
Assigns from Assign 1–12.
] to select one of the
The Quick Settings selection screen appears in the
display.
fig.05-080d
(Example)
3. Press [ASSIGN] to set the selected Assign to “On.”
Each time [ASSIGN] is pressed it alternately switches
this on and off.
“ASSIGN” flashes in the display when the Assign is
switched off.
66
4. Turn the PATCH/VALUE dial to select the Quick
Settings.
Chapter 6 Using Pedals to Control the Effects
Manual Settings
5. Rotate the PATCH/VALUE dial to change the setting’s
value.
Here, you can individually determine which controller is to
control which parameter.
6. Repeat Steps 4 and 5 as needed.
fig.06-0130
7. To use other Assigns, repeat Steps 2–6.
5
2,4
8. Press [EXIT] to return to the Play screen.
9. To save the settings, use the Write procedure (p. 24).
Target
fig.06-0150d
8
1,3
This sets the targeted operation. Possible assignments for the
target are as shown below.
1. Press [ASSIGN].
2. Press PARAMETER [
][
Assigns from Assign 1–12.
] to select one of the
3. Press [ASSIGN] to set the selected Assign to “On.”
Each time [ASSIGN] is pressed it alternately switches
this on and off. “ASSIGN” flashes in the display when
the Assign is switched off.
* Be sure to set any Assign settings not being used to “Off.”
(Example) With Assign 1
fig.06-0140d
][
] to display the
Switches on/off the effect indicated in the screen and controls the effect’s parameters.
MANUAL On/Off
Switches the Manual Mode (p. 85) on and off.
TUNER On/Off
Switches the TUNER/BYPASS on and off.
Chapter 6
4. Press PARAMETER [
following screens.
Value
Explanation
Effect On/Off, Effect’s Parameters
Master BPM (TAP)
Used for tap input of the Master BPM.
Delay Time (TAP)
Used for tap input of the delay time.
MIDI Start/Stop
Quick Setting
Target
Target Range: Min
Controls the Start/Stop of external MIDI devices (such as sequencers).
MMC Play/Stop
Controls the Play/Stop of external MIDI devices (such as hard disk
recorders).
Patch Level Inc1
Increases the patch volume level by 10 units.
Target Range: Max
Patch Level Inc2
Increases the patch volume level by 20 units.
Patch Level Dec1
Source
Decreases the patch volume level by 10 units.
Patch Level Dec2
Source Mode
Decreases the patch volume level by 20 units.
Hold Dly Rec/Dub
Active Range Low
Switches Hold recording (dubbing) on and off when “Hold” (p. 32)
is selected for the delay type.
Hold Dly Stop
Active Range High
When “Hold” is selected for the delay type, the performance is instantly stopped.
Solo A&B On/Off
Switches the preamp SOLO, for both channel A and B, on and off.
* If one of the two channels is off, both will be turned on.
Patch Num. Inc
Switches to the next higher patch number in the same bank as the
currently selected patch.
Patch Num. Dec
Switches to the next lower patch number in the same bank as the currently selected patch.
67
Chapter 6 Using Pedals to Control the Effects
Value
Patch Bank Inc
Explanation
When using the foot switch:
fig.06-0170
Amount of change in
parameter value
Switches to the next higher bank number.
Patch Bank Dec
Switches to the next lower bank number.
* Although you can set this so that the same target is controlled
by more than one controller, in such cases, make sure not to
have different sources changing the parameter at the same
time. Changing the parameter simultaneously using different
sources may result in noise being generated.
When setting the target, you can search for the desired
target more rapidly by pressing [SHIFT], causing the
indicator to light, and then rotating the PATCH/VALUE
dial.
To return to the normal mode, press [SHIFT] once again
so the indicator goes out.
maximum value
Target Max
minimum value
Target Min
Off
On
Release
Depress
Foot Switch
When using the EXP pedal:
fig.06-0180
maximum value
Target Max
Target Range
fig.06-0160d
minimum value
Target Min
When the pedal
is fully raised
When the pedal
is fully advanced
EXP Pedal
The value of the parameter selected as the target changes
within the range defined by “Min” and “Max,” as set on the
GT-PRO.
When using an external foot switch, or other controller that
acts as an on/off switch, “Min” is selected with Off
(CLOSED), and “Max” is selected with On (OPEN).
When controlling the On/Off target with the
EXP pedal:
fig.06-0190
On
Target Max
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.
On
Off
Target Min
When the pedal
is fully raised
Off
When the pedal
is advanced halfway
When the pedal
is fully advanced
EXP Pedal
* The range that can be selected changes according to the target
setting.
* When the “minimum” is set to a higher value than the
“maximum,” the change in the parameter is reversed.
* The values of settings can change if the target is changed after
the “minimum” and “maximum” settings have been made. If
you’ve changed the target, be sure to recheck the “minimum”
and “maximum” settings.
68
Chapter 6 Using Pedals to Control the Effects
Source
Source Mode
fig.06-0200d
fig.06-210d
This sets the controller (source) that affects the target
parameter.
This determines whether the control pedal will function as a
momentary type switch (such as the optional FS-5U).
Controllers that can be selected as the source are shown
below.
Value
EXP PEDAL 1
Explanation
Expression pedal connected to the EXP PEDAL 1 jack
CTL PEDAL 1
Foot switch connected to the CTL 1 jack
CTL PEDAL 2
Foot switch connected to the CTL 2 jack
EXP PEDAL 2
Expression pedal connected to the EXP PEDAL 2 jack
Value
Normal
Explanation
The normal state is Off (minimum value), with the switch On (maximum value) only while the foot switch is depressed.
Toggle
The setting is toggled On (maximum value) or Off (minimum value)
with each press of the foot switch.
* Set this to “Normal” when a latch-type foot switch (such as
the optional FS-5L) is connected, or when selecting something
other than a foot switch as the controller.
CTL PEDAL 3
Foot switch connected to the CTL 3 jack
CTL PEDAL 4
Active Range
fig.006-0220d
Foot switch connected to the CTL 4 jack
FC-200 EXP
When FC-200 is connected, the FC-200’s EXP pedal
Chapter 6
* Control Change No. 7 (CC#7) is used.
FC-200 CTL
When FC-200 is connected, the FC-200’s CTL pedal
* Control Change No. 80 (CC#80) is used.
INTERNAL PEDAL
Refer to “Internal Pedal System” (p. 70)
WAVE PEDAL
Refer to “Internal Pedal System” (p. 70)
INPUT Level
The target parameter is controlled by the level of the signal from the
INPUT jack. Set the sensitivity in response to the level with Assign
Input Sens.
* For more information, refer to “Controlling Various Parameters
Through the Guitar Volume” (p. 92).
MIDI CC#1–31, 64–95
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. Range Lo: 40, Act. Range Hi: 80
fig.06-0230
Control Change messages from an external MIDI device (1–31, 64–
95)
Setting Assign Input Sens
maximum value
Target
Max
* This determines the global settings for Assign 1–12.
1. Press PARAMETER [
is displayed.
] so that “Assign Input Sens”
2. Rotate the PATCH/VALUE dial to adjust the setting’s
value.
Valid Settings: 0–100
minimum value
Target
Min
0
40
80
Act.Range
Lo
Act.Range
Hi
127
69
Chapter 6 Using Pedals to Control the Effects
Internal Pedal
fig.06-0240
With the trigger you have set, the assumed EXP pedal starts
working. If you have set “Internal Pedal” to “Source,” set the
following parameters.
On
On
Parameter/
Range
Explanation
Trig (Trigger)
Off
Off
0
fig.06-0250d
40
60 80
127
Act.Range Center Act.Range
Lo
Hi
value
* When using a foot switch or other on/off switching controller
as the source, leave these at “Lo: 0” and “Hi: 127.” With
certain settings, the value may not change.
Internal Pedal System
see below
PatchChange
This is activated when a patch is selected.
EXP PEDAL 1
This is activated when the EXP pedal connected to the EXP PEDAL
1 jack is depressed.
The GT-PRO features a function called Internal Pedal system.
This function assigns specified parameters to a virtual EXP
pedal (the internal pedal), providing an effect automatically
that changes volume and tone in real time just the way an
expression pedal functions.
CTL PEDAL 1
The Internal Pedal system features the following two
functions, allowing you to set “Source” for each assign
number (1–12) of the Assign.
EXP PEDAL 2
❍
Internal Pedal
CTL PEDAL 3
❍
Wave Pedal
* When the Internal Pedal or the Wave Pedal is used, set the
ASSIGN Source Mode to Normal.
This sets the trigger that activates the virtual
EXP pedal.
This is activated when the foot switch connected to the CTL 1 jack is
depressed.
CTL PEDAL 2
This is activated when the foot switch connected to the CTL 2 jack is
depressed.
This is activated when the EXP pedal connected to the EXP PEDAL
2 jack is depressed.
This is activated when the foot switch connected to the CTL 3 jack is
depressed.
CTL PEDAL 4
This is activated when the foot switch connected to the CTL 4 jack is
depressed.
FC-200 EXP
When an FC-200 is connected, this is activated when the FC-200’s
EXP pedal is depressed.
* Control Change No. 7 (CC#7) is used.
FC-200 CTL
When an FC-200 is connected, this is activated when the FC-200’s
CTL pedal is depressed.
* Control Change No. 80 (CC#80) is used.
MIDI CC#1–31,64–95
This is activated when the value of the Control Change messages
(CC#01–31, 64–95) from an external MIDI device exceeds the middle
value.
Time
fig.06-0260d
0–100
70
This controls the time needed for the assumed Expression pedal to move from the
returned (lifted) position to the depressed
(lowered) position.
Chapter 6 Using Pedals to Control the Effects
Parameter/
Range
Explanation
You may be unable to change parameter settings when
the following functions are set for the target while
INTERNAL PEDAL or WAVE PEDAL is selected for the
source.
Curve
fig.06-0270d
• TUNER On/Off
see below
This selects one of the three types that determines how the assumed Expression pedal
changes.
fig.06-0280
Linear
Slow Rise
Fast Rise
• MANUAL On/Off
• Patch Num. Inc
• Patch Num. Dec
• Patch Bank Inc
• Patch Bank Dec
Note that if you inadvertently happen to make this type
of setting, there is no way to return the patch to its
normal state other than overwriting and saving.
Wave Pedal
This changes the parameter selected as a target in a certain
cycle with the assumed EXP pedal. When you have set
“Wave Pedal” for “Source,” the following parameters should
be set.
Chapter 6
* The following targets cannot be operated with the Wave pedal.
• FX1/FX2 Select (FX-1, FX-2)
• Type (Preamp/Speaker, Overdrive/Distortion, Delay)
Parameter/
Range
Explanation
Rate
fig.06-0290d
0–100
This determines the time spend for one cycle
of the assumed EXP pedal.
Waveform
fig.06-0300d
see below
This selects one of the three types that determines how the assumed EXP pedal should
change.
fig.06-0310
SAW
TRI
SIN
71
Chapter 7
Using the GT-PRO with External MIDI Devices Connected
What Can You Do with MIDI?
You can perform the following operations using MIDI with
the GT-PRO.
* The use of MIDI requires that the MIDI channels of the
connected devices match. If the MIDI channel settings are not
correct, the GT-PRO will be unable to exchange data with
other MIDI devices.
When connecting an FC-200, refer to “Chapter 8 Using
the GT-PRO Connected to the FC-200” (p. 81).
Operating From the GT-PRO
Outputting Program Change Messages
When a patch is selected on the GT-PRO, a Program Change
message corresponding to the patch number is transmitted
simultaneously. The external MIDI device then switches its
settings according to the Program Change message it
receives.
fig.07-0010
Remotely Controlling the GT-PRO
Using an External MIDI Device
Switching Patch Numbers
When the GT-PRO receive Program Change messages from
the external MIDI device, its patches are simultaneously
switched.
You can set up the correspondence between MIDI Program
Change messages and the GT-PRO’s patches using the
Program Change Map (p. 77). You may need to work on
these correspondences when you want to line up some
effects in combination with other MIDI devices.
The connections shown in the figure below are for a
sequencer automatically performing the backing as a guitar
is being played. The patches are switched automatically
when the program numbers corresponding to the patches are
input along with the performance data at the points where
you have determined the GT-PRO patches are to be
switched.
fig.07-0020
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
Outputting Control Change Messages
Data describing the actions of the external devices (EXP
pedal, foot switch, etc.) connected to the GT-PRO are output
as Control Change messages. Such messages can be used to
(among other things) manipulate the parameters of an
external MIDI device.
Transmitting Data
You can use Exclusive messages to transmit the settings for
effect sounds and other content stored in the GT-PRO to
other MIDI devices. For example, you can provide another
GT-PRO with the same settings, and save effect sound
settings to a sequencer or other device.
72
Receiving Control Change Messages
You can control specified parameters during a performance
by having the GT-PRO receive Control Change messages.
Parameters to be controlled are set with Assign (p. 66).
Receiving Data
The GT-PRO can receive data transmitted from another GTPRO, as well as data that’s been stored on a sequencer.
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
Notes Regarding the MIDI Messages That
Can Be Transmitted and Received
The MIDI messages that the GT-PRO can transmit and
receive differ depending on whether the GT-PRO is
connected via MIDI to an external MIDI device, or is
connected to a computer through a USB connection.
Making the Settings for MIDI Functions
Here is a description of the GT-PRO’s MIDI functions. Set
them as needed, depending on the intended use.
fig.07-0030
3
2
1
● When Connecting Via MIDI
The GT-PRO transmits and receives all applicable MIDI
messages through the MIDI OUT and MIDI IN connectors.
When FC-200 Mode (p. 81) is switched on, however, only
messages used for setting the FC-200 are transmitted from
the MIDI OUT connector.
* All MIDI messages received at the MIDI IN connector are
transmitted from the MIDI THRU connector.
● When Connecting Through USB
The GT-PRO transmits and receives all applicable MIDI
messages to and from the USB-connected computer (except
for messages used for setting the FC-200).
Program Change messages and Control Change messages
are received through the MIDI IN connector.
In addition, nothing is normally output from the MIDI OUT
connector, but only in FC-200 mode, messages used for
setting the FC-200 are transmitted from the MIDI OUT
connector.
5
1. Press [SYSTEM] several times to display the MIDI
setting screen.
2. Press PARAMETER [
][
] so that the
parameter that you want to set appears in the display.
3. Rotate the PATCH/VALUE dial to change the setting’s
value.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
Parameter/
Range
Explanation
MIDI RX Channel (MIDI Receive Channel)
fig.07-0040d
* All MIDI messages received at the MIDI IN connector are
transmitted from the MIDI THRU connector.
1–16
This sets the MIDI channel used for receiving MIDI messages.
MIDI Omni Mode
fig.07-0050d
Omni Off, Omni On
When set to “Omni On,” messages are received on all channels, regardless of the
MIDI channel settings.
Even when Omni Mode is set to ON, the only Exclusive messages received are for Device ID data set with “Device ID.”
MIDI TX Channel (MIDI Transmit Channel)
fig.07-0060d
1–16, Rx
This sets the MIDI Transmit channel used
for transmitting MIDI messages.
When set to “Rx,” this MIDI channel is same as the MIDI Receive
channel.
73
Chapter 7
* MIDI messages arriving at the MIDI IN connector cannot be
routed on to a USB-connected computer. Likewise, messages
originating on a USB-connected computer cannot be passed
through and output from the MIDI OUT connector.
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
Parameter/
Range
Explanation
Parameter/
Range
Explanation
MIDI Device ID
MIDI CTL1 OUT (MIDI CTL 1 Pedal Out)
fig.07-0070d
fig.07-0110d
1–32
This sets the Device ID used for transmitting
and receiving Exclusive messages.
MIDI Sync Clock
Off, 1–31, 33–95
fig.07-0080d
This sets the controller number when operation data from the foot switch (CTL 1) connected to the CTL 1 jack is output as Control
Change messages.
When set to “Off, “Control Change messages are not output.
MIDI CTL2 OUT (MIDI CTL 2 Pedal Out)
fig.07-0120d
Auto, Internal
You can synchronize the performance of a
sequencer or other external MIDI device.
Auto
This sets the controller number when operation data from the foot switch (CTL 2) connected to the CTL 2 jack is output as Control
Change messages.
When the MIDI Clock of the external MIDI device is not being received, the performance is synchronized to the tempo set in Master
BPM; when the external MIDI device’s MIDI Clock is being received,
the performance is synchronized to that.
Off, 1–31, 33–95
Internal
When set to “Off, “Control Change messages are not output.
The performance is synchronized to the tempo set in Master BPM.
MIDI CTL3 OUT (MIDI CTL 3 Pedal Out)
* 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.
fig.07-0130d
Off, 1–31, 33–95
MIDI PC OUT (MIDI Program Change Out)
fig.07-0090d
This sets the controller number when operation data from the EXP pedal (EXP2) or foot
switch (CTL 3) connected to the EXP PEDAL
2/CTL 3 jack is output as Control Change
messages.
When set to “Off, “Control Change messages are not output.
MIDI CTL4 OUT (MIDI CTL 4 Pedal Out)
fig.07-0140d
Off, On
This setting determines whether or not Program Change messages are output when
patches are switched on the GT-PRO.
Off
Program Change messages are not output, even when patches are
switched.
On
Program Change messages are simultaneously output when patches
are switched.
* On the GT-PRO, Bank Select messages are output simultaneously with
Program Change messages. For more details, reefer to p. 77.
MIDI EXP1 OUT (MIDI EXP 1 Pedal Out)
fig.07-0100d
Off, 1–31, 33–95
This sets the controller number when operation data from the EXP pedal connected to
the EXP PEDAL 1 jack is output as Control
Change messages.
When set to “Off, “Control Change messages are not output.
74
Off, 1–31, 33–95
This sets the controller number when operation data from the foot switch (CTL 4) connected to the CTL 4 jack is output as Control
Change messages.
When set to “Off, “Control Change messages are not output.
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
Transmitting and Receiving
MIDI Data
When Transmitting Data to Another GT-PRO
Connect as shown in the figure below, and match the Device
ID for the transmitting and receiving devices.
fig.07-0160
On the GT-PRO, you can use Exclusive messages to provide
another GT-PRO with identical settings, and save effect
settings on a MIDI sequencer or other device.
Transmitting data this way is called “Bulk Dump,” while
receiving such data is referred to as “Bulk Load.”
MIDI IN
MIDI OUT
Transmitting Data to an External
MIDI Device (Bulk Dump)
The following types of data can be transmitted. You can
transmit data by specifying the range from the start to the
end of transmission.
Transmitting
fig.07-0170
Displayed
Data Transmitted
System
System Parameters, Harmonist scales,
Auto Riff phrases, and
Preamp/Speaker, Overdrive/Distortion,
and Wah Custom Edit parameter settings
Quick
Settings for User Quick Setting
#1-1–#20-10
Settings for Patch Number 1-1 through
20-10
Temp
Settings for the patch that is currently called
up
Making the Connections
Connect as shown in the figure below, and put the sequencer
in the state where it is ready to receive Exclusive messages.
1
54
1. Press [SYSTEM] several times to display the MIDI
setting screen.
2. Press PARAMETER [
][
“Bulk Dump” is displayed.
] so that
Chapter 7
When Saving to a MIDI Sequencer
2,3
fig.07-0180d
fig.07-0150
3. Press PARAMETER [
][
] to move the cursor,
and rotate the PATCH/VALUE dial to select the start
and end of the data to be transmitted.
MIDI IN
MIDI OUT
4. When the data to be sent has been determined, press
[WRITE].
The data is transmitted.
fig.07-0190d
* For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using.
When the transmission is completed, the screen prior to
transmission returns to the display.
5. Press [EXIT] to return to the Play screen.
75
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
Receiving Data from an External
MIDI Device (Bulk Load)
Receiving
fig.07-0210
2
1
Making the Connections
When Receiving Data Saved on a MIDI Sequencer
Connect as shown below. Set the GT-PRO’s Device ID to the
same number that was used when the data was transmitted
to the MIDI sequencer.
4
fig.07-0020
1. Press [SYSTEM] several times to display the MIDI
setting screen.
2. Press PARAMETER [
is displayed.
MIDI OUT
][
] so that “Bulk Load”
fig.07-0220d
MIDI IN
3. Transmit the data from the external MIDI device.
For instructions on operating the sequencer, refer to the
owner’s manual for the sequencer you are using.
The following appears in the display when the GT-PRO
receives the data.
fig.07-0230d
The following appears in the display when the GT-PRO
finishes receiving the data.
fig.07-0240d
At this stage, even more data can be received.
* When data that can be received by the GT-PRO is not
included, “Waiting...” immediately appears in the display.
4. Press [EXIT] to quit Bulk Load.
After you press [EXIT], “Checking...” appears in the
display, indicating that the GT-PRO is checking the
received data. When the check is completed, the Play
screen returns to the display.
* When data that can be received by the GT-PRO is not
included, the Play screen immediately returns to the display.
76
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
Setting the Program Change Map
fig.07-0250
3
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-PRO and the patches to be switched to in
the “Program Change Map.”
2,5
1
74
Initial Program Change Map Settings
The program Change map set at the factory is shown below.
1. Press [SYSTEM] several times to display the MIDI
setting screen.
Patch Number
U1-1
U1-2
:
U13-7
U13-8
U11-1
U11-2
:
U20-9
U20-10
P21-1
P21-2
:
P23-7
P23-8
P21-1
P21-2
:
P30-9
P30-10
P31-1
P31-2
:
P33-7
P33-8
P31-1
P32-2
:
P40-9
P40-10
P40-10
P40-10
:
P40-10
2. Press PARAMETER [
][
“Map Select” is displayed.
] so that
fig.07-0260d
3. Rotate the PATCH/VALUE dial to select “Prog.”
* You cannot set the Program Change Map when “Fix” is
selected (it is not displayed).
* See next for more on “MID Map Select.”
4. Press PARAMETER [
appears in the display.
] until “Program Map”
fig.07-0270d
Bank Select
Number
Program
Number
Chapter 7
Program Change
Bank
Program
Select
Number
1
2
0
:
127
128
1
2
:
99
100
1
101
102
:
127
128
1
2
:
99
100
2
101
102
:
127
128
1
2
:
99
3
100
101
102
:
128
Patch
Number
5. Press PARAMETER [
][
] to move the cursor,
and rotate the PATCH/VALUE dial to set the received
Program number and the corresponding patch number.
* Use this same procedure to select Bank Select Numbers.
* When using only Program Change messages to make program
changes, without using Bank Select messages, set the Program
number (1–128) when the Bank Select number is “0.”
6. Repeat Step 5 as needed, setting patch numbers to their
corresponding Program numbers, until the Program
Change Map is completed.
7. Press [EXIT] to return to the Play screen.
* When setting MIDI Omni Mode (p. 73) to “Omni Off,” be
sure to have the MIDI RX Channel (p. 73) set beforehand to
the match the transmit channel of the external MIDI device.
77
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
Enabling/Disabling the Program Change
Map Settings (MIDI Map Select)
This setting determines whether patches are switched
according to the Program Change Map settings, or to the
default settings.
fig.07-0280
3
2
Changing Patch Numbers on an
External MIDI Device from the GT-PRO
When a patch is selected on the GT-PRO, the bank select and
program change messages sent from the GT-PRO correspond
with each other as shown below.
1
Program Change
Patch Number
Bank
Select
U1-1
1
U1-2
:
4
1. Press [SYSTEM] several times to display the MIDI
setting screen.
2. Press PARAMETER [
is displayed.
][
] so that “Map Select”
fig.07-0260d
2
0
99
U10-10
100
U11-1
1
U11-2
2
:
1
Explanation
Fix
Switches to the patches according to the
default settings. For more on the default
settings, refer to p. 77.
Prog
Switches to the patches according to the
Program Change Map.
4. Press [EXIT] to return to the Play screen.
Bank Select Message
A bank select message consists of a set of two control
change messages, the controllers numbered 0 (CC#0) and
32 (CC#32). Normally, you select a sound by using the
bank select message followed by a program change
message.
78
:
U20-9
99
U20-10
100
P21-1
1
:
Value
:
U10-9
P21-2
3. Rotate the PATCH/VALUE dial to select “Fix” or
“Prog.”
Program
Number
2
2
:
P30-9
99
P30-10
100
P31-1
1
P31-2
2
:
3
:
P40-9
99
P40-10
100
* If you wish to know whether the receiving device can recognize
bank select messages or not, refer to the description for control
changes in the MIDI implementation chart provided in the
owner's manual of the receiving device.
* If the receiving device does not recognize bank select messages,
it will ignore the bank select messages and recognize only the
program change messages.
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
About MIDI
MIDI is an acronym for Musical Instrument Digital Interface,
and is a world-wide standard for allowing electronic musical
equipment to communicate by transmitting messages such as
performance information and sound selections. Any MIDI
equipped device is able to transmit applicable types of data
to another MIDI equipped device, even if the two devices are
different models or were made by different manufacturers.
In MIDI, performance information such as playing a key or
pressing a pedal are transmitted as MIDI Messages.
How MIDI messages are
transmitted and received
First, we will explain briefly how MIDI messages are
transmitted and received.
MIDI connectors
The following types of connector are used to convey MIDI
messages. MIDI cables are connected to these connectors as
needed.
fig.07-0290
MIDI has sixteen channels 1–16, and MIDI messages will be
received by the instrument (the receiving device) whose
channel matches the channel of the transmitter.
* If omni mode is on, data of all MIDI channels will be received
regardless of the MIDI channel setting. If you do not need to
control a specific MIDI channel, you may set Omni On.
Main types of MIDI message
used by the GT-PRO
MIDI includes many types of MIDI messages that can convey
a variety of information. MIDI messages can be broadly
divided into two types; messages that are handled separately
by MIDI channel (channel messages), and messages that are
handled without reference to a MIDI channel (system
messages).
Channel messages
These messages are used to convey performance
information. Normally these messages perform most of the
control. The way in which a receiving device will react to
each type of MIDI message will be determined by the
settings of the receiving device.
Program change messages
This connector receives messages from another MIDI device.
MIDI OUT
This connector transmits messages from this
device.
MIDI THRU
This connector re-transmits the messages
that were received at MIDI IN.
MIDI channels
MIDI is able to independently control more than one MIDI
device over a single MIDI cable. This is possible because of
the concept of MIDI channels.
The idea of MIDI channels is somewhat similar to the idea of
television channels. By changing channels on a television set,
you can view a variety of programs. This is because the
information of a particular channel is received when the
channels of the transmitter and receiver match.
fig.07-0300
Broadcasting
Station A
T.V. information from many different broadcasting station is
sent through an antena.
Broadcasting
Station B
Broadcasting
Station C
Select the channel of the broadcasting
station you wish to watch
Control change messages
These messages are used to enhance the expressiveness of a
performance. Each message includes a controller number,
and the settings of the receiving device will determine what
aspect of the sound will be affected by control change
messages of a given controller number.
The specified parameters can be controlled with the GT-PRO.
System messages
System messages include exclusive messages, messages used
for synchronization, and messages used to keep a MIDI
system running correctly.
Exclusive messages
Exclusive messages handle information related to a unit’s
own unique sounds, or other device-specific information.
Generally, such messages can only be exchanged between
devices of the same model by the same manufacturer.
Exclusive messages can be employed to save the settings for
effects programs into a sequencer, or for transferring such
data to another GT-PRO.
The two instruments must be set to the same device ID
numbers when exchanging Exclusive messages.
79
Chapter 7
MIDI IN
These messages are generally used to select sounds, and
include a program change number from 1 to 128 which
specifies the desired sound. The GT-PRO also allows you to
select any of the 400 different patch numbers in conjunction
with bank select messages; a type of control change message.
Chapter 7 Using the GT-PRO with External MIDI Devices Connected
About the MIDI implementation
MIDI allows a variety of messages to be exchanged between
instruments, but it is not necessarily the case that all types of
message can be exchanged between any two MIDI devices.
Two devices can communicate only if they both use the types
of messages that they have in common.
Thus, every owner’s manual for a MIDI device includes a
“MIDI Implementation Chart.” This chart shows the types of
message that the device is able to transmit and receive. By
comparing the MIDI implementation charts of two devices,
you can tell at a glance which messages they will be able to
exchange. Since the charts are always of a uniform size, you
can simply place the two charts side by side.
fig.07-0310
Fold here
MIDI Device A
Function
MIDI Device B
Transmit
Recognized
Remarks
A separate publication titled “MIDI Implementation” is
also available. It provides complete details concerning the
way MIDI has been implemented on this unit. If you should
require this publication (such as when you intend to carry
out byte-level programming), please contact the nearest
Roland Service Center or authorized Roland distributor.
80
Chapter 8 Using the GT-PRO Connected to the FC-200
You can connect the Roland FC-200 MIDI Foot Controller
(sold separately) to the GT-PRO.
Using the FC-200 makes changing patches and working with
effects more convenient (“Chapter 6 Using Pedals to Control
the Effects” (p. 61)).
To use the GT-PRO and FC-200 together, in order to
coordinate the operation of the GT-PRO with the FC-200’s
controls, you need to make settings for both the GT-PRO and
the FC-200.
This section describes the settings required to connect and
use the FC-200 with the GT-PRO.
Setting the Functions Related
to the FC-200
Start by making the FC-200-related settings on the GT-PRO.
fig.08-0010
3
2
1
Switching Operation of the GT-PRO for
Use with the FC-200 (FC-200 Mode)
Parameter/
Range
Explanation
FC-200 Mode
fig.08-0030d
Off, On
Changes the GT-PRO’s Bank display to 0–
39, matching that of the FC-200 (one less
than what is normally indicated).
Off
Switches FC-200 Mode off. GT-PRO Banks 1–40 are indicated.
On
Switches FC-200 Mode on. Matching the FC-200’s display, GT-PRO
Banks 0–39 are indicated.
* Once FC-200 mode is switched on, data describing the GT-PRO’s own
operations, as well as data describing the usage of an expression pedal or
foot switch connected to the external pedal jack (MIDI PC OUT, MIDI
EXP1 OUT, etc.; p. 74) will no longer be output from the MIDI OUT
connector.
Setting the Operation of the FC-200’s
CTL Pedal (FC-200 CTL Pedal)
5
1. Press [SYSTEM].
2. Press PARAMETER [
][
] to display the
parameters related to the FC-200.
Parameter/
Range
Explanation
FC-200 CTL Pedal
fig.08-0040d
fig.08-0020d
(Example)
Momentary, Latch
Sets the operation of the FC-200’s CTL pedal.
3. Rotate the PATCH/VALUE dial to select the setting’s
value.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
The pedal functions as a momentary switch, switching on (maximum value) when pressed and off (minimum value) when released.
Latch
The pedal functions as a latch switch, alternately switching on (maximum value) and off (minimum value) when pressed.
Limiting the Range of Banks Allowed
in Switching (FC-200 Bank Limit)
Parameter/
Range
Explanation
FC-200 Bank Lmt
fig.08-0050d
0–39
Sets the upper limit for banks that can be
switched when banks are specified with the
FC-200’s BANK pedals.
81
Chapter 8
Momentary
Chapter 8 Using the GT-PRO Connected to the FC-200
Setting the Timing for Switching
Patches (FC-200 Program Change Out)
Parameter/
Range
Explanation
FC-200 PC Out
Transmitting Settings for the
GT-PRO to the FC-200
This procedure transmits the settings made in “Setting the
Functions Related to the FC-200” (p. 81) from the GT-PRO to
the FC-200.
fig.08-0060d
Connecting
Immediate,
Wait for a NUM.
Sets the timing for switching patches that
can be switched when banks are specified
with the FC-200’s BANK pedals.
To transmit the settings, connect the GT-PRO’s MIDI OUT
connector to the FC-200’s MIDI IN connector as shown in the
figure below.
fig.08-0080
Immediate
Instantly switches to the next patch when any BANK or number pedal is pressed.
Wait for a NUM.
Pressing a BANK pedal switches only the bank, not the GT-PRO’s
patch number. Numbers are switched at the same time the number
pedals are pressed.
MIDI OUT
MIDI IN
Switching Banks with the Number
Pedals (FC-200 Bank Change)
Parameter/
Range
Explanation
FC-200
FC-200 Bank Chng
If you want to control the GT-PRO with the FC-200,
connect the MIDI cables in the opposite arrangement
(switch IN and OUT).
fig.08-0070d
Bank Pedal Only,
Use Number Pedal
Selects the switching method used when
banks are switched using the FC-200.
Bank Pedal Only
Banks are switched each time a BANK pedal is pressed, with the
bank indicated in the display. The next higher-numbered bank is selected each time the UP pedal is pressed; the next lower-numbered
bank is selected each time the DOWN pedal is pressed.
Use Number Pedal
Pressing the BANK UP pedal causes the left digit (in the tens place)
of the bank indicated in the FC-200’s display to flash. When you
press the desired number pedal, that number is set in the left digit.
Pressing the BANK DOWN pedal causes the right digit (in the ones
place) of the bank indicated in the FC-200’s display to flash. When
you press the desired number pedal, that number is set in the right
digit.
* If a value exceeding the FC-200’s Bank Limit is entered, that value is
ignored.
82
When controlling the GT-PRO from the FC-200, after
transmitting the settings data (see the following page) to
the FC-200, refer to “Controlling the GT-PRO with the
FC-200” (p. 83) and change the MIDI cable connections.
Chapter 8 Using the GT-PRO Connected to the FC-200
Transmitting Settings Data to the
FC-200
Controlling the GT-PRO with
the FC-200
After the GT-PRO and FC-200 are connected with a MIDI
cable, change the FC-200’s settings with the GT-PRO. The
content of the settings is transmitted to the FC-200 as MIDI
messages.
This section describes how to use the FC-200 to switch the
GT-PRO’s patches and control its effects.
Connecting
fig.08-0090
1
1
When controlling the GT-PRO with the FC-200, connect the
GT-PRO’s MIDI IN connector to the FC-200’s MIDI OUT
connector as shown below.
fig.08-0110
32
1. Press [SYSTEM], then press PARAMETER [
[
] so that “FC-200: Setup” is displayed.
MIDI IN
]
MIDI OUT
fig.08-0100d
FC-200
2. Press [WRITE] to transmit the data.
“Now sending...” is displayed, and the data is
transmitted to the FC-200.
At this time, the FC-200 is simultaneously set as follows
(for more on each setting, refer to the FC-200 Owner’s
Manual).
Mode:
Program change mode
* Set the GT-PRO and FC-200 to the same MIDI channel. Both
the GT-PRO and FC-200 are set at the factory to MIDI
Channel 1.
How to Switch Patches
Switching Only the Number
fig.08-0120
* The FC-200 will be set to Control Change mode when the
GT-PRO is in Manual mode (p. 85).
On
Chapter 8
Bank Select:
3. Press [EXIT] to return to the Play screen.
1
1. Select the number of the patch you want to switch to by
pressing the corresponding number pedal.
The indicator for the pressed number pedal lights up,
and the GT-PRO switches to that patch.
When making the Program Change Map settings (p. 77),
you may find that the banks and numbers indicated on
the FC-200 differ from the banks and numbers indicated
in the GT-PRO display.
To have the banks and numbers indicated on the FC-200
and GT-PRO conform with each other, set MIDI Map
Select (p. 78) to “Fix.”
83
Chapter 8 Using the GT-PRO Connected to the FC-200
Switching the Bank and Number
Pedal
fig.08-0130
Controller
Number
EXP Pedal
CC#7
CC#7 Function
CTL Pedal
CC#80
CC#80 Function
Pedal Connected to the
CC#1
FOOT SW/EXP 1 Jack
2
1
1. Press a BANK Up or BANK Down pedal.
The bank switches, then the number indicator that was
active before the BANK pedal was pressed starts
flashing, indicating that the GT-PRO is ready for
selection of the patch number (at this stage, however, the
patch is not switched yet).
* If you have “FC-200 Bank Change” (p. 82) set to “Use
Number Pedal,” switch banks as described on p. 82.
* Patches are switched merely by pressing the BANK pedals
when the “FC-200 Program Change Out” setting (p. 82) is set
to “Immediate.”
2. Select the number of the patch you want to switch to by
pressing the corresponding number pedal.
The indicator for the pressed number pedal lights up,
and the GT-PRO switches to that patch.
If the Patch Does Not Switch
On the GT-PRO, you cannot switch patches in any screen
other than the Play screen. Press [EXIT] to return to the Play
screen (p. 16).
Using the FC-200’s CTL and EXP
Pedals
Information describing the actions of the FC-200’s CTL and
EXP pedals is transmitted to the GT-PRO in the form of MIDI
messages (Control Changes).
The GT-PRO is programmed so that its effects can be
controlled through MIDI messages from the FC-200.
When using a pedal exclusively for a
single function at all times:
You can make settings determining how the GT-PRO is to
respond when it receives the MIDI messages (Control
Changes) sent by the FC-200 when its pedals are operated.
84
Function
CC#1 Function
* This is enabled when the controller numbers assigned to each
of the FC-200’s pedals and jacks are set to the factory-set
values.
“Setting the Operation for an External MIDI Device (CC#7,
CC#80, CC#1 Function)” (p. 64)
When you want to control Foot Volume
with the EXP pedal:
You can use the EXP pedal to control the Foot Volume (CC#7
Foot Volume).
“Setting the FV (Foot Volume) Operation for Individual
Patches (EXP1/CC#7 Foot Volume)” (p. 65)
When you want to set the pedal
function for each patch individually:
In “Assign,” you can set the effect operations performed with
the FC-200's pedals for each patch individually.
Selecting “MIDI CC#**” with the same numbers as the
corresponding controller numbers assigned to each of the
FC-200’s pedals and jacks as the Assign Sources then enables
you to control the effects.
If you’ve set the CTL pedal and EXP pedal as Assign Sources,
you can select “FC-200 CTL” and “FC-200 EXP” instead of
“MIDI CC#**.”
* “FC-200 CTL” functions the same as “MIDI CC#80,” and
“FC-200 EXP” functions the same as “MIDI CC#7.”
“Setting External Controller Functions to Individual Patches
(Assign)” (p. 66)
Chapter 8 Using the GT-PRO Connected to the FC-200
Switching the Effect On and Off with
the FC-200’s Pedals (Manual Mode)
Selecting the Effect to Be Switched
On and Off With the Pedals
The GT-PRO features a Manual mode, in which the pedals on
the FC-200 are used for switching specified effects on and off.
1. When you press PARAMETER [
][
] while
Manual mode is on, the screen for the pedals used to
change the settings is displayed.
In Manual mode, you can switch effects on and off without
changing the patch number.
fig.08-0160d
(Example)
Switching to Manual Mode
fig.08-0140
2. Rotate the VALUE dial to select the effect to be
assigned to the pedal.
2
3. Repeat Steps 1 and 2 as needed.
4. Press [EXIT] to return to the Play screen.
4
1
1. Press [SHIFT] so the indicator is lighted.
2. Press PARAMETER [
].
The GT-PRO switches to Manual mode, and the
following appears in the display.
Value
Off
Preamp Ch A/B
Solo On/Off
FX-1 On/Off
Comp On/Off
Wah On/Off
Loop On/Off
OD/DS On/Off
fig.08-0150d
Preamp On/Off
3. Press the FC-200’s [MODE] button to switch the FC-200
to Control Change mode.
“
” appears in the FC-200’s display.
4. To switch Manual mode off, press [EXIT].
* You can also switch Manual mode off by pressing [SHIFT]
and then PARAMETER [
].
5. Press the FC-200’s [MODE] button one or more times to
switch the FC-200 to Program Change mode.
* For more on the FC-200’s Program Change mode, refer to the
FC-200 Owner’s Manual.
Hold Dly Rec/Dub
Hold Dly Stop
Patch Num. Inc
Patch Num. Dec
Patch Bank Inc
Patch Bank Dec
Switches between Preamp channel A and B.
Switches the Preamp SOLO on and off.
Switches the FX-1 on and off.
Switches the COMP on and off.
Switches the WAH on and off.
Switches the LOOP 1/2 on and off.
Switches the OVERDRIVE/DISTORTION
on and off.
Switches the PREAMP/SPEAKER on and
off.
Switches the EQ on and off.
Switches the FX-2 on and off.
Switches the DELAY on and off.
Switches the CHORUS on and off.
Switches the REVERB on and off.
Switches the PRE LOOP on and off.
Switches the AMP CTL 1 on and off.
Switches the AMP CTL 2 on and off.
Switches the MANUAL on and off.
Switches the TUNER/BYPASS on and off.
Switches Hold recording (dubbing) on and
off when “Hold” (p. 32) is selected for the
delay type.
When “Hold” is selected for the delay type,
the performance is instantly stopped.
Switches to the next higher patch number in
the same bank as the currently selected
patch.
Switches to the next lower patch number in
the same bank as the currently selected
patch.
Switches to the next higher bank number.
Switches to the next lower bank number.
85
Chapter 8
* For more on the FC-200’s Control Change mode, refer to the
FC-200 Owner’s Manual.
EQ On/Off
FX-2 On/Off
Delay On/Off
Chorus On/Off
Reverb On/Off
Pre Loop On/Off
Amp Ctl1 On/Off
Amp Ctl2 On/Off
MANUAL On/Off
TUNER On/Off
Explanation
Not used.
Chapter 8 Using the GT-PRO Connected to the FC-200
Advanced Settings
If the controller number set for the Assign (p. 66) source
is the same as that assigned to an FC-200 pedal and you
then adjust the FC-200’s pedal, both the Manual mode
setting and the Assign settings function simultaneously.
* With the factory settings, the following controller numbers are
assigned to the FC-200’s pedals.
fig.08-0161
#70
#71
#72
#73
#74
This section describes more convenient ways to use the FC200. The explanations presented thus far have involved
making settings while changing the MIDI cable connections
as a method of using the GT-PRO with the FC-200 connected,
but the following is possible when you use two cables to
connect the GT-PRO and FC-200 to each other.
• You can run the GT-PRO from the FC-200 without
having to reconnect any MIDI cables.
#75
• You can set the FC-200 from the GT-PRO without having
to reconnect any MIDI cables.
#65
#66
#67
#68
#69
#76
#80
#07
• When you turn on the power to the GT-PRO, the FC-200
is programmed with the corresponding settings for the
GT-PRO.
• When using Manual mode, the FC-200 automatically
switches to the appropriate settings for Manual mode.
* For more detailed instructions on how to make the settings for
the FC-200 and operating it, refer to the FC-200 Owner’s
Manual.
Connecting
Connect the GT-PRO’s MIDI OUT connector to the FC-200’s
MIDI IN connector and the GT-PRO’s MIDI IN connector to
the FC-200’s MIDI OUT connector as shown below.
Whenever the FC-200 and GT-PRO are connected as
shown below, be sure to set FC-200 Mode (p. 81) to On.
Malfunction may result if this is left at Off.
fig.08-0170
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
FC-200
* Set the GT-PRO and FC-200 to the same MIDI channel. Both
the GT-PRO and FC-200 are set at the factory to MIDI
Channel 1.
With the devices connected as shown above, when you
change the FC-200’s settings (“Setting the Functions Related
to the FC-200” (p. 81)) with the GT-PRO, the changes are
immediately reflected by the corresponding change in the
FC-200, meaning there is no need for a separate procedure to
transmit these changes to the FC-200 (“Transmitting Settings
for the GT-PRO to the FC-200” (p. 82)).
86
Chapter 8 Using the GT-PRO Connected to the FC-200
After connecting the FC-200, you will find it convenient to
change the settings without having to disconnect and
reconnect the MIDI cables.
Automatically Setting the FC-200 with the
Corresponding GT-PRO Settings When Turning
On the GT-PRO
You can have the FC-200 automatically programmed with
the corresponding GT-PRO settings by first switching the
GT-PRO’s FC-200 mode on and then turning on the power to
the GT-PRO.
Connecting an External MIDI Device
in FC-200 Mode
If, while controlling the GT-PRO with the FC-200, you also
want to run an additional MIDI device, connect the MIDI IN
connector on the other external MIDI device to the GT-PRO’s
MIDI THRU connector.
This way, MIDI messages from the FC-200 are transmitted to
the external MIDI device as well as the GT-PRO, enabling
you to control both the GT-PRO and the other external MIDI
device with the FC-200.
fig.08-0180
1. First make sure the GT-PRO and FC-200 are connected
with MIDI cables as described in “Connecting” (p. 86).
MIDI IN
2. Switch the FC-200’s POWER switch to the “ON” or
“ECONOMY” position to turn on the FC-200.
MIDI THRU
3. Turn on the power to the GT-PRO.
The FC-200 is automatically programmed with the
corresponding GT-PRO settings.
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
Manual Mode
When you switch on Manual mode from the GT-PRO’s
control panel, the FC-200 automatically switches to the
settings for Manual mode, without any manual setting of the
FC-200 necessary.
1. In the Play screen, press [SHIFT] so the indicator is lit,
then press PARAMETER [
] to switch to Manual
mode.
The FC-200 automatically switches to the settings for
Manual mode.
2. To quit Manual mode, press [EXIT].
The FC-200 automatically returns to the original settings.
Control Change messages set for EXP1 OUT, CTL1 OUT,
CTL2 OUT, CTL3 OUT, and CTL4 OUT (p. **) are not
output from the MIDI THRU connector, even when the
external expression pedal or foot switch connected to the
GT-PRO is operated.
If you want to output Control Change messages when an
external expression pedal or foot switch is adjusted,
connect the pedal to the FC-200.
* The FC-200 is set to Program Change mode.
* You can also switch Manual mode off by pressing [SHIFT]
and then PARAMETER [
].
You can use “CC#80 Function” (p. 64) or “Assign” (p. 66)
to switch Manual mode on and off with the FC-200‘s
CTL pedal.
87
Chapter 8
* At this point, the FC-200 is set to Control Change mode.
FC-200
Chapter 9 Using the GT-PRO Connected to a Computer Via USB
Before Connecting with USB
Switching the Driver Mode
ig.09-0030
With the GT-PRO, you can use USB to transmit both digital
audio signals and MIDI messages between the GT-PRO and
your computer.
3
2
1
First, this requires installation of a USB driver on your
computer so that it can work with the GT-PRO’s driver mode
settings.
For instructions on installing the driver, please read
“Installing & Setup the USB Driver” (p. 109).
4
ig.09-0010
1. Press [SYSTEM].
2. Press PARAMETER [
Mode” is displayed.
][
] so that “Driver
ig.09-0040d
Computer
3. Rotate the PATCH/VALUE dial to set the driver mode.
* The GT-PRO’s [SYSTEM] indicator lights up when the GTPRO and the computer are connected via USB.
About the Included Software
Standard:
The standard OS USB driver is used in this mode.
Advanced:
The special driver on the included CD-ROM is used in
this mode.
The “GT-PRO Software CD-ROM” that comes with the GTPRO contains USB driver and special software used in
connecting the GT-PRO to computers.
* When using GT-PRO Editor/Librarian, set this to
“Advanced.”
Software for use with Windows and Macintosh operating
systems is included.
* In actual operation, the mode is not switched until you turn
the power off and then on again.
GT-PRO Editor
This software allows you to edit the GT-PRO’s settings from
a computer. You can save the tone settings (patches) you
create as files on the computer.
GT-PRO Librarian
This software lets you manage all of the GT-PRO’s patches
from your computer.
4. Press [EXIT] to return to the Play screen.
* If the driver for the set mode has not yet been installed, at this
point you need to turn off the power to the GT-PRO and
install the driver.
5. Quit any sequencer software and any other computer
applications used by the GT-PRO.
6. Switch off the GT-PRO, then turn it on again.
The corresponding driver is installed on the computer.
Driver Mode
The GT-PRO features two operational modes, one mode that
uses the special driver on the CD-ROM included with the
GT-PRO and another mode that uses the operating system’s
(Windows/Mac OS) standard drivers.
The special driver provides high-quality sound and stable
timing for audio recording, playback, and editing.
In addition, the driver enables you to control the GT-PRO
with MIDI messages.
88
MIDI in Standard Driver Mode
You cannot use MIDI with the GT-PRO when “Standard” is
selected as the driver mode.
If you want to use MIDI while the GT-PRO is connected via
USB, select the Advanced driver mode.
Chapter 9 Using the GT-PRO Connected to a Computer Via USB
Setting USB-Related Functions
This section describes the GT-PRO’s USB functions. Set these
functions according to how you want to use the unit.
Parameter/
Range
USB Mix Channel
fig.09-0080d
Setting the Digital Audio Signal
Input/Output
fig.09-0050
3
2 1
Explanation
MAIN, SUB,
MAIN+SUB
Sets the output jacks used in mixing the digital audio signals from USB (Computer)
when Input Select (p. 90) is set to “Guitar
In.”
MAIN
Mixed at MAIN OUT.
SUB
Mixed at SUB OUT.
MAIN+SUB
Mixed at MAIN OUT and SUB OUT.
5
USB Mix Level
fig.09-0090d
1. Press [OUTPUT SELECT].
2. Press PARAMETER [
setting screen.
][
] to display the USB
3. Rotate the PATCH/VALUE dial to change the setting’s
value.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
0–200
Sets the volume level of the mixed digital
audio signals from USB (Computer) when
Input Select (p. 90) is set to “Guitar In.”
Direct Monitor Settings
fig.09-0100
Parameter/
Range
3
Explanation
2 1
USB/DGT Out Ch. (USB/Digital Out Channel)
fig.09-0060d
MAIN, SUB,
MAIN+SUB
5
Selects the signals output from the USB
(Computer) and DIGITAL OUT connectors.
MAIN
SUB
Outputs the same signals as those output from SUB OUT.
The tone adjustments made with Sub Global EQ (p. 95) are enabled.
MAIN+SUB
Outputs a mix of the signals output from MAIN OUT and SUB OUT.
* This is enabled only when effects chain (p. 22) settings ending in
“DGT” (DIGITAL/USB OUT) are selected.
USB/DGT Out Lev (USB/Digital Out Level)
1. Press [SYSTEM].
2. Press PARAMETER [
][
] so that the
parameter that you want to set appears in the display.
3. Rotate the PATCH/VALUE dial to change the setting’s
value.
4. Repeat Steps 2 and 3 as needed.
5. Press [EXIT] to return to the Play screen.
fig.09-0070d
0–200
Adjusts the volume level of the digital audio
signals output to the USB (Computer) and
DIGITAL OUT connectors.
89
Chapter 9
Outputs the same signals as those output from MAIN OUT.
The tone adjustments made with Main Global EQ (p. 94) are enabled.
Chapter 9 Using the GT-PRO Connected to a Computer Via USB
Parameter/
Range
Explanation
USB Monitor Cmd (USB Monitor Command)
Set the audio output port used by applications to the GTPRO.
fig.09-0110d
Disable, Enable
Applying Effects with the GT-PRO to
a Computer’s Audio Playback
This setting determines whether or not the
command (the Direct Monitor command)
controlling the Direct Monitor (described
later) setting is enabled.
You can use the GT-PRO to add effects to audio data played
back from the computer, and then record these sounds back
to the computer.
Use this feature when you want to add effects to existing
audio data.
fig.09-0130
Disable
The Direct Monitor command is disabled, maintaining the Direct
Monitor mode set by the GT-PRO.
3
2 1
Enable
The Direct Monitor command is enabled, allowing the Direct Monitor mode to be switched from an external device.
USB Dir Monitor (USB Direct Monitor)
fig.09-0120d
4
On, Off
Switches the output of the effect sound to
the PHONES jack, MAIN OUT jacks, or SUB
OUT jacks.
On
The effect sound is output. Set this to On when using the GT-PRO as
a standalone device, without connecting to a computer (no sound
will be output if this is set to Off).
1. Press [SYSTEM].
2. Press PARAMETER [
Select” is displayed.
][
] so that “Input
fig.09-0140d
Off
Set this to Off if transmitting audio data internally through a computer (Thru).
* If you are using the special driver, you can control Direct Monitor On/
Off from ASIO 2.0-compatible application such as Cubase.
3. Rotate the PATCH/VALUE dial to select “USB In.”
USB In:
Effects are applied to the signals input via USB.
Recording the GT-PRO’s
Output with a Computer
Set your application (such as a sequence software) so that the
audio input port it uses is the GT-PRO.
You can freely set the point in the signal chain from which to
extract the signal to be sent to the computer with Effect
Chain (p. 22). For example, by setting this so that the
computer records the signals as they are at the beginning of
the chain, you can record the sounds without any effects
added while you listen to the performance with the effects
applied.
* If you are using the software to send the audio data through,
set Direct Monitor to Off.
90
* In this mode, set the software so that audio is not transmitted
through (not set to Thru).
* PRE LOOP (p. 53) is unavailable.
Guitar In:
Effects are applied to the signals input via the INPUT
jacks.
Audio played back from a computer is mixed with the
GT-PRO’s effect sound and output jacks set in USB Mix
Channel (p. 89).
4. Press [EXIT] to return to the Play screen.
Chapter 9 Using the GT-PRO Connected to a Computer Via USB
Running the GT-PRO from a
Computer
You can use USB MIDI to run the GT-PRO from your
computer.
When you set the GT-PRO to the Advanced driver mode (p.
110, p. 126), the MIDI connectors used for operation of the
GT-PRO switches from MIDI IN/OUT connectors to the USB
driver’s “GT-PRO Control” MIDI ports.
Set your editor and sequencer MIDI input and output ports
to “GT-PRO Control.”
For more on MIDI-related settings, refer to “Chapter 7 Using
the GT-PRO with External MIDI Devices Connected” (p. 72).
Chapter 9
91
Chapter 10 Other Features
Controlling Various Parameters
Through the Guitar Volume
The GT-PRO includes a function to control effect parameters
with the guitar dynamics as the instrument is played. This is
not limited to touch wah, but provides tonal changes in real
time as the guitar is played.
Switching Preamp Channels A and B
Dynamically with the Guitar Volume
The GT-PRO’s Preamp/Speaker feature includes a “Dynamic
Mode” (p. 28) setting, which switches the two preamps in
response to the guitar volume.
During a performance, for example, you can use the guitar
volume to switch between a crunch sound and a lead sound,
even without switching patches or adjusting any knobs.
* You will hear the sound of Channel A when the guitar volume
is low, and Channel B when the volume is high.
fig.10-0010
2,4
1
1
53
1. Press PREAMP/SPEAKER On/Off switch, then press
PARAMETER [
displayed.
][
] so that “Ch.Mode” is
fig.10-0020d
2. Rotate the PATCH/VALUE dial to select “Dynamic.”
fig.10-0030d
3. Press PARAMETER [
fig.10-0040d
92
] to display “Dynamic Sens.”
4. Rotate the PATCH/VALUE dial to change the setting’s
value.
As the guitar volume changes during the performance,
Dynamic Sens is adjusted in response to the volume
when the preamps are switched.
5. Press [EXIT] to return to the Play screen.
Chapter 10 Other Features
Using the Guitar Volume to Change
Selected Effect Parameters (Assign Source)
Assign (p. 66) features a function that allows effect
parameters to be controlled with the guitar volume, in the
same manner as the parameters are changed with an
expression pedal or other such controller.
You can set this feature to create even more distortion as the
guitar volume increases, deepen the chorus effect as a long
tone is played quietly, or use it to produce any of a number
of other effects to suit your purposes.
fig.10-0050
5,7 2,4,6
8
You can jump to the core parameters by pressing
PARAMETER [
] (or [
]) while holding down
PARAMETER [
] (or [
]). With items for which
there aren’t that many parameters, the GT-PRO jumps to
the last (or first) parameter.
7. Rotate the PATCH/VALUE dial to change the setting’s
value.
Play the guitar at various volumes and adjust the Input
Sens as you listen to the sound to confirm how the
parameter set in Step 1 changes.
8. Press [EXIT] to return to the Play screen.
2,3
You may be unable to change parameter settings when
the following functions are set for the Assign target (p.
67) while INPUT LEVEL is selected for the Assign source
(p. 69).
• TUNER On/Off
1. Use the procedure described on p. 67 to set the type of
parameter you want to control (Assign Target) and the
range over which the change is to occur (Target Min/
Max).
2. Press [ASSIGN], then press PARAMETER [
]
[
] to select one of the Assigns from ASSIGN1–12.
fig.10-0060d
• MANUAL On/Off
• Patch Num. Inc
• Patch Num. Dec
• Patch Bank Inc
• Patch Bank Dec
Note that if you inadvertently happen to make this type
of setting, there is no way to return the patch to its
normal state other than overwriting and saving.
3. Press [ASSIGN] once again to set the Assign to “On.”
4. Press PARAMETER [
][
] to display “Source.”
fig.10-0070d
5. Rotate the PATCH/VALUE dial to select “Input Level.”
fig.10-0080d
][
Chapter 10
6. Press PARAMETER [
Sens.”
] to display “Input
fig.10-0090d
93
Chapter 10 Other Features
Adjusting the Overall Sound to Match
the Usage Environment (Global)
The GT-PRO includes a feature that allows you to change the
overall tone temporarily. This is called the “Global function.”
With the Global function, you can temporarily change your
settings to match those of your equipment and the operating
environment, while leaving the settings in the patches
untouched.
fig.10-0100
Parameter/
Range
Explanation
Mid Freq (Middle Frequency)
fig.10-0140d
20 Hz–10.0 kHz
Specify the center of the frequency range
that will be adjusted by the “Mid EQ.”
High EQ
fig.10-0150d
2
1 1
-20 dB–+20 dB
Adjusts the tone in the high frequencies.
Total NS
4
1. Press [OUTPUT SELECT], then press PARAMETER
[
][
] so that the Global setting screen.
This has no effect on patches in which the noise suppressor is
turned off.
Parameter/
Range
Explanation
NS Thres (Noise Suppressor Threshold)
fig.10-0110d
(Example)
fig.10-0160d
2. Rotate the PATCH/VALUE dial to change the setting’s
value.
3. Repeat Steps 1 and 2 as needed.
4. Press [EXIT] to return to the Play screen.
Adjusting the overall sound
Main Global EQ
This adjusts the tone of the MAIN OUT regardless of the
equalizer on/off settings of individual patches.
-20 dB–+20 dB
Adjusts the noise suppressor threshold level
settings for each patch in a range from -20
dB to +20 dB.
This adjustment is an effective way to get equivalent output with
each of your guitars when you are connecting more than one guitar.
* Set to “0 dB” when using this in individual patch settings.
Total REVERB
This has no effect on patches in which reverb is turned off.
Parameter/
Range
Explanation
Rev Level
Parameter/
Range
Explanation
fig.10-0170d
Low EQ
fig.10-0120d
0%–200%
-20 dB–+20 dB
Adjusts the tone in the low frequencies.
Mid EQ (Middle EQ)
fig.10-0130d
-20 dB–+20 dB
94
Adjusts the tone in the middle frequencies.
Adjusts the reverb level settings for each
patch in a range from 0% to 200%.
Adjusting the reverb level is an effective way to match the reverberation of the performance venue.
* Set to “100%” when using this in individual patch settings.
Chapter 10 Other Features
Sub Global EQ
This adjusts the tone of the SUB OUT regardless of the
equalizer on/off settings of individual patches.
Parameter/
Range
USB/Digital Out
Parameter/
Range
Explanation
USB/DGT Out Ch. (USB/Digital Out Channel)
Explanation
fig.09-0060d
Sub Low EQ
fig.10-0180d
MAIN, SUB,
MAIN+SUB
-20 dB–+20 dB
Adjusts the tone in the low frequencies.
Sub Mid EQ (Middle EQ)
fig.10-0190d
Selects the signals output from the USB and
DIGITAL OUT connectors.
MAIN
Outputs the same signals as those output from MAIN OUT.
The tone adjustments made with Main Global EQ (p. 94) are enabled.
SUB
Outputs the same signals as those output from SUB OUT.
The tone adjustments made with Sub Global EQ (p. 95) are enabled.
MAIN+SUB
-20 dB–+20 dB
Adjusts the tone in the middle frequencies.
Sub Mid Freq (Middle Frequency)
fig.10-0200d
Outputs a mix of the signals output from MAIN OUT and SUB OUT.
* This is enabled only when effects chain (p. 22) settings ending in
“DGT” (DIGITAL/USB OUT) are selected.
USB/DGT Out Lev (USB/Digital Out Level)
fig.09-0070d
20 Hz–10.0 kHz
Specify the center of the frequency range
that will be adjusted by the “Mid EQ.”
Sub High EQ
0–200
fig.10-0210d
Adjusts the volume level of the digital audio
signals output to the USB and DIGITAL
OUT connectors.
USB Mix Channel
fig.09-0080d
-20 dB–+20 dB
Adjusts the tone in the high frequencies.
Setting the Output Destination
Output Channel
MAIN, SUB,
MAIN+SUB
Sets the output jacks used in mixing the digital audio signals from USB when Input Select (see right) is set to “Guitar In.”
MAIN
Mixed at MAIN OUT.
Parameter/
Range
Explanation
SUB
Mixed at SUB OUT.
Output Channel
MAIN+SUB
fig.10-0220d
Mixed at MAIN OUT and SUB OUT.
USB Mix Level
fig.09-0090d
This procedure selects the jacks from which
signals are output.
PATCH
The output selected in the patch’s Master Output setting (p. 55) is
used.
MAIN
0–200
Sets the volume level of the mixed digital
audio signals from USB when Input Select
(see right) is set to “Guitar In.”
Signals are output from the MAIN OUT jacks.
SUB
Signals are output from the SUB OUT jacks.
MAIN+SUB
Signals are output from both the MAIN OUT and SUB OUT jacks.
95
Chapter 10
PATCH, MAIN, SUB,
MAIN+SUB
Chapter 10 Other Features
Adjusting the Display
Contrast (LCD Contrast)
Switching the Sounds Input
to the GT-PRO (Input Select)
Depending on where the GT-PRO is placed, the display (on
the right) may become difficult to read. If this occurs, adjust
the display contrast.
This selects the input sounds, those input through the INPUT
jacks or those input via USB, to which the effects are applied.
fig.10-0250
fig.10-0230
2
2
1
1
1
1
3
3
1. Press [SYSTEM], then press PARAMETER [
[
] so that “LCD Contrast” is displayed.
]
fig.10-0240d
1. Press [SYSTEM].
2. Press PARAMETER [
Select” is displayed.
][
] so that “Input
fig.09-0140d
2. Rotate the PATCH/VALUE dial to adjust the contrast.
Valid Settings: 1–16
3. With the PATCH/VALUE dial, select the input to be
used for the effects.
3. Press [EXIT] to return to the Play screen.
Value
Guitar In
Explanation
Effects are applied to the sounds input
through the INPUT jacks.
Effects are applied to the sounds played
back by the USB-connected computer.
USB In
* In this mode, set the software so that audio
is not transmitted through (not set to
Thru).
* PRE LOOP (p. 53) is unavailable.
4. Press [EXIT] to return to the Play screen.
96
Chapter 10 Other Features
Adjusting the Tone of the Sounds Input to
the GT-PRO (Input Level/Input Presence)
Keeping Effect Sounds Playing After Patches
Are Switched (Patch Change Mode)
The GT-PRO includes a function used for adjusting the tone
to match the connected guitar.
The GT-PRO features a mode that is enabled when spatial
effects (such as reverb and delay) are used, whereby the
effects sound of one patch continues playing even after you
switch to the next patch. If the necessary conditions
regarding the effects chain and effect parameter settings are
met, you can then have the decay of reverb, delay, and
similar effects continue on into the next patch after you
switch patches.
This is effective when you are connecting a different guitar
from the one used when the patch was created.
When adjusting the input level and input presence, the
input signals for all patches are affected. Note that the
nuances of the effect sounds that occur in response to
guitar volume may change, particularly with patches in
which effects are controlled by the guitar volume.
fig.10-0260
2
1
• Effects are in the same effects chain
• When switching the delay off or on, or when the type
and time are identical
• When switching other effects off or on, or when the
parameter settings are identical
1
* There still may be no reverberation in some cases, even after
the above settings are made.
fig.10-0280
2
1
1
4
1. Press [SYSTEM], then press PARAMETER [
[
] to display the following screen.
]
fig.10-0270d
3
1. Press [SYSTEM], then press PARAMETER [
[
] so that “P.Chnge Mode” is displayed.
]
fig.10-0290d
2. Rotate the PATCH/VALUE dial to change the setting’s
value.
3. Repeat Steps 1 and 2 as needed.
4. Press [EXIT] to return to the Play screen.
Parameter/
Range
Explanation
Input Level
-20 dB–+20 dB
Adjusts the guitar input level.
-20 dB–+20 dB
Adjusts the tonal quality of the guitar’s high
end.
Value
Fast
Explanation
Patches are changed normally. The unit switches to the subsequent patch without any carry-over of the decay from the previous patch’s reverb or chorus.
Smooth
The unit switches to the subsequent patch with the decay from
the previous patch’s reverb or delay continued after the switch
is made.
* For smooth switching, patches may be switched with one tempo
delayed.
3. Press [EXIT] to return to the Play screen.
97
Chapter 10
Input Pres. (Input Presence)
2. Rotate the PATCH/VALUE dial to change the setting’s
value.
Chapter 10 Other Features
Using the Identical Preamp Settings
in All Patches (Preamp Mode)
Limiting the Patches That Can Be
Switched (Patch Extent)
With the GT-PRO, you can have a preamp be set globally for
use in all patches.
By setting an upper limit to the patches, thus limiting the
range of patches that can be switched, you can set the GTPRO so that only the patches you need can be selected.
This provides an effect that always gives you the sound of
the same guitar amp regardless of the patches you set.
fig.10-0320
fig.10-0300
2
2
1
1
1
1
3
3
1. Press [SYSTEM], then press PARAMETER [
[
] so that “Preamp Mode” is displayed.
]
1. Press [SYSTEM], then press PARAMETER [
[
] so that “Patch Extent” is displayed.
]
fig.10-0330d
fig.10-0310d
2. Rotate the PATCH/VALUE dial to change the setting’s
value.
Value
Explanation
Patch
The patch preamp setting is used. This allows you to use different preamp settings
in each individual patch.
System
The system’s preamp setting is used. This
applies the same preamp settings to all
patches.
3. Press [EXIT] to return to the Play screen.
Setting the System Preamp
When the Preamp Mode is set to System, preamp settings
made by adjusting the panel controls are treated as system
preamp settings.
The stored content is updated each time the settings are
changed.
98
2. Rotate the PATCH/VALUE dial to set the upper limit
for the Patches.
Valid Settings: 1-1–40-10
* The bank numbers indicated are lowered by one when FC-200
mode (p. 81) is switched on, so U0-1 to P39-10 is displayed.
3. Press [EXIT] to return to the Play screen.
Chapter 10 Other Features
Changing the EXP Pedal Mode When
Patches are Switched (Assign Hold)
Setting the Knob Functions
(Knob Mode)
This setting determines whether or not the Assign’s (p. 66)
operational status is carried over to the next patch when
patches are switched.
This sets the way the values of settings are changed when the
control knobs are turned.
fig.10-0360
* Assign Hold does not function if the Assign Source mode is set
to Toggle (whereby the value is toggled between Min and Max
each time the pedal is pressed).
2
1
1
fig.10-0340
2
1
1
3
1. Press [SYSTEM], then press PARAMETER [
[
] so that “Knob Mode” is displayed.
3
]
fig.10-0370d
1. Press [SYSTEM], then press PARAMETER [
[
] so that “Assign Hold” is displayed.
]
fig.10-0350d
2. Rotate the PATCH/VALUE dial to set the Knob mode.
Value
Immediate
Turning the knobs immediately changes
the values.
Current Setting
Values begin to change only once the
knob position reaches the values set in the
patch.
2. Rotate the PATCH/VALUE dial to set Assign Hold.
Value
On
Explanation
The Pedal Assign status is carried over.
(Example)
If a patch is switched while the volume is being controlled with
the expression pedal, the volume of the subsequent patch will
take on the value determined by the current pedal position (angle).
If the patch switched to has the expression pedal controlling the
wah effect, then the volume assumes the value set in the patch,
and the patch’s wah effect is given the value derived from the
current pedal position (angle).
Off
Explanation
3. Press [EXIT] to return to the Play screen.
The Pedal Assign status is not carried
over.
Chapter 10
(Example)
If a patch is switched while the volume is being controlled with
an expression pedal, the volume of the subsequent patch is set
to the value set in that patch.
If the expression pedal is operated, and that information is
transmitted to the GT-PRO, the volume will change in accord
with the pedal’s movement.
3. Press [EXIT] to return to the Play screen.
99
Chapter 10 Other Features
Switching the Output/Input Level
You can switch between the MAIN OUT, SUB OUT, and
LOOP 1/2 SEND output levels and the LOOP 1/2 RETURN
input levels.
Switch levels according to the connected device.
Checking the Effect Level
with the Level Meter
You can meter the output level of each effect. This is handy
for checking the effects’ output levels.
fig.10-0430
fig.10-0380
2
1
2
1
1
3
3
1. You can display the level switching screen by pressing
[SYSTEM] and then pressing PARAMETER [
]
[
].
1
1. Press [SYSTEM] several times so that “METER” is
displayed.
fig.10-0440d
2. Use the PATCH/VALUE dial to switch the output level.
Valid Settings: +4 dBu, -10 dBu
3. Press [EXIT] to return to the Play screen.
MAIN OUT Level
fig.10-0390d
2. Rotate the PATCH/VALUE dial to select the effect
whose level you want to check.
• You can check the level of signals being input to the
INPUT jack by selecting “Input.”
• Selecting “Main Out” allows you to check the level of
signals output from the MAIN OUT.
SUB OUT Level
fig.10-0400d
* The SUB OUT R/L (XLR type) connectors are unaffected by
the SUB OUT level. Signals are always output at a fixed
level (+4 dBu).
LOOP 1/2 SEND Level
fig.10-0410d
LOOP 1/2 RETURN Level
fig.10-0420d
100
• Selecting “Sub Out” allows you to check the level of
signals output from the SUB OUT.
* You may not be able to achieve the effects you envision if your
output levels are set too high. Adjust the output level of each of
your effects to the optimum value while checking the meter
and making sure the needle doesn’t swing too far to the right.
3. Press [EXIT] to return to the Play screen.
For more information on the following system settings,
refer to p. 62–p. 65.
SYS: EXP 1 Func
SYS: CC#7 Func
SYS: CTL 1 Func
SYS: CC#80 Func
SYS: CTL 2 Func
SYS: CC#1 Func
SYS: EXP 2 Func
SYS: CTL 3 Func
SYS: CTL 4 Func
Chapter 10 Other Features
Tuning the Guitar (Tuner/Bypass)
When the Tuner is turned on, sounds input to the GT-PRO
are output directly as is (bypassed), and the tuner is
activated.
Under these conditions you can then tune your guitar.
Turning the Tuner Function On
How to Tune
1. Play a single open note on the string being tuned.
The name of the note closest to the pitch of the string that
was played appears in the display.
* Only play a single note on the one string being tuned.
2. Tune the string until the string name appears in the
display.
fig.10-0450
7th
6th
5th
4th
B
E
A
D
G
B
E
1/2 Step Down
A#
D#
G#
C#
F#
A#
D#
1 Step Down
A
D
G
C
F
A
D
Regular
3rd 2nd
1st
3. As you watch the Tuning Guide, adjust the guitar’s
tuning until “■” appears in the center.
4. Repeat Steps 1–3 until all of the strings are tuned.
Each time [TUNER/BYPASS] is pressed, the Tuner is
switched on or off.
The [TUNER/BYPASS] button’s indicator lights when the
function is on.
About the Display During Tuning
With the GT-PRO’s internal tuner, the note name is indicated
in the upper row of the display and the Tuning Guide is
shown in the lower row, indicating the difference between
the input sound and the sound in the display.
* When tuning guitars equipped with a tremolo bar, when one
string is tuned, the others may end up being out of tune. In
this case, tune to the pitch indicated by the initial note name,
then tune the other strings again, repeatedly fine-tuning each
string.
Changing the Tuner Settings
fig.10-0480
3
2
1,5
fig.10-0460d
Note Name
5
Tuning Guide
When the difference from the correct pitch falls within 50
cents, the Tuning Guide then indicates the size of that
difference. As you watch the Tuning Guide, tune the guitar
so that the “■” appears in the center.
fig.10-0470
1. Press [TUNER/BYPASS]; the indicator lights up.
2. Press PARAMETER [
Setting screen.
][
] to display the Tuner
fig.10-0490d
(Example)
Too High
3. Rotate the PATCH/VALUE dial to change the settings.
Too Low
4. Repeat Steps 2 and 3 to change each parameter’s
settings.
5. Press [TUNER/BYPASS] or [EXIT] to return to the Play
screen.
101
Chapter 10
Tuned
Chapter 10 Other Features
Parameter/
Range
Explanation
TUNER Pitch
fig.10-0500d
435–445 Hz
Sets the reference pitch.
The frequency of A4 (the middle A on a piano keyboard) played by
an instrument (such as a piano) that provides the pitch to which the
other instruments refer in tuning before a performance begins is
called the reference pitch.
* This is set to 440 Hz when shipped from the factory.
TUNER Out
fig.10-0510d
Mute, Bypass, Current Selects the output while Tuner is on.
Mute
Sounds are muted, and no sound is output.
Bypass
Sounds input to the GT-PRO bypass the processing and are output
directly as is.
When the tuner is switched on while set to “Bypass,” you can adjust
the volume of the direct sound by moving the EXP pedal (EXP pedal
connected to the EXP PEDAL 1 jack or the FC-200’s EXP pedal (MIDI
CC#7).
* The bypass sound is output in mono.
Current
Allows tuning with the sound of the currently selected patch.
* This option may not function properly if you are using Harmonist,
Auto Riff, or other effects that rely on pitch detection.
Switching Tuner On and Off by Lifting Up
on the EXP Pedal
When the EXP pedal is functioning as a Foot Volume
control, set one of the ASSIGN 1–12 Assign settings (p.
66) to one of the following settings.
With this setting, you can switch on Tuner by drawing
back the EXP pedal.
Target:
TUNER On/Off
Mode:
Target Min:
On
Act. Range Lo: 0
Target Max: Off
Source:
Normal
Act. Range Hi: 1–127
EXP PEDAL 1
* You can achieve the same effect using the FC-200’s EXP
pedal when FC-200 EXP is selected as the Source setting.
102
Appendices
Restoring the Factory
Settings (Factory Reset)
List of Factory Settings
Parameter
Restoring the GT-PRO to the settings made at the factory is
referred to as “Factory Reset.”
Not only can you return all of the settings to the values in
effect when the GT-PRO was shipped from the factory, you
can also specify the range of settings to be reset.
fig.11-0010
3
2
4
1
1. Turn off the power.
2. While holding down PREAMP/SPEAKER On/Off
button and [TYPE VARIATION], turn on the power.
The Factory Reset range setting screen appears in the
display.
Value
TUNER
TUNER Pitch
A= 440Hz
TUNER Out
Bypass
OUTPUT SELECT
MAIN Output Sel.
LINE/PHONES
MAIN Low EQ
0dB
MAIN Mid EQ
0dB
MAIN Mid Freq
500Hz
MAIN High EQ
0dB
TOTAL NS Thres
0dB
TOTAL Rev Level
100%
SUB Output Sel.
LINE/PHONES
SUB Low EQ
0dB
SUB Mid EQ
0dB
SUB Mid Freq
500Hz
SUB High EQ
0dB
Output Channel
PATCH
USB/DGT Out Ch.
MAIN
USB/DGT Out Lev
100
USB Mix Channel
MAIN
USB Mix Level
100
SYSTEM
fig.11-0020d
LCD Contrast
16
Input Select
Guitar In
Input Level
0dB
Input Pres.
0dB
P.Chnge Mode
Fast
Preamp Mode
Patch
Patch Extent
P40-10
Assign Hold
On
Knob Mode
Immediate
EXP1 Func
Auto
CTL1 Func
Assignable
System parameters, Harmonist scales, Auto Riff phrases, and
Preamp/Speaker, Overdrive/Distortion, and Wah Custom Edit
parameter settings
CTL2 Func
Assignable
EXP2 Func
Assignable
CTL3 Func
Assignable
Quick
CTL4 Func
Assignable
Content of the Settings Made with User Quick Setting
CC#7 Func
Auto
CC#80 Func
Assignable
CC#1 Func
Assignable
Main Out Lev
+4dBu
Sub Out Lev
+4dBu
LP Send Lev
-10dBu
LP Retrn Lev
-10dBu
The range of data you wish to factory reset
* To cancel Factory Reset, press [EXIT].
3. Press PARAMETER [
][
] to move the cursor,
and rotate the PATCH/VALUE dial to specify the range
of settings you want to restore to factory settings.
value
System
Explanation
#1-1–#20-10
Settings for Patch Number 1-1 through 20-10
4. If you want to proceed with the factory reset, press
[ENTER].
The specified range of data will be returned, and return
to the Play screen.
FC-200
Off
Ctl Pedal
Momentary
Bank Lmt
39
PC Out
Wait for a NUM.
Bank Chng
Bank Pedal Only
Appendices
Mode
103
Appendices
Parameter
Value
USB
Monitor Cmd
Disable
Dir Monitor
On
Driver Mode
Advanced
MIDI
RX Channel
1
Omni Mode
Omni On
TX Channel
Rx
Device ID
1
Sync Clock
Auto
PC OUT
On
EXP 1 OUT
CC#7
CTL1 OUT
CC#81
CTL2 OUT
CC#80
CTL3 OUT
Off
CTL4 OUT
Off
MIDI Map Select
Fix
Manual Mode
Pedal 1
Preamp Ch A/B
Pedal 2
Solo On/Off
Pedal 3
Comp On/Off
Pedal 4
OD/DS On/Off
Pedal 5
Delay On/Off
Pedal 6
Wah On/Off
Pedal 7
EQ On/Off
Pedal 8
Chorus On/Off
Pedal 9
FX-1 On/Off
Pedal 10
FX-2 On/Off
Pedal Down
Patch Num. Dec
Pedal Up
Patch Num. Inc
104
Appendices
MIDI Implementation Chart
Date: Feb. 14, 2005
GUITAR EFFECTS PROCESSOR
MIDI Implementation Chart
Model GT-PRO
Transmitted
Function...
Recognized
Version: 1.00
Remarks
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Memorized
Default
Messages
Altered
X
X
**************
OMNI ON/OFF
X
X
Memorized
Mode
Note
Number :
True Voice
X
**************
X
**************
Velocity
Note ON
Note OFF
X
X
X
X
After
Touch
Key's
Ch's
X
X
X
X
X
X
O (0–3)
O
O
O
O
O
X
O
O
0–99
O
0–127
O
O
Pitch Bend
0, 32
1–31
33–63
64–95
*1
*2
Bank Select
*2
Control
Change
Prog
Change
: True #
System Exclusive
System
Common
: Song Pos
: Song Sel
: Tune
X
X
X
X
X
X
System
Real Time
: Clock
: Command
X
O
O
X
Aux
Message
: All sound off
: Local ON/OFF
: All Notes OFF
: Active Sense
: Reset
X
X
X
X
X
X
X
X
O
X
Notes
Program Number
1–128
Appendices
* 1 CC#0 data of a value of 04H or higher, and the CC#32 are ignored.
* 2 Recognizes messages designated for Assign source (p. 69), Assign CC#7 (p. 64),
CC#7/CC#80/CC#1 Function (p. 64), and FC-200 Manual mode (p. 85).
A separate publication titled “MIDI Implementation” is also available. It provides complete details concerning the way
MIDI has been implemented on this unit. If you should require this publication (such as when you intend to carry out
byte-level programming), please contact the nearest Roland Service Center or authorized Roland distributor.
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
Mode 3 : OMNI OFF, POLY
Mode 4 : OMNI OFF, MONO
X : No
105
Appendices
Specifications
GT-PRO: Guitar Effects Processor
AD Conversion
24 bit + AF method
Controls
< Front Panel >
INPUT LEVEL knob
MAIN OUTPUT knob
SUB OUTPUT knob
(PREAMP/SPEAKER)
TYPE knob
DA Conversion
GAIN knob
24 bit
BASS knob
Sampling Frequency
44.1 kHz
MIDDLE knob
TREBLE knob
PRESENCE knob
Program Memories
LEVEL knob
400: 200 (User) + 200 (Preset)
On/Off button
TYPE VARIATION button
Nominal Input Level
CHANNEL button A, B
INPUT: -10 dBu
SOLO button
PRE LOOP RETURN: -10 dBu
SPEAKER button
LOOP 1/2 RETURN: -10 dBu/+4 dBu
Input Impedance
(Effect On/Off button)
COMP
INPUT: 1 MΩ
OD/DS
PRE LOOP RETURN: 220 kΩ
WAH
LOOP 1/2 RETURN: 220 kΩ
EQ
DELAY
Nominal Output Level
CHORUS
DIRECT OUT/TUNER OUT: -10 dBu
REVERB
MAIN OUT/SUB OUT: -10 dBu/+4 dBu
FX-1
SUB OUT XLR: +4 dBu
FX-2
PRE LOOP SEND: -10 dBu
AMP CTL 1
LOOP 1/2 SEND: -10 dBu/+4 dBu
AMP CTL 2
Output Impedance
DIRECT OUT/TUNER OUT: 2 kΩ
MAIN OUT/SUB OUT: 2 kΩ
SUB OUT XLR: 600 Ω
PRE LOOP SEND: 2 kΩ
LOOP 1/2 SEND: 2 kΩ
PRE LOOP
LOOP 1/2
ASSIGN
(Others)
PATCH/VALUE dial
PARAMETER buttons
OUTPUT SELECT button
Digital Output
SYSTEM button
EIAJ CP1201, S/P DIF
EXIT button
WRITE button
SHIFT button
TUNER/BYPASS button
NAME/FX CHAIN button
MASTER button
PATCH LEVEL knob
POWER switch
106
Appendices
<Rear Panel>
Power Supply
GND LIFT switch (SUB OUT)
AC 117 V/230 V/240 V
Display
Power Consumption
16 characters, 2 lines (backlit LCD)
16 W
2 characters, 7 segment LED
PEAK indicator
Dimensions
Connectors
19 (W) x 12-1/16 (D) x 3-9/16 (H) inches
<Front Panel>
(EIA-2U rack mount type)
INPUT jack
PHONES jack
<Rear Panel>
482 (W) x 305 (D) x 89 (H) mm
Weight
4.8 kg/10 lbs 10 oz
INPUT jack
Accessories
DIRECT OUT/TUNER OUT jack
Owner’s Manual
MAIN OUT jacks L (MONO)/R
USB cable
SUB OUT jacks L (MONO)/R
GT-PRO Software CD-ROM
SUB OUT connectors L/R (XLR type)
Roland Service (information sheet)
PRE LOOP SEND jack
PRE LOOP RETURN jack
Options
LOOP 1 SEND jack
MIDI Foot Controller: FC-200 (Roland), GFC-50 (roland)
LOOP 1 RETURN jack
Foot Switch: FS-5U, FS-5L
LOOP 2 SEND jack
Dual Foot Switch: FS-6
LOOP 2 RETURN jack
Expression Pedal:
AMP CTL 1 jack
EV-5 (Roland), FV-300L
AMP CTL 2 jack
Foot Switch Cable: PCS-31 (Roland)
EXP PEDAL 1 jack
(1/4 inches Phone Plug (stereo) - 1/4 inches Phone Plug
(mono) x 2)
CTL 1/2 jack
CTL 3/4, EXP PEDAL 2 jack
* 0 dBu = 0.775Vrms
DIGITAL OUT connector (coaxial)
USB connector
MIDI connectors IN/OUT/THRU
In the interest of product improvement, the
specifications and/or appearance of this unit are subject
to change without prior notice.
AF Method (Adaptive Focus method)
This is a proprietary method from BOSS & Roland that
vastly improves the signal-to-noise (S/N) ratio of the A/
D and D/A converters.
Appendices
107
Appendices
GT-PRO Software System Requirements
OMS (Mac OS 9/8)
OMS version 2.3.5 or later
■ Windows
Operating System:
FreeMIDI (Mac OS 9/8)
FreeMIDI version 1.3.5 or later
Microsoft® Windows® XP Professional/XP Home Edition/
2000 Professional/Me/98SE/98
CPU/Clock:
Pentium®, Celeron™, Intel-compatible Processor/600 MHz
or Higher
Memory:
128 MB or more (256 MB or more recommended)
Computer:
A Windows® compatible computer with a USB connector
Hard disk:
200 MB or more of free space
Display resolution:
800 x 600 pixels or higher/65,535 colors (High Color 16 bit) or
more (1024 x 768 pixels or recommended)
■ Mac OS
Operating System:
Mac OS X v10.2.3 or later
* This will not operate in the Classic environment of Mac OS X.
Mac OS 9.x, Mac OS 8.6
CPU/Clock:
PowerPC G3/600 MHz or faster
(PowerPC G4 recommended)
Memory:
256 MB or more (512 MB or more recommended)
* You must turn virtual memory “off” before using this driver
on Mac OS 9/8.
Computer:
Apple Macintosh series computer with on-board USB port
Hard disk:
200 MB or more of free space
Display resolution:
800 x 600 pixels or higher/32,000 colors or more
(1024 x 768 pixels or recommended)
108
While under most conditions, a computer similar to the
above will permit normal operation of the GT-PRO,
BOSS cannot guarantee compatibility solely on these
factors. This is due to numerous variables that may
influence the processing environment, such as
differences in motherboard design and the particular
combination of other devices involved.
Installing & Setup the USB Driver
In order to use the GT-PRO USB, you must first install the USB driver.
The USB Driver is included in the “GT-PRO Software CD-ROM.”
■ What is USB Driver?
The USB Driver is software which passes data between the GT-PRO and the application (sequencer software
etc.) that is running on the USB-connected computer.
The GT-PRO Driver sends data from the application to the GT-PRO, and passes data from the GT-PRO to
the application.
The GT-PRO can receive and transmit both digital audio signals and MIDI messages.
Application
USB connector
USB
Driver
USB cable
Computer
GT-PRO
The explanation about installing and setup the driver is organized according to the computer and driver
mode that you are using. Please proceed to the following pages.
Driver installation and settings (Windows) ................................. (p. 110)
Driver installation and settings (Macintosh) ............................... (p. 126)
109
Driver installation and settings (Windows)
About the Driver Modes
The GT-PRO features two operational modes, each of which uses a different type of driver, with one mode using the special
driver on the CD-ROM included with the GT-PRO and the other mode using the standard Windows driver.
Before installing the drivers, you must first switch the GT-PRO’s driver mode.
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver Mode” (p. 88).
Special driver mode
Switch to this mode when using GT-PRO Editor and GT-PRO Librarian while the GT-PRO is connected to your computer
via USB.
You can use the native driver included on the GT-PRO Driver CD-ROM to record, play, and edit audio with high quality
and stable timing.
In Special driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 24 bits and
a sample rate of 44.1 kHz.
Choose Special driver mode if you are using software that supports 24-bit audio, such as the Cakewalk series or Cool Edit;
or ASIO-compatible software that can record, play, and edit high-quality audio, such as Cubase or Logic.
Normally, you should use Special driver mode.
* You cannot use the GT-PRO’s MIDI IN/OUT connectors as the computer’s MIDI interface.
Standard driver mode
The standard USB audio driver provided by Windows will be used.
In Standard driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 16 bits and
a sampling rate of 44.1 kHz.
Choose this mode if you are using software that uses the standard functionality provided by Windows, such as software
that uses the CD-ROM drive of your computer to play CD audio, or that uses the software synthesizer included with
Windows.
* The driver included with Windows does not support ASIO.
* You cannot use the GT-PRO’s MIDI IN/OUT connectors as the computer’s MIDI interface.
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Windows XP users .................................................................. (p. 111)
• Windows 2000 users ............................................................... (p. 114)
• Windows Me/98 users ........................................................... (p. 117)
110
Driver installation and settings (Windows)
Installing the Special Driver
Windows XP users
1
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2
Open the System Properties dialog box.
You must log on to Windows with a
user name whose account has
administrative privileges (e.g.,
Administrator).
1. Click the Windows start menu, and from the menu, select Control Panel.
2. In “Pick a category”, click “Performance and Maintenance”.
3. In “or pick a Control Panel icon”, click the System icon.
fig.12-0020
3
Click the Hardware tab, and then click [Driver Signing].
Open the Driver Signing Options dialog box.
Depending on your system, the
System icon may be displayed
directly in the Control Panel (Classic
view).
If so, double-click the System icon.
If you change the “Driver Signing
Options” setting, change it back to the
original setting after you’ve installed
the driver.
4
In the Driver Signing Options dialog box, make sure that “Ignore” is selected.
If “Ignore” is selected, simply click [OK]. If “Ignore” is not selected, make a note of the current
setting (Warn or Block), change the setting to “Ignore”, and click [OK].
5
Click [OK] to close the System Properties dialog box.
6
If the screen indicates “Windows can
perform the same action each time
you insert a disk or connect a
device with this kind of file,” click
[Cancel].
Close all currently running software (applications).
Also close all windows that are open. If you are using software such as antivirus programs, be
sure to close these programs as well.
7
Find the included CD-ROM.
Insert the CD-ROM into your computer’s CD-ROM drive.
8
From the Windows start menu, choose “Run...”
The “Run” dialog box will appear.
9
Input the name into the dialog box as shown, and click [OK].
fig.12-0030
(Drive name): \Driver\USB_XP2k\SETUPINF.EXE
* The drive name is “D:” in the example shown here, but this may be different on your system. Specify the
drive name for your CD-ROM drive.
Checking the name of your drive.
From the start menu, choose My
Computer. In the window that
appears, verify the name of the CDROM drive into which you inserted
the CD-ROM in step 7.
The (D:) or (E:) displayed by the CDROM drive icon
is the drive
name.
The SetupInf dialog box will appear.
You are now ready to install the driver.
10
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Advanced.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
111
Driver installation and settings (Windows)
11
12
13
14
15
16
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
The Found New Hardware Wizard will appear.
* Your computer may display the message “Can Windows computer to Windows Update to
search for software?” If this occurs, select “No, not this time” and click [Next].
The screen will indicate “Please choose your search and installation options”.
Select “Install from a list or specific location (Advanced)”, and click [Next].
The screen will indicate “Please choose your search and installation options”.
Select “Don’t search. I will choose the driver to install”, and click [Next].
Make sure that the “Model” field indicates “BOSS GT-PRO”, and click [Next]. Driver
installation will begin.
If the “What action do you want Windows to take?” (Step 4) setting was not set to
“Ignore”, a “Hardware Installation” dialog box will appear.
A dialog box with a “!” symbol will appear.
1. Click [Continue Anyway].
2. Continue the installation.
A dialog box with a “x” symbol will appear.
1. Click [OK].
2. When the “Found New Hardware Wizard” appears, click [Finish].
3. Return to step 1 (p. 111) and re-install the driver from the beginning of the procedure.
17
18
The Insert Disk dialog box will appear.
Click [OK].
The Files Needed dialog box will appear.
Input the following into the “Copy files from” field, and click [OK].
(drive name):\DRIVER\USB_XP2k
* Specify the drive name of your CD-ROM drive.
If the “What action do you want Windows to take?” (Step 4) setting was not set to
“Ignore”, a “Hardware Installation” dialog box will appear.
A dialog box with a “!” symbol will appear.
1. Click [Continue Anyway].
2. Continue the installation.
19
20
112
The screen will indicate “Completing the Found New Hardware Wizard”.
Click [Finish].
When driver installation has been completed, the System Settings Change dialog box will
appear.
Click [Yes]. Windows will restart automatically.
If the System Setting Change dialog box does not appear, restart Windows from the start
menu.
The Insert Disk dialog may not
appear. In that case, proceed to the
next step.
Driver installation and settings (Windows)
If you changed the “Driver Signing Options” setting (p. 111, step 4), restore the setting to
its previous state after restarting Windows.
1. Log on to Windows using the same user account as the one used when the driver was
installed.
2. From the Windows start menu, choose Control Panel.
3. In “Pick a category,” click Performance and Maintenance.
4. In “or Pick a Control Panel icon,” click the System icon. The System Properties
dialog box appears.
* Depending on your system, the System icon may be shown directly in the Control Panel
(Classic view). If so, double-click the System icon.
5. Click the Hardware tab, and then click [Driver Signing]. The Driver Signing Options
dialog box appears.
6. In Driver Signing Options, restore the previous setting (“Warn” or “Block”) and click
[OK].
7. Click [OK]. The System Properties dialog box closes.
Next, you need to set your computer so priority is given to background services, which will
help to assure that audio and MIDI processing occur smoothly.
Giving priority to background services
Crackling may occur in the sound if you omit making this setting. To ensure that audio and
MIDI are processed smoothly, make the setting as follows.
1
Open the System Properties dialog box.
1. From the Windows start menu, choose Control Panel.
2. In “Pick a category,” click “Performance and Maintenance”.
3. In “or Pick a Control Panel icon,” click the System icon.
2
3
Depending on your system, the
System icon may be displayed
directly in the Control Panel (Classic
view). If so, double-click the System
icon.
Click the Advanced tab.
Click [Settings] located at the right of the Performance area.
The Performance Options dialog box appears.
fig.12-0040
4
5
6
Click the Advanced tab.
In Processor Scheduling, choose “Background services,”
and click [OK].
In the System Properties dialog box, click [OK]. The System
Properties dialog box closes.
Next, you need to make audio device settings. (➔“Driver settings” (p. 123))
113
Driver installation and settings (Windows)
Windows 2000 users
1
2
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
Open the System Properties dialog box.
Log on to Windows as a user with
administrative privileges (such as
Administrator)
1. Click the Windows Start button, and from the menu that appears, select Settings |
Control Panel.
2. In Control Panel, double-click the System icon.
fig.12-0050
3
4
5
6
7
8
9
Click the Hardware tab, and then click [Driver Signing].
The Driver Signing Options dialog box will appear.
Make sure that “File signature verification” is set to
“Ignore”.
If it is set to “Ignore”, simply click [OK].
If it is not set to “Ignore”, make a note of the current setting
(“Warn” or “Block”). Then change the setting to “Ignore”
and click [OK].
Click [OK] to close the System Properties dialog box.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to
exit it as well.
Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive of your computer.
Click the Windows Start button. From the menu that appears, select “Run...”
The “Run...” dialog box will appear.
In the dialog box that appears, input the following into the “Open” field, and click [OK].
fig.12-0060
(drive name): \Driver\USB_XP2k\SETUPINF.EXE
* In the explanatory example shown here, the drive name is given as “D:”. The drive name “D:” may be
different for your system. Specify the drive name of your CD-ROM drive.
The SetupInf dialog box will appear.
You are now ready to install the driver.
10
11
12
114
If you changed “File signature
verification”, you must restore the
previous setting after you have
installed the driver.
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Advanced.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
To check the drive name
In the Windows desktop, double-click
the My Computer icon. In the
window that appears, check the drive
name of the CD-ROM drive into
which you inserted the CD-ROM in
step7.
The drive name is the (D:) or (E:)
displayed by the CD-ROM drive
.
Driver installation and settings (Windows)
If the “File signature verification” (Step 4) setting was not set to “Ignore”,
a “Digital Signature Not Found” dialog box will appear.
If “File signature verification” is set to “Warn”
1. Click [Yes].
2. Continue the installation.
If “File signature verification” is set to “Block”
1. Click [OK].
2. When the “Found New Hardware Wizard” appears, click [Finish].
3. Return to step 1 (p. 114) and re-install the driver from the beginning of the procedure.
13
14
The Insert Disk dialog box will appear.
Click [OK].
If the Insert Disk dialog box does not
appear, proceed to the next step.
The Files Needed dialog box will appear.
Input the following into the “Copy files from” field, and click [OK].
(drive name): \Driver\USB_XP2k
* Specify the drive name of your CD-ROM drive.
If the “File signature verification” (Step 4) setting was not set to “Ignore,”
a “Digital Signature Not Found” dialog box will appear.
If “File signature verification” is set to “Warn”
1. Click [Yes].
2. Continue the installation.
15
16
The screen will indicate “Completing the Found New Hardware Wizard”.
Click [Finish].
The System Settings Change dialog box will appear.
Click [Yes]. Windows will restart automatically.
If you changed the “File signature verification” (p. 114, step 4) setting, restore the original
setting after Windows restarts.
1. After Windows restarts, log on to Windows as a user with administrative privileges,
(such as Administrator).
2. In the Windows desktop, right-click the My Computer icon, and from the menu that
appears, select Properties. The System Properties dialog box will appear.
3. Click the Hardware tab, and then click [Driver Signing]. The Driver Signing Options
dialog box will appear.
4. Return the “File signature verification” setting to the original setting (either “Warn”
or “Block”), and click [OK].
5. Click [OK]. The System Properties dialog box will close.
This completes installation of the driver.
Next, we recommend that you enable background processing on your computer, so MIDI and
audio processing will be as smooth as possible.
(➔ “Giving priority to background services” (p. 116))
115
Driver installation and settings (Windows)
Giving priority to background services
In Windows 2000, make settings to enable background processing. If you fail to make this
setting, you may experience interruptions in the sound. To ensure that MIDI and audio
processing occurs smoothly, use the following procedure to make settings.
1
2
3
Click the Windows Start button, and from the menu that appears, select Settings | Control
Panel. In Control Panel, double-click the System icon.
Click the Advanced tab.
At the right of the Performance field, click [Performance Options].
The Performance Options dialog box will appear.
fig.12-0040
4
5
In the Application response field, choose “Background
services” and click [OK].
Click [OK] to close the System Properties dialog box.
Next, make audio device settings.
(➝“Driver settings” (p. 123))
116
Driver installation and settings (Windows)
Windows Me/98 users
1
2
3
4
5
With the GT-PRO disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
If you are using virus checking or similar software, be sure to exit it as well.
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to
exit it as well.
Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive of your computer.
Click the Windows Start button. From the menu that appears, select Run....
The “Run...” dialog box will appear.
In the dialog box that appears, input the following into the “Open” field, and click [OK].
fig.12-0070
(drive name): \Driver\USB_Me98\SETUPINF.EXE
* In the explanatory example shown here, the drive name is given as “D:”. The drive name “D:” may be
different for your system. Specify the drive name of your CD-ROM drive.
To check the drive name
In the Windows desktop, double-click
the My Computer icon. In the window
that appears, check the drive name of
the CD-ROM drive into which you
inserted the CD-ROM in step 3.
The drive name is the (D:) or (E:)
displayed by the CD-ROM drive
.
The SetupInf dialog box will appear.
You are now ready to install the driver.
6
7
8
9
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Advanced.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
The driver will be installed automatically.
In the SetupInf dialog box, click [OK].
If a message recommends that you
restart Windows, restart Windows as
directed.
Next, make audio device settings.
(➝“Driver settings” (p. 123))
117
Driver installation and settings (Windows)
Installing the OS-standard Driver
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Windows XP/2000 users........................................................ (p. 118)
• Windows Me users ................................................................. (p. 119)
• Windows 98 users ................................................................... (p. 120)
Windows XP/2000 users
1
2
3
4
5
6
With the GT-PRO disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to
exit it as well.
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Standard.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
The GT-PRO will be detected automatically, and the driver will be installed.
When installation is complete, restart Windows.
Next, you need to make the driver settings.
(➝“Driver settings” (p. 123))
118
Driver installation and settings (Windows)
Windows Me users
1
2
3
4
5
With the GT-PRO disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to
exit it as well.
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Standard.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
Windows will detect the GT-PRO, and the Add New Hardware Wizard dialog box will appear.
fig.12-0080
6
Make sure that Automatic search for a better driver (Recommended) is selected, and click
[Next].
Driver detection will begin.
When the driver has been found, driver installation will begin.
Once the driver has been installed, a dialog box will inform you of this.
fig.12-0090
7
8
Click [Finish].
Restart Windows.
Next, you need to make the driver settings.
(➝“Driver settings” (p. 123))
119
Driver installation and settings (Windows)
Windows 98 users
The USB composite device driver is installed first, then the USB audio device driver is installed.
Use the following procedure to install the drivers.
1
2
3
4
5
With the GT-PRO disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to
exit it as well.
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Standard.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
Insert the Windows CD-ROM into the CD-ROM drive of your computer, and the power
switch turned OFF, then use the USB cable to connect the GT-PRO to your computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
USB composite device will be detected automatically, and the Add New Hardware Wizard
dialog box will appear.
fig.12-0091
6
7
Click [Next].
When “What do you want Windows to do?” appears, select Search for the best driver for
your device (Recommended), and click [Next].
fig.12-0092
A dialog box like the one shown below will appear.
fig.12-0093
120
Driver installation and settings (Windows)
8
Check CD-ROM drive, and click [Next].
A dialog box like the one shown below will appear.
fig.12-0094
9
Click [Next].
File (driver) copying will begin.
If the Windows CD-ROM is not inserted in the CD-ROM drive, a Insert Disk dialog box may
appear. In this case, insert the Windows CD-ROM into the CD-ROM drive and click [OK].
fig.12-0095
When installation of the USB Composite Device driver is completed, a dialog box like the one
shown below will appear.
fig.12-0096
10
Click [Finish].
Next, the USB audio device will be detected automatically, and the Add New Hardware
Wizard dialog box will appear.
fig.12-0097
121
Driver installation and settings (Windows)
11
Click [Next], and proceed with the installation in the same way as in steps 8–10.
When installation of the USB audio device driver is complete, a dialog box like the one shown
here will appear.
fig.12-0098
12
13
Click [Finish].
Installation of the USB composite device driver and USB audio device driver has been
completed.
Restart Windows.
Next, you need to make the driver settings.
(➝“Driver settings” (p. 123))
122
Driver installation and settings (Windows)
Driver settings
About the input and output devices
In order to get the best performance from the software you are using, you must choose the correct device settings.
The GT-PRO’s audio driver supports WDM and ASIO 2.0.
Audio devices
Audio output device
Audio input device
ASIO device
BOSS GT-PRO
MME BOSS GT-PRO Out
BOSS GT-PRO
MME BOSS GT-PRO In
BOSS GT-PRO
WDM
MME
WDM
MME
ASIO
MIDI devices
MIDI OUT
MIDI IN
BOSS GT-PRO Control
If you specify BOSS GT-PRO as the output port for the GT-PRO Editor/Librarian, sequencer software, etc., you can control the GT-PRO using System Exclusive and other messages.
BOSS GT-PRO Control
If you specify BOSS GT-PRO as the input port for the GT-PRO Editor/Librarian, sequencer software,
etc., you can acquire data from the GT-PRO using System Exclusive and other messages.
* For details on how to make settings for your software, you should also refer to the owner’s manual for your software.
* If you are unable to select the GT-PRO in the device settings of your software, it is possible that the GT-PRO driver was not installed
correctly. Please re-install the driver.
WDM
Use this if you are using the GT-PRO with the following applications or situations.
• Conventional applications such as Media Player
(for the settings, refer to “Input/output device settings” (p. 124))
• WDM driver mode compatible applications such as SONAR
• DirectSound compatible applications
ASIO
Use this if you are using the GT-PRO with an ASIO-compatible application such as Cubase. In the ASIO settings of your
application, choose “BOSS GT-PRO.”
* To prevent audio loop feedback or double monitoring, turn monitoring off in your application, or set your application to use ASIO Direct
Monitor.
* When using the GT-PRO with ASIO, we recommend that you not set your application to use the Microsoft GS Wavetable SW Synth.
(This will decrease the processing load, and make it easier to change the driver buffer size.)
MME
Normally you should use WDM or ASIO.
Use this in the following cases when using an application that does not support WDM driver mode or ASIO.
• Recording or playing 24-bit data
123
Driver installation and settings (Windows)
Input/output device settings
If you will be using the Windows Media Player application with the GT-PRO, specify the
input/output devices as follows.
The method in which you make device settings will depend on the software you are using. For
details, refer to the owner’s manual for your software.
Windows XP users
1
Depending on your system, the
System icon may be displayed
directly in the Control Panel (Classic
view). If so, double-click the System
icon.
Open the Sound, Speech, and Audio Devices Properties dialog box.
1. From the Windows start menu, choose Control Panel.
2. In “Pick a category,” click Sound, Speech, and Audio Devices.
3. In “or Pick a Control Panel icon,” click the Sounds and Audio Devices icon.
2
Click the Audio tab.
fig.12-0100
3
In the Sound playback and Sound recording areas, click the
Default device field. From the list that appears for each field,
choose the device shown below.
Sound playback
Sound recording
4
If using the standard Windows driver,
select “GT-PRO” or “USB Audio
Device.”
BOSS GT-PRO
BOSS GT-PRO
Click [OK] to close the Sounds and Audio Devices
Properties dialog box.
This completes the audio input/output settings.
Windows 2000/Me users
1
Open the Sounds and Multimedia Properties dialog box
1. Click the Windows Start button, and from the menu that appears, select Settings |
Control Panel.
2. In Control Panel, double-click the Sounds and Multimedia icon to open the “Sounds and
If the Sound and Multimedia icon is
not displayed, click “Show all control
panel options” in the frame at the
left.
Multimedia Properties” dialog box.
2
Click the Audio tab.
fig.12-0110
3
For Sound Playback and Sound Recording areas,
click the ▼ located at the right of [Preferred device], and select
the following from the list that appears.
Sound playback
Sound recording
4
BOSS GT-PRO
BOSS GT-PRO
Close the Sounds and Audio Devices Properties dialog box.
Click OK to complete the settings.
This completes the audio input/output settings.
124
If using the standard Windows driver,
select “GT-PRO” or “USB Audio
Device.”
Driver installation and settings (Windows)
Windows 98 users
1
2
3
Click the Windows Start button, and from the menu that appears, select Settings | Control
Panel.
The Control Panel will appear.
In Control Panel, double-click the Multimedia icon.
Click the Audio tab.
fig.12-0111
4
For Sound Playback and Sound Recording areas,
click the ▼ located at the right of [Preferred device], and select
the following from the list that appears.
Sound playback
Sound recording
5
If using the standard Windows driver,
select “GT-PRO” or “USB Audio
Device.”
BOSS GT-PRO
BOSS GT-PRO
Click [OK] to close the Multimedia Properties dialog box.
This concludes the procedure for setting the input and output destinations.
Software settings
Before you start up your software, use a USB cable to connect the GT-PRO to your computer.
If your software allows you to specify audio input/output settings, choose BOSS GT-PRO.
For details, refer to the owner’s manual for your software.
125
Driver installation and settings (Macintosh)
About the Driver Modes
The GT-PRO features two operational modes, each of which uses a different type of driver, with one mode using the special
driver on the CD-ROM included with the GT-PRO and the other mode using the standard Mac OS driver.
Before installing the drivers, you must first switch the GT-PRO’s driver mode.
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver Mode” (p. 88).
Special driver mode
Switch to this mode when using GT-PRO Editor and GT-PRO Librarian while the GT-PRO is connected to your computer
via USB.
You can use the native driver included on the GT-PRO Driver CD-ROM to record, play, and edit audio with high quality
and stable timing.
In Special driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 24 bits and
a sample rate of 44.1 kHz.
Choose Special driver mode if you are using software that supports 24-bit audio, such as the Cakewalk series or Cool Edit;
or ASIO-compatible software that can record, play, and edit high-quality audio, such as Cubase or Logic.
In Special mode, the GT-PRO cannot play back audio data from the Macintosh’s sound manager (such as audio CDs and
alert sounds).
Normally, you should use Special driver mode.
* You cannot use the GT-PRO’s MIDI IN/OUT connectors as the computer’s MIDI interface.
* The driver for Mac OS 9 can also be used with Mac OS 8.6. Refer to “Mac OS 9 users” (p. 129).
Standard driver mode
The standard USB audio driver provided by Mac OS will be used.
In Standard driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 16 bits and
a sampling rate of 44.1 kHz.
Choose this mode if you are using software that uses the standard functionality provided by Mac OS, such as software that
uses the CD-ROM drive of your computer to play CD audio, or that uses the software synthesizer included with Mac OS.
* The driver included with Mac OS does not support ASIO.
* You cannot use the GT-PRO’s MIDI IN/OUT connectors as the computer’s MIDI interface.
* Use of a standard driver is not supported in Mac OS 8.6. Use the Special driver mode.
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Mac OS X users........................................................................ (p. 127)
• Mac OS 9 users ........................................................................ (p. 129)
126
Driver installation and settings (Macintosh)
Installing the Special Driver
Mac OS X users
Installing the driver
1
2
3
4
5
6
7
8
Disconnect all USB cables other than those for your keyboard and mouse, and restart your
Macintosh.
If the “Authenticate” dialog box
appears during the installation, input
the password and click “OK.”
Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive of your computer.
In the Driver (Mac OS X) folder of the CD-ROM, double-click GTPROUSBDriver.pkg.
The display will indicate “Welcome to the BOSS GT-PRO USB Driver Installer”.
Click [Continue].
The display will indicate “Select a Destination”.
Click the drive in which the operating system is installed to select it, and then click [Continue].
The message “This Installer package
needs to run a program to
determine if it can be installed. Do
you want to continue?” may be
displayed. If this occurs, click
continue to advance.
Select your startup disk as the drive.
The display will indicate “Easy Install”.
Click Install or Upgrade.
The display will indicate “Installing this software requires you to restart your computer
when the installation is done”.
Click [Continue Installation].
The display will indicate “The software was successfully installed”.
Click [Restart] to restart your computer.
This completes installation of the GT-PRO driver.
Next, you need to make the driver settings.
(➝“Driver settings” (p. 128))
127
Driver installation and settings (Macintosh)
Driver settings
Input/output device settings
If you want to use the GT-PRO with the iTunes software included with your Macintosh, specify
the input/output devices as follows.
The procedure for making device settings differs depending on the software you are using.
For details, refer to the owner’s manual for your software.
1
2
3
4
5
6
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Advanced.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
Open “System Preferences” and click “Sound”.
In the Sound Effects tab, set “Play alerts and sound effects through” to “BOSS GT-PRO
44.1 kHz”.
In the Output tab, set “Choose a device for sound output” to “BOSS GT-PRO 44.1 kHz”.
GT-PRO
7
In the Input tab, set “Choose a device for sound input” to “BOSS GT-PRO 44.1 kHz”.
When you have finished making settings, close the dialog box.
* You'll need to make MIDI device settings within the sequencer you're using. For details, refer to the
owner's manual for your sequencer software.
Cautions for use
Before you use your software with the GT-PRO, please note the following.
• Before you start up your software, use a USB cable to connect the GT-PRO with your
computer.
• Do not disconnect the GT-PRO’s USB cable while your software is running.
• Close your software before you unplug the GT-PRO’s USB cable.
• Turn off the Sleep setting of your Macintosh.
• The GT-PRO will not work in the Classic environment of Mac OS X. Use it when the
Classic environment is not running.
• Depending on the model of Macintosh you are using, starting up the Macintosh when
the GT-PRO is connected may cause operation to become unstable. In this case, start up
the Macintosh and then connect the GT-PRO.
Software settings
Before you start up your software, use a USB cable to connect the GT-PRO to your computer.
If your software allows you to specify MIDI and audio input/output settings,
choose BOSS GT-PRO.
For details, refer to the owner’s manual for your software.
128
If you want sound to be played from
the internal speakers of your
Macintosh, choose “Internal
speakers” in the Output tab.
If you don’t want alerts to be played
through the GT-PRO, choose
“Internal speakers” for the “Play
alerts and sound effects through”
setting.
Driver installation and settings (Macintosh)
Mac OS 9 users
Installing the driver
Use either OMS or FreeMIDI as the MIDI driver.
The included GT-PRO driver is an add-on module for using the GT-PRO with OMS or
FreeMIDI.
* Either OMS or FreeMIDI must be installed in your Macintosh, as appropriate for the sequencer
software you are using.
OMS can be found in the OMS 2.3.8 E
folder within the OMS (Mac OS 9)
folder of the CD-ROM.
If you would like to know more about
OMS, refer to OMS_2.3_Mac.pdf
which can be found in the same
folder.
Disconnect the GT-PRO from the Macintosh before you perform the installation.
If a GT-PRO is already connected to your Macintosh when you install the driver, a message
like the following will appear when the Macintosh is started up. Perform the steps described
below as appropriate for the message that is displayed.
If the screen indicates:
“Software needed for the USB device “GT-PRO” is not available. Would you like to
look for the software on the Internet?”
→ click [Cancel].
If the screen indicates:
“The software needed to use the USB device “GT-PRO” cannot be found. Please refer
to the device documentation to install the necessary software”.
→ click [OK].
Use the following procedure to install the GT-PRO driver.
1
2
3
4
Exit all currently running software (applications).
If you are using a virus checker or similar software, be sure to exit this as well.
Prepare the CD-ROM.Insert the CD-ROM into the CD-ROM drive.
Double-click the GT-PRO Driver-E Installer icon (found in the Driver E (Mac OS 9) folder of
the CD-ROM) to start up the installer.
Verify the Install Location, and click [Install].
fig.12-0210
* If a message like the following is displayed, click [Continue].
The other currently running applications will exit, and installation
will continue.
5
A dialog box will indicate Installation was successful.
Click [Restart] to restart your Macintosh.
129
Driver installation and settings (Macintosh)
OMS settings
1
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Advanced.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
2
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
3
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
4
In the Opcode folder, open the OMS Applications folder, and double-click the OMS Setup
icon.
fig.12-0220
* The first time OMS is started up, a “Create a New Studio Setup” dialog box will appear. Click [OK].
If this is the second or later time, select “New Studio Setup” from the File menu.
fig.12-0230
* If the Apple Talk dialog box appears, select [Turn It Off]. Then click [OK] in the dialog box that appears next.
fig.12-0240
The OMS Driver Search dialog box will appear.
fig.12-0250
5
130
Click [Search].
Driver installation and settings (Macintosh)
6
When the search has been completed, verify that the OMS Driver Setup dialog box lists the
BOSS GT-PRO, and click [OK].
fig.12-0260
* If the dialog box does not show “BOSS GT-PRO,” check whether the GT-PRO is connected correctly,
and start up OMS Setup once again.
7
Verify that the OMS MIDI Device Setup dialog box lists the GT-PRO. Then click all check
boxes from the BOSS GT-PRO to check them, and click [OK].
A dialog box will appear, allowing you to save the settings in a file.
fig.12-0270
* For other connected MIDI devices as well, add a check mark to the port(s) you want to use. For details
on settings, refer to the manual that came with your MIDI device.
* BOSS/Roland can provide no guarantees or support regarding the operation of MIDI device made by
another company. Please contact the manufacturer of your MIDI device.
8
9
Input the desired file name, and click [Save].
In the Studio Setup window, change the device name indicating the MIDI device connected
to the GT-PRO as follows.
Click the device name, and you will be able to edit it.
BOSS GT-PRO: GT-PRO Control
fig.12-0280
10
From the File menu, select Save.
131
Driver installation and settings (Macintosh)
11
From the Edit menu, select OMS MIDI Setup.
In the OMS MIDI Setup dialog box that appears, check Run MIDI in background, and click
[OK].
fig.12-0290
12
13
Exit OMS Setup.
Make MIDI device settings on your sequencer software.
For details on settings, refer to the manual that came with your software.
Next, you need to install the ASIO driver.
(➝“Installing the ASIO driver” (p. 135))
132
Driver installation and settings (Macintosh)
FreeMIDI settings
1
2
3
4
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Advanced.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
Open the FreeMIDI Applications folder, and double-click the FreeMIDI Setup icon.
fig.12-0300
* The first time FreeMIDI is started up, a “Welcome to FreeMIDI!” dialog box will appear.
Click [Continue]. If this is the second or later time, select the FreeMIDI Preferences from the File
menu.
fig.12-0310
* When “OMS is installed on this computer...” appears, click [FreeMIDI].
5
6
Make sure that Use OMS when available is unchecked in the FreeMIDI Preferences dialog
box.
If it is checked, remove the check mark, and restart FreeMIDI.
In the FreeMIDI Preferences dialog box, check GT-PRO Port which is located below GT-PRO
Driver in MIDI Configuration, and click [OK].
fig.12-0320
* If the dialog box does not show “GT-PRO Driver,” check whether the GT-PRO is connected correctly,
and start up FreeMIDI Setup once again.
The About Quick Setup dialog box will appear.
fig.12-0330
* If the dialog will not appear, select Quick Setup from the Configuration menu.
133
Driver installation and settings (Macintosh)
7
8
Click [Continue].
In the dialog box that appears, set Studio Location: to GT-PRO,GT-PRO Port, and click
[>>Add>>].
fig.12-0340
9
10
When settings are complete, click [Done].
A setting window will appear.
In the setting window, change the device name indicating the MIDI device connected to the
GT-PRO as follows.
Click the device name, and you will be able to edit it.
Device 1: GT-PRO Control
fig.12-0350
11
12
13
From the File menu, select [Save], and save your settings.
Exit FreeMIDI Setup.
Make MIDI device settings on your sequencer software.
For details on settings, refer to the manual that came with your software.
Next, you need to install the ASIO driver.
(➝“Installing the ASIO driver” (p. 135))
134
Driver installation and settings (Macintosh)
Installing the ASIO driver
You must install the MIDI driver even if you will be using only audio on the GT-PRO.
Be sure to install the MIDI driver before you install the ASIO driver.
This section explains how to install the ASIO driver that allows the GT-PRO to be used by your
sequencer software or audio editing software.
* For more on installing and setting the ASIO driver, be sure to refer to the Readme_E.htm file in the
Driver E (Mac OS 9) folder on the CD-ROM.
The GT-PRO cannot play back audio data from the Macintosh’s sound manager (such as
audio CDs and alert sounds).
ASIO (Steinberg Audio Stream
In/Out Interface) This is an
audio interface standard
promoted by the Steinberg
Corporation. When the GT-PRO
is used with ASIO-compatible
software, the synchronization
precision will be improved,
allowing a more sophisticated
music production environment.
The ASIO driver of the GT-PRO supports the following audio input/output channels.
• Audio input
24/16 bit
1 stereo ch. (2 mono chs.)
• Audio output
24/16 bit
1 stereo ch. (2 mono chs.)
If your ASIO-compatible software supports ASIO 2.0 or recording/playback of 24 bit audio
data, using the following drivers will provide a higher quality environment.
ASIO-compatible software
ASIO2.0-compatible
24 bit compatible
x
x
x
o
o
x
o
o
Driver to use
GT-PRO ASIO1.0 16 bit
GT-PRO ASIO1.0 24 bit
GT-PRO ASIO2.0 16 bit
GT-PRO ASIO2.0 24 bit
Here we will explain how to install the ASIO 1.0 16 bit-compatible driver.
1
From the Driver E (Mac OS 9) –ASIO folder of the CD-ROM, copy [GT-PRO ASIO1.0 16bit]
to ASIO Drivers folder of the ASIO-compatible software you are using (e.g., Cubase, Logic, or
Digital Performer).
fig.12-0360
2
3
Start up your ASIO-compatible software.
Open the Audio setting dialog box of your ASIO-compatible software, and select
[GT-PRO ASIO 16bit] as the ASIO Device.
The Audio setting dialog box
will be named differently
depending on your software.
For details refer to the manual
of your software.
135
Driver installation and settings (Macintosh)
Installing the OS-standard Driver
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
• Mac OS X users........................................................................ (p. 136)
• Mac OS 9 users ........................................................................ (p. 138)
Mac OS X users
1
2
3
4
5
6
With the GT-PRO disconnected, start up Mac OS.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be sure to
exit it as well.
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Standard.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
Open the System Preferences and click “Sound.”
fig.12-0370
7
136
In the Sound Effects tab, set the Play alerts and sound effects through to “GT-PRO.”
Now, return the GT-PRO’s OUTPUT MAIN/SUB knob to the original position, then try
clicking on an alert in the list. If the sound of the alert comes from the GT-PRO when you do
so, it means that the GT-PRO is being recognized and that the driver has been installed
properly.
Once set this way, all sounds
from your Macintosh (including
audio alerts) will be output only
through the GT-PRO, not from
the speakers of your Macintosh.
Driver installation and settings (Macintosh)
fig.12-0380
8
In the Output tab, set the Choose a device for sound output to “GT-PRO.”
fig.12-0390
9
The “Main Volume” slider will
not move.
In the Input tab, set the Choose a device for sound input to “GT-PRO.”
fig.12-0400
Cautions when using the GT-PRO
Before you use your software, please note the following points.
• Select “GT-PRO” in the audio driver setting of your software. For details, refer to the
manual that came with your software.
• Connect the GT-PRO to your computer via a USB cable before you start up your
sequencer or other software.
• Do not disconnect the USB cable from the GT-PRO while your sequencer or other
software is running.
• Disconnect the USB cable from the GT-PRO only after you have quit your sequencer or
other software.
• Leave the Sleep function of your Macintosh turned off.
• The GT-PRO will not work in the Classic environment of Mac OS X. Use the GT-PRO
when the Classic environment is not running.
137
Driver installation and settings (Macintosh)
Mac OS 9 users
1
2
3
With the GT-PRO disconnected, start up Mac OS.
Exit all currently running software (applications).
If you are using a virus checker or similar software, be sure to exit it as well.
After starting up Mac OS, select Apple System Profiler from the Apple menu.
The Apple System Profiler dialog box will appear.
fig.12-0410
4
5
6
7
8
Click the Devices and Volumes tab.
Before connecting the USB cable, switch the GT-PRO’s driver mode to “Standard.”
For instructions on switching the GT-PRO’s driver modes, refer to “Switching the Driver
Mode” (p. 88).
With the power switch turned OFF, use the USB cable to connect the GT-PRO to your
computer.
Make sure that the GT-PRO’s OUTPUT MAIN and SUB knobs are set to the lowest setting,
then switch ON the POWER switch.
Wait for approximately five seconds.
While you are waiting, the screen display will not change, but the GT-PRO is being detected.
Do not touch the mouse or keyboard.
In order to check that detection has been completed, once again go to Apple System Profiler,
and select Update all information from the Commands menu.
In the USB area, three audio devices will be displayed.
If these are displayed correctly, driver installation has succeeded.
fig.11-630
9
138
In the File menu, click Quit to close the Apple System Profiler.
If they are not displayed correctly, disconnect the GT-PRO, wait for about ten seconds, and
then repeat the procedure from step 2.
Driver installation and settings (Macintosh)
Settings the sound input/output
1
From the Apple menu, select Control Panel – Sound.
The Sound dialog box will appear.
fig.12-0430
The Sound dialog box will appear.
2
Click the Speakers tab or Speaker Settings.
fig.12-0440
3
With the volume turned down on the GT-PRO and on your peripheral audio equipment, click
[Start Test].
Test signals will be output from the GT-PRO; left first, then right, as indicated in the screen.
fig.12-450
4
In the Sound dialog box, click the Input tab.
139
Driver installation and settings (Macintosh)
5
In Choose a source for sound input (Device), select USB audio.
fig.12-0460
* Do not check Play sound through output device.
6
7
140
When you are finished making settings, close the Sound dialog box.
From the File menu, select Quit.
If USB audio is not displayed,
close the Sound dialog box, and
disconnect the GT-PRO’s USB
cable from the Macintosh.
Perform the driver installation (p.
138) once again.
Setting the Special Driver’s Functions
Adjusting the audio latency
When using the GT-PRO in Advanced mode, you can change the driver settings to adjust the latency of the audio.
To adjust the latency, change the Buffer Size in the driver settings dialog box.
1
2
As described in “Opening the special driver settings dialog box” (p. 142), open the “Driver Settings” dialog box.
Adjust the driver buffer size.
The following setting will produce the shortest latency.
Windows:
Set Audio Buffer Size to the far left (Min).
Macintosh:
Set Buffer Size to the far left (Min).
3
4
5
Click [OK] to close the driver settings dialog box.
Restart the application that is using the GT-PRO.
If you are using an application that has a function for testing audio devices, get it to perform its tests.
Play back audio data on your application.
If interruptions occur in the sound, repeat this procedure, and gradually increase the buffer size specified in step 2 until
interruptions no longer occur.
* Depending on the application you are using, there may be a buffer size or latency adjustment function among the audio settings of the
application as well. For details, refer to the operation manual for your application.
Using ASIO Direct Monitor
If you are using the GT-PRO from an ASIO 2.0 compatible application, switching of the GT-PRO’s output signals (Direct
Monitor; p. 90)) can be controlled from your ASIO 2.0 compatible application.
1
2
3
As described in “Opening the special driver settings dialog box” (p. 142), open the “Driver Settings” dialog box.
Check the Use ASIO Direct Monitor check box.
Click [OK] to close the driver settings dialog box.
* Depending on the application you are using, there may be a ASIO Direct Monitor among the audio settings of the application as well.
For details, refer to the operation manual for your application.
* When using ASIO Direct Monitor, monitoring may switch on/off at unexpected times, depending on the application settings and on
the recording procedure. If this occurs, uncheck the check box in step 2 to disable ASIO Direct Monitor.
141
Setting the Special Driver’s Functions
Opening the special driver settings dialog box
If using Windows:
1. Open the Control Panel and double-click BOSS GT-PRO.
The BOSS GT-PRO Driver Settings dialog box will appear.
* In Windows XP, click “Switch to classic view” to switch the display to the classic view. BOSS GT-PRO will not be displayed
unless the classic view is selected.
* In Windows Me, click “View all Control Panel options”.
If using Macintosh:
1. Open the ASIO Control Panel from the Audio Settings dialog box of your ASIO-compatible application.
The name of the Audio Settings dialog box and the procedure for opening the ASIO Control Panel will differ
depending on your application. For details, refer to the operation manual for your application.
142
Troubleshooting
Error Messages
❏
If you attempt an incorrect operation or if an operation could
not be executed, the display will indicate an error message.
Refer to this list and take the appropriate action.
→ Check the settings of your amp/mixer system.
fig.12-0510d
❏
Is the connected amp/mixer turned off, or the volume
lowered?
Is the OUTPUT MAIN/SUB knobs lowered?
→ Adjust the OUTPUT MAIN/SUB knobs to an
appropriate position (p. 17).
❏
Is Output Channel set correctly?
→ When Output Channel (p. 95) is set to “PATCH,” the
output destination set with Master Output (p. 55) is
used.
●
The memory backup battery inside the GT-PRO has run
down. (This message will appear when the power is
turned on.)
❏
❍
Replace the battery as soon as possible. For battery
replacement, please contact a nearby Roland service
center or your dealer.
→ When the volume is set to “Mute” in the Tuner mode,
even the direct sound will not be output by setting the
Tuner to “On” (p. 102).
Is Tuner set to On?
fig.12-0520d
❏
Is each effect set correctly?
→ Use the “Meter function” (p. 100) to check the output
level of each effect. If there is an effect for which the
meter does not move, check the settings for that effect.
●
There is a problem with the MIDI cable connection.
❍
Check to make sure the cable has not been pulled out or
is not shorted.
fig.12-0530d
❏
Is “USB/DGT: Out Lev” set to a low value?
→ Adjust the setting to an appropriate value (p. 89).
❏
Is “FV: Level” or “MST: Patch Level” specified as an
assign Target?
→ Move the controller to which it is assigned.
❏
●
More MIDI messages were received in a short time than
could be processed correctly.
Problems when using the GT-PRO
If there is no sound or other operational problems occur, first
check through the following solutions. If this does not
resolve the problem, then contact your dealer or a nearby
Roland service station.
Problems with the sound
Is the power to the external device connected to the
SEND/RETURN jack off, or is the volume of the device
turned down?
→ Check the settings for the connected device.
Sound from devices connected to the INPUT
jack is not heard in the headphones
❏
The output from the PHONES jack is a mix of the output
from the MAIN OUT and SUB OUT.
→ Try adjusting both the MAIN and SUB volume knobs.
❏
Is the USB: Dir Monitor (p. 90) set to OFF?
→ Set to ON.
No sound / volume too low
❏
Are the connection cables broken?
→ Try using a different set of connection cables.
❏
Is the GT-PRO correctly connected to the other
devices?
→ Check connections with the other devices (p. 15).
The volume level of the instrument connected to
INPUT and RETURN are too low
❏
Could you be using a connection cable that contains a
resistor?
→ Use a connection cable that does not contain a resistor.
143
Troubleshooting
Oscillating sound occurs
❏
Is the value for any gain- or volume-related effects
parameter set too high?
→ Lower these values.
❏
Is the SYS: Input Select (p. 96) set to “USB In?”
→ When set to “USB In,” audio signals may, depending on
the software settings, end up looping. You can use the
following methods to prevent this from happening.
• Stop playback with the software, and set Soft Thru to
Off.
• Switch the software's audio input off.
• Change SYS: Input Select to “Guitar In.”
No change in preamp tone even after
switching patches
❍
Has the GT-PRO been set to “System” (p. 98) in
Preamp mode?
→ When the GT-PRO is set to “System” in Preamp mode,
the preamp settings do not change when patches are
switched.
To make different preamp settings for individual
patches, choose the “Patch” setting in Preamp mode.
Unable to change parameters with the
knobs or PATCH/VALUE dial
❍
Are you using the Internal Pedal System (p. 70) in
Assign?
Other Problems
Patch does not change
❏
Is something other than the Play screen shown in the
display?
→ On the GT-PRO, patches can be selected only when the
Play screen is displayed. Press [EXIT] to return to the
Play screen (p. 16).
Parameters specified with Assign can’t
be controlled
❏
Could the effect be switched off?
→ To control a parameter using the expression pedal or
foot switch, make sure the effect that contains the
parameter you intend to control is switched on.
❏
Is something other than “Assignable” selected for the
CTL 1, 2, 3, 4 function setting?
→ When operating the foot switches connected to the CTL
1/2 and CTL 3/4 jacks, set the CTL 1, 2, 3, 4 function (p.
62) to “Assignable.”
❏
Is something other than “Assignable” selected for the
EXP 1, 2 function setting?
→ When operating the EXP pedal connected to the EXP
PEDAL 1 and EXP PEDAL 2 jacks, set the EXP 1, 2
function (p. 63) to “Assignable.”
❏
Is something other than “Assignable” selected for the
CC#7, CC#8, CC#1 function setting?
→ When the Assign Source is set to “Internal Pedal” or
“Wave Pedal,” the effect parameter set as the Assign
Target changes automatically.
If you want to be able to change the parameters
manually with the knobs and PATCH/VALUE dial, first
switch off Assign to deactivate the Internal Pedal
System.
→ When operating the the FC-200 or other external MIDI
device, set the CC#7, CC#80, CC#1 function (p. 64) to
“Assignable.”
❍
❏
Is “INPUT LEVEL” (p. 69) set as the Assign Source in
Assign?
→ When “INPUT LEVEL” is set for the Assign Source, the
effect parameter set as the Assign Target changes
automatically according to the level of the input from the
guitar (the playing dynamics).
If you want to be able to change the parameters
manually with the knobs and PATCH/VALUE dial, first
switch off Assign.
❏
Do the MIDI channel settings of both devices match?
→ Make sure that the MIDI channels of both devices match
(p. 73).
Do the controller number settings of both devices
match?
→ Make sure that the controller number of both devices
match (p. 69).
MIDI messages are not transmitted/
received
❏
Are the MIDI cables broken?
→ Try another set of MIDI cables.
❏
Is the GT-PRO correctly connected to the other MIDI
device?
→ Check connections with the other MIDI device.
144
Troubleshooting
❏
Do the MIDI channel settings of both devices match?
❏
Is USB enabled on your computer?
→ Make sure that the MIDI channels of both devices match
(p. 73).
→ Refer to the operation manual for your computer, and
make sure that USB is enabled.
❏
❏
When you send messages from the GT-PRO, make sure
the GT-PRO is set to the settings appropriate for
sending data.
→ Check the on/off status for transmission of program
change messages (p. 74) and the settings for the
controller numbers to be transmitted (p. 74) .
❏
Does your computer meet the USB specifications?
→ If you are using a computer that does not fulfill the
electrical requirements of the USB specifications,
operation may be unstable. In this case, you may be able
to solve the problem by connecting a USB hub.
❏
Is the GT-PRO connected via USB?
Does “Unknown device” appear for “Other device” or
“Universal serial bus controller”?
→ The MIDI messages that the GT-PRO can transmit and
receive using a MIDI connection are different from those
when the GT-PRO is connected via USB. For more
detailed information, refer to “Notes Regarding the
MIDI Messages That Can Be Transmitted and Received”
(p. 73).
→ Use the following procedure to delete “Other device”
(Universal Serial Bus Controller) “Unknown device”,
and then restart your computer.
→ When the GT-PRO is connected to a computer via USB,
MIDI messages arriving at the MIDI IN connector cannot
be routed on to the computer. Likewise, MIDI messages
from the computer cannot be passed through and output
from the MIDI OUT connector.
2. Click the “Device Manager” tab.
Problems common to Windows and Macintosh
Problems occurring only in Windows
Problems occurring only in Macintosh
Problems related to the USB Driver
1. In the Windows Control Panel, double-click System.
The “System Properties” dialog box will appear.
3. Double-click “Other device” or “Universal Serial Bus
Controller” to display a list of devices.
4. From the list, select the unknown device and click
[Delete].
5. In the dialog box that asks you to confirm the deletion,
click [OK].
6. Verify that “Other device” or “Unknown device” is not
displayed in the list, and click [Close] to close the
dialog box.
“Found unknown device” appears
even though you installed the driver
❏
An “Unknown driver found” dialog box appears,
and you are unable to install the driver
“Find new hardware wizard” does
not execute automatically
“Find new hardware wizard” ends
before the process is completed
❏
It may take about 15 seconds (or more) after the USB
cable is connected for the GT-PRO to be detected.
❏
Is the USB cable connected correctly?
→ Make sure that the GT-PRO and your computer are
correctly connected via a USB cable.
If your computer or USB hub has two or more USB
connectors, and you connect the GT-PRO to a USB
connector to which the GT-PRO has never been
connected before, the “Unknown device” dialog box
may appear even on a computer onto which you have
already installed the driver.
→ Refer to “Driver installation and settings (Windows)” (p.
110), and install the driver once again. This is not a
malfunction.
Driver is not installed correctly
→ As described in “Deleting the Special Driver” (p. 151),
delete the USB audio device driver that is installed in
your computer, and then install the GT-PRO driver once
again as described in “Driver installation and settings
(Windows)” (p. 110) Also check whether there is an
“Unknown device” in “Other devices” or “Universal
Serial Bus Controller.” If you find one, delete it.
145
Troubleshooting
Can’t install/delete/use the driver in
Windows XP/2000
❏
Did you log on to Windows as a user with
administrative privileges?
→ In order to install/delete/re-install the driver in
Windows XP/2000, you must be logged into Windows
as a user with administrative privileges, such as
Administrator. For details, please contact the system
administrator for your computer system.
❏
If you find any such indication, select it and click
[Delete].
7. A dialog box will ask you to confirm deletion of the
device. Verify the contents of the dialog box, and then
click [OK].
In the same way, delete all indications of “?Composite
USB Device”, “?USB Device”, “USB Device”, and “USB
composite device” that you find.
Did you make “Driver Signing Options”?
→ In order to install/re-install the driver, you must make
“Driver Signing Options.”
(Windows XP → p. 111, Windows 2000 → p. 114)
Windows XP/2000 displays a
“Hardware Installation” or “Digital
Signature Not Found” dialog box
❏
6. Check whether you can see an indication of
“?Composite USB Device”, “?USB Device”, “!USB
Device”, or “USB composite device” displayed below
“Sound, Video, and Game Controllers”, “Other
Devices”, or “Universal Serial Bus Controller”.
If you find BOSS GT-PRO with a yellow “!” or a red “?”
displayed beside it, delete this in the same way.
8. When you have finished deleting the unwanted
devices, click [OK] in the System Properties dialog box.
9. Turn off the power of the GT-PRO, then delete the
driver. (→ “Deleting the Special Driver” (p. 151))
10. Restart Windows.
Then install the driver once again. (→ “Driver
installation and settings (Windows)” (p. 110)).
Did you make “Driver Signing Options”?
→ In order to install/re-install the driver, you must make
the settings described in “Driver Signing Options.”
(Windows XP → p. 111, Windows 2000 → p. 114)
Device Manager shows “?”, “!”, or
“USB Composite Device”
* If the problem still occurs after you have taken the above
measures, please refer also to the Readme_E.htm file for the
USB driver. The Readme_E.htm file is on the CD-ROM.
A dialog box says “Can’t use driver
required by USB device ‘BOSS GT-PRO’”
❏
The “Insert Disk” dialog box does not
appear
→ Use the following procedure to re-install the driver.
1. Turn off the power of your computer, and start up
Windows with all USB cables disconnected (except for
keyboard and mouse).
2. After Windows restarts, use a USB cable to connect the
GT-PRO to your computer, and turn on the power of
the GT-PRO.
3. Click the Windows [Start] button, and from the menu
that appears, choose “Settings | Control Panel.”
4. Double-click the System icon.
The “System Properties” dialog box will appear.
5. Click the “Device Manager” tab.
146
[Special driver mode] Are you using only audio?
→ You must install the MIDI driver even if you are using
the GT-PRO only with audio. Please install the GT-PRO
driver for OMS or FreeMIDI.
(→ “Installing the Special Driver” (p. 127))
Troubleshooting
Problems when using the
USB Driver
❏
Is your computer in Suspend or Sleep mode?
→ If so, get your computer to resume normal operation,
then exit all applications that are using the GT-PRO.
Next, turn the GT-PRO’s power off, then switch it on
again.
Operating system becomes unstable
❏
❏
→ Exit all applications that are using the GT-PRO, and exit
all applications that are using the GT-PRO, and reconnect the GT-PRO.
Operation becomes unstable when the computer is
started up with the GT-PRO already connected
→ Please start up your computer with the GT-PRO
disconnected, and then connect the GT-PRO. On a
computer that uses a USB keyboard, starting up the
computer with the GT-PRO already connected may
cause operation to become unstable. In this case, start up
the computer with the GT-PRO disconnected, and then
connect the GT-PRO.
Can’t hear sound from the computer
❏
Is it possible that the GT-PRO’s OUTPUT MAIN/SUB
has been placed at 0 (turned fully counterclockwise)?
❏
Are USB/DGT Out Ch. (p. 89) and USB/DGT Out Lev
(p. 89) set correctly?
❏
Have you specified the audio and MIDI data output
destination for your operating system?
In your playback software, have you specified the
audio data output destination?
→ For some software, you will need to specify the GT-PRO
as the output destination for audio data. For details on
the procedure for making settings, refer to the owner’s
manual for your software.
❏
Are you running multiple applications?
→ If multiple applications are running simultaneously, an
error message may appear. If this occurs, click [OK] and
exit the other applications.
Even if an application window is closed, it is still
running if it appears in the taskbar. Be sure to exit
unneeded applications displayed.
❏
Have you selected “Game compatible device” or
“Voice modem” as the output for the audio track?
→ If game compatible device or voice modem (the actual
name will depend on the computer you are using) is
selected for the audio track of your software, the audio
track may not play back. Do not select these devices as
the port.
❏
Has your computer been set to enter Sleep mode?
→ If your computer enters Sleep mode, exit the software
you are using, and then restart your computer.
We recommend that you set your computer to not use
Sleep mode.
Noise is heard during audio playback
→ You must specify the GT-PRO as the audio data output
destination for your computer. For details on how to
make this setting, refer to Settings and checking.
(Windows, “Driver settings” (p. 123)/ Macintosh, “OMS
settings” (p. 130), “FreeMIDI settings” (p. 133))
❏
❏
Did you plug in the USB cable, or unplug it while an
application was running?
Was the driver installed correctly?
→ In order for you to play back audio data via the GT-PRO,
the driver must be installed. For installation and settings,
refer to “Driver installation and settings” (Windows, p.
110 / Macintosh, p. 126).
❏
Is a guitar still connected?
→ If a guitar is connected to the GT-PRO, disconnect the
guitar. Disconnect any audio devices you are not using.
❏
Noise is sometimes heard in the input.
→ If a USB-compatible MIDI sound module and the GTPRO are connected via USB to the same computer, and
the outputs of the MIDI sound module are connected to
the input jacks of the GT-PRO, noise from your
computer may be heard via the MIDI sound module
from the GT-PRO, depending on the computer you are
using. If this occurs, you can either connect the MIDI
sound module and the GT-PRO in parallel using a selfpowered hub, or connect the MIDI sound module via its
serial or MIDI interface.
❏
Are two or more audio devices such as the GT-PRO or
a mixer connected to your computer?
→ Try connecting only a single GT-PRO unit, and check
whether the noise disappears. If numerous audio devices
are connected to a computer, noise may occur depending
on your system. In such cases, connect only the GT-PRO
to your computer.
147
Troubleshooting
❏
Does your sequencer software support ASIO 2.0?
→ If your ASIO-compatible software does not support
ASIO 2.0, it will not operate correctly if you use [GTPRO ASIO2.0 16bit] or [GT-PRO ASIO2.0 24bit] as the
ASIO driver.
In this case, select either [GT-PRO ASIO1.0 16bit] or [GTPRO ASIO1.0 24bit] as the ASIO driver.
❏
❏
Are many applications running on your computer?
→ If you use many applications or start up other
applications during playback, playback may be
interrupted, depending on your computer system. Please
exit unneeded applications, and try again. If this does
not resolve the problem, try restarting your computer.
Does your sequencer software support 24-bit audio?
→ If your ASIO-compatible software does not support 24bit audio input/output, it will not operate correctly if
you select [GT-PRO ASIO1.0 24bit] or [GT-PRO ASIO2.0
24bit] as the ASIO driver. In this case, select either [GTPRO ASIO1.0 16bit] or [GT-PRO ASIO2.0 16bit] as the
ASIO driver.
❏
Sound is interrupted during audio
recording/playback
Is the GT-PRO connected to a USB hub?
→ Try connecting the GT-PRO directly to the USB
connector of the Macintosh itself.
❏
Graphic accelerators may cause noise to be heard
during audio playback.
→ Use the following procedure to turn the graphic
accelerator “Off”.
1. In the Windows Control Panel, double-click Display to
open the “Display Properties” dialog box, and click the
“Settings” tab.
2. Click Advanced, and in the properties that appear, click
the “Performance” tab.
For Windows XP, click Advanced, and then click the
Troubleshoot tab.
❏
→ Try turning off the power of all USB audio devices other
than the GT-PRO.
→ In some cases, you may also be able to solve this problem
by grounding the chassis of your computer, or the
grounding connector of the AC power supply plug of
your computer. In addition, you can check whether any
devices that produce a strong magnetic field are located
nearby, such as a television or microwave oven.
Also check the troubleshooting item Sound is
interrupted during audio recording/playback.
❏
For Windows 2000, click Advanced, and then click the
Troubleshooting tab.
Are you using a USB device other than the GT-PRO?
3. Set the Hardware acceleration slider to None, and click
[OK].
4. In the “Display Properties” dialog box, click [OK] to
close the dialog box.
5. Restart your computer.
❏
Make the settings that enable background processing.
→ Make these settings so that audio processing can be
performed smoothly.
Make settings as described in Make Windows XP (p. 113)
or Windows 2000 (p. 116) settings to “Giving priority to
background services.”
Is the SYS: Input Select (p. 96) set to “USB In?”
→ When SYS: Input Select is set to “USB In,” the GT-PRO’s
effects are applied to the audio signals from the
computer. If you want to output the computer’s audio
signals unchanged to an audio device, set SYS: Input
Select to “Guitar In.”
→ Try using the following procedure to change your disk
drive settings.
The following setting item may not exist on some
computers.
1. In the Windows Control Panel, double-click System.
2. Click the “Device Manager” tab.
3. Double-click “Disk Drives” to see the list of devices.
148
Troubleshooting
4. From the list, select GENERIC IDE DISK TYPE??, and
click Properties to access the GENERIC IDE DISK
TYPE?? Properties dialog box.
5. From the list, select Advanced Power Management
Support. Then click Properties to open the “Advanced
Power Management Support Properties” dialog box.
* In the?? field of GENERIC IDE DISK TYPE??, there will be
a number that differs depending on your computing
environment.
6. Click the “Settings” tab, and in Troubleshooting, place
a check in the check box for Don’t Poll Power Supply
Status. Then click [OK].
5. Click the “Settings” tab, place a check mark in the
check box for the DMA option, and click [OK] to close
the dialog box.
7. In the System Properties dialog box, click [OK].
8. Restart Windows.
* Depending on your system, a DMA Settings dialog box may
appear. Check the contents, and click either [OK] or [Cancel].
6. In the “System Properties” dialog box, click [OK] to
close the dialog box.
7. Restart your computer.
❏
Try installing more memory.
→ Installing more memory will increase the performance of
your computer. For details on how to install more
memory, refer to the operation manual for your
computer.
❏
If you are using the special driver, you can solve this
problem in the “BOSS GT-PRO Driver Settings”
dialog box.
→ For details, refer to the section “Something is wrong with
playback; sound is interrupted or notes are missing”
within the Readme_E.htm file located in the folder in
which you installed the CD-ROM.
❏
Depending on the virtual memory setting or networkrelated settings, noise may occur.
→ Please make the following settings before use.
❏
Does your computer satisfy the requirements of the
USB standard?
→ If you are using a computer (such as a computer that you
yourself assembled) that does not satisfy the electrical
requirements of the USB specifications, you may
experience interruptions in the audio. If this occurs, you
may be able to solve the problem by connecting a USB
hub that contains its own power supply.
❏
On some computers, audio playback may be
interrupted due to the Power Management settings in
the Control Panel.
→ The Power Supply Properties that you see when you
double-click Power Management will differ depending
on your computer system. One example is given below,
but you should also refer to the operation manual for
your computer. Some computers may not have all of the
following setting items.
1. Click the Windows Start button, and select “Settings |
Control Panel” to open the Control Panel.
2. In Control Panel, double-click System to open the
“System Properties” dialog box.
• In Chooser of the Apple menu, set AppleTalk to
“Inactive”.
(This setting is not changed as a result of turning off
AppleTalk, as requested by OMS when sequencer
software is started up. You must change the setting
yourself using the “Chooser”.)
• In the “Memory” Control Panel, set Virtual Memory to
“Off”.
• Depending on the way in which you connect to the
Internet, use the GT-PRO with the following settings.
If you connect to the Internet via a LAN cable
Use while the LAN cable is connected.
If you connect to the Internet via the internal modem
port, or are not connected to the Internet
In the “TCP/IP” Control Panel, set “Connect via” to
“PPP”.
After you have made the settings, restart your
Macintosh.
* Do not use software that accesses the network (such as a Web
browser) at the same time that you are using sequencer
software or audio editing software.
3. Click the “Device Manager” tab.
4. Double-click System Devices to display the list of
devices.
149
Troubleshooting
→ Try increasing the Buffer Size in the ASIO Driver control
panel.
The name of the settings dialog box will differ
depending on your software.
* If you change the buffer size, you must exit the software and
then restart it.
* BOSS/Roland can make no guarantee of, nor provide support
regarding the operation of sequencer software and audio
editing software made by another manufacturer. Please
contact the manufacturer of the software you are using.
Sound becomes distorted or noisy
when you apply an effect
→ Adjust the volume of the effects.
Recorded sound is too low
→ Adjust the volume of the effects.
A loud buzz is present in the guitar
signal
Digitally recorded sound is distorted,
is at the wrong pitch, or contains noise
❏
Is the application’s sampling frequency set to 44.1
kHz?
→ Set the application's sampling frequency to 44.1 kHz.
Playback or recording halts midway
through, and then becomes impossible
❏
Was a heavy processing load experienced while using
the GT-PRO, such as accessing the CD-ROM drive or a
network?
→ If an operation involving a heavy processing load is
performed while the GT-PRO is in use, it may not
operate correctly. If this occurs, stop playback/
recording, and then try resuming playback/recording. If
you are still unable to play back/record, exit all
applications that use the GT-PRO, switch off the GTPRO, then turn it on again.
Recording produces a silent (blank)
file
❏
Is the USB/DGT: Out Lev (p. 89) set correctly?
❏
In your operating system, is the audio data input
destination set correctly?
❏
On your recording software, is the audio data input
destination set correctly?
150
❏
Does the buzz decrease when you lower the volume of
your guitar?
→ If the buzz decreases when you lower the volume of
your guitar, it is possible that the pickup of your guitar is
receiving noise from a computer or a display screen.
Move as far away from the computer as possible.
Sometimes this problem can be solved by grounding the
chassis of your computer, or the grounding connector of
your computer’s AC power supply. You should also
check whether there is a device nearby that produces a
strong magnetic field, such as a television or a
microwave oven. (p. 5)
Troubleshooting
Deleting the Special Driver
If you were unable to install the special driver according to
the procedure given, the GT-PRO may not be recognized
correctly by the computer. In this case, use the following
procedure to delete the special driver, and then follow the
procedure in “Driver installation and settings” (Windows, p.
110; Macintosh, p. 126) to install the driver once again.
Windows XP/2000 users
In order to delete (uninstall) the driver, a user with
administrative privileges such as Administrator must be
logged onto Windows. For details, contact the system
administrator of your computer.
1. Start Windows with all USB cables disconnected.
(except the keyboard and mouse)
2. Log on to Windows as one of the following users:
• a user whose account type is Computer Administrator
• the Administrator or other user with the privileges of the
Administrators group
* For more information regarding this, consult your computer
system administrator.
3. In the “Driver\USB_XP2k\” folder of the CD-ROM,
double-click “Uninstal.exe.”
4. The display will indicate “This program uninstalls the
BOSS GT-PRO USB Driver installed,” and click the
“OK” button.
5. The display will indicate “Uninstallation completed,”
and click the “Yes” button. Windows will restart.
Windows Me/98 users
1. Start Windows with all USB cables disconnected.
(except the keyboard and mouse)
2. Exit all applications before performing the
uninstallation.
3. In the “Driver\USB_Me98\” folder of the CD-ROM,
double-click “Uninstal.exe.”
4. The display will indicate “This program uninstalls the
BOSS GT-PRO USB Driver installed,” and click the
“OK” button.
5. The display will indicate “Uninstallation completed,”
and click the “Yes” button. Windows will restart.
Mac OS X users
1. Start Macintosh with all USB cables disconnected.
(except the keyboard and mouse)
2. Double-click “GTPRO_Uninstaller” (found in the
Driver (Mac OS X) of the CD-ROM).
3. The display will indicate “This uninstalls BOSS GTPRO driver from this Macintosh.”; click [Uninstall].
* If any other message appears, proceed as directed by that
message.
4. The display will indicate “Are you sure to uninstall the
driver?”; click [OK].
5. The “Authenticate” dialog box will appear; enter the
password and click [OK].
6. The display will indicate “Uninstllation is completed.”;
click [Restart].
Your computer will then restart.
Mac OS 9 users
1. Disconnect the USB cable (by which the GT-PRO is
connected) from your Macintosh.
2. From the system extensions folder, drag “USB GT-PRO
Driver” into the trash to delete it.
3. Delete GT-PRO from the OMS Folder inside the
System folder, or drag GT-PRO Driver from the
FreeMIDI Folder to the trash.
4. Drag the ASIO driver that you installed in “Installing
the ASIO driver” (p. 135) into the trash to delete it.
5. Restart the Macintosh.
151
Patch List
■ User Patch
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
U 1- 1
STACK DRIVE
-
Single (Ch.A)
MS HiGain
Power Stack
R-FIER Mdn1
U 1- 2
HEAVY METAL DRV
-
Single (Ch.A)
R-FIER Vnt1
U 1- 3
MS1959 LEAD
-
Single (Ch.A)
MS1959(I)
MS HiGain
U 1- 4
5150 LEAD
-
Single (Ch.A)
5150 Drive
5150 Drive
U 1- 5
TWEED CRUNCH
-
Single (Ch.A)
Tweed
JC-120
U 1- 6
STACK CRUNCH
-
Single (Ch.A)
StackCrunch
MS HiGain
U 1- 7
CLEAN+DD+CH
-
Single (Ch.A)
Warm Clean
SmoothDrive
U 1- 8
TIGHT CLEAN
-
Single (Ch.A)
Warm Clean
JC-120
JC-120
U 1- 9
CRUNCH ROTARY
-
Single (Ch.A)
Crunch
U 1-10
MELLOW FRETLESS
-
Dual L/R
JC-120
JC-120
U 2- 1
OD-1 + MS1959
OD-1
Single (Ch.A)
MS1959(I)
MS1959(I)
U 2- 2
R-FIER MODERN
-
Single (Ch.A)
R-FIER Mdn1
R-FIER Mdn1
U 2- 3
HiGAIN COMBO
-
Single (Ch.A)
MATCH Lead
VO Lead
U 2- 4
PLEX + EDGE LEAD
-
Dual L/R
MS1959(I)
Edge Lead
U 2- 5
METAL STACK
-
Single (Ch.A)
Metal Stack
Metal Stack
U 2- 6
FAT MATCH DRIVE
-
Single (Ch.A)
Fat MATCH
MATCH Lead
U 2- 7
OD-1 + TWEED
OD-1
Single (Ch.A)
Tweed
MS1959(I)
U 2- 8
DRIVE DISTORTION
Drive DS
Single (Ch.A)
JC-120
Warm Clean
U 2- 9
FAT LEAD STACK
-
Single (Ch.A)
Lead Stack
Lead Stack
U 2-10
POWER COMBO
Booster
Single (Ch.A)
Fat MATCH
MATCH Lead
U 3- 1
POWER STACK
-
Single (Ch.A)
Power Stack
Power Stack
U 3- 2
TIGHT STACK
-
Single (Ch.A)
MS HiGain
MS1959(I)
U 3- 3
SMOOTH DRIVE
-
Single (Ch.A)
SmoothDrive
Mild Drive
U 3- 4
STEREO DRIVE
Crunch
Dual L/R
MS1959(I)
StackCrunch
Lead Stack
U 3- 5
DRIVE STACK
-
Single (Ch.A)
Drive Stack
U 3- 6
DYNAMIC STACK
-
Dynamic
StackCrunch
MS HiGain
U 3- 7
BOTTOM COMBO DRV
Warm OD
Single (Ch.A)
MATCH Drive
Fat MATCH
U 3- 8
HEAVY RECT DRIVE
-
Single (Ch.A)
R-FIER Vnt1
SLDN
U 3- 9
LEAD STACK
-
Single (Ch.A)
Lead Stack
Lead Stack
U 3-10
HiGAIN TWEED
-
Single (Ch.A)
Tweed
JC-120
U 4- 1
PLEX/T-AMP
-
Dual L/R
MS1959(I)
T-Amp Lead
U 4- 2
STEREO STACK
-
Dual L/R
StackCrunch
MS HiGain
U 4- 3
POWER STACK DRV
-
Single (Ch.A)
Power Stack
Power Stack
U 4- 4
DIST+CRUNCH
Distortion
Single (Ch.A)
Crunch
Crunch
U 4- 5
NATURAL SPEED
-
Single (Ch.A)
T-Amp Lead
Lead Stack
U 4- 6
WARM OVERDRIVE
Fat OD
Single (Ch.A)
JC-120
JC-120
U 4- 7
VINTAGE 1959
-
Single (Ch.A)
MS1959(I)
MS1959(I)
U 4- 8
TREAD AMP
-
Single (Ch.A)
R-FIER Vnt1
R-FIER Mdn1
Drive Stack
U 4- 9
FAT MS HiGAIN
-
Single (Ch.A)
MS HiGain
U 4-10
WHOLE STACK
-
Single (Ch.A)
MS1959(I)
MS1959(I)
U 5- 1
WEST COAST DRIVE
Booster
Single (Ch.A)
Blues
Tweed
U 5- 2
BLUES DRIVE
-
Single (Ch.A)
Blues
Tweed
U 5- 3
FOXY DRIVE
’60s FUZZ
Single (Ch.A)
MS1959(I)
MS1959(I)
MS1959(I)
U 5- 4
SCHOOL DRIVE
-
Single (Ch.A)
MS1959(I)
U 5- 5
MS1959 ch MIX
-
Dual Mono
MS1959(I)
MS1959(II)
U 5- 6
POWER MS
-
Single (Ch.A)
MS1959(I)
Power Stack
U 5- 7
MechaDS+CRUNCH
Mechanical
Single (Ch.A)
Wild Crunch
StackCrunch
U 5- 8
STEREO MODERN
-
Dual L/R
R-FIER Mdn1
R-FIER Mdn2
U 5- 9
MID DISTORTION
Mid DS
Single (Ch.A)
JC-120
Clean TWIN
U 5-10
HOT BRIT COMBO
-
Single (Ch.A)
VO Lead
BG Drive
152
Patch List
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
U 6- 1
AMERICAN DS
RAT
Single (Ch.A)
MS1959(I)
MS HiGain
Metal Stack
U 6- 2
HEAVY STACK
-
Single (Ch.A)
Power Stack
U 6- 3
BLUES+MS1959 MIX
-
Dual Mono
Blues
MS1959(II)
U 6- 4
SMOOTH DETUNE
-
Single (Ch.A)
SmoothDrive
SmoothDrive
U 6- 5
WAH FUZZ
’60s FUZZ
Single (Ch.B)
MS1959(I)
MS1959(I)
U 6- 6
L:HvyLEAD R:5150
-
Dual L/R
Heavy Lead
5150 Drive
U 6- 7
MASSIVE
-
Single (Ch.A)
MS HiGain
MS HiGain
U 6- 8
WIDE STACK
-
Single (Ch.A)
MS HiGain
MS HiGain
BG Drive
U 6- 9
DOUBLE TRACK
-
Dual L/R
MS HiGain
U 6-10
HiGAIN VO DRIVE
-
Single (Ch.A)
VO Drive
VO Drive
U 7- 1
R-FIER SCREAM
-
Single (Ch.A)
R-FIER Vnt1
SLDN
U 7- 2
70’s 1959 STACK
-
Single (Ch.A)
MS1959(I)
Power Stack
U 7- 3
DOUBLE AMP
-
Dual L/R
Clean TWIN
MS1959(II)
U 7- 4
5150/1959 DUAL
-
Dual L/R
5150 Drive
MS1959(I+II)
U 7- 5
DUAL DRY 1959
-
Dual Mono
MS HiGain
MS1959(I+II)
U 7- 6
HEAVY 5150
-
Single (Ch.A)
5150 Drive
5150 Drive
U 7- 7
MILD 1959
-
Single (Ch.B)
Warm Clean
MS1959(II)
U 7- 8
ROCK WOMAN
R-MAN
Single (Ch.A)
JC-120
JC-120
U 7- 9
STEREO MS HiGAIN
-
Single (Ch.A)
MS HiGain
Power Stack
U 7-10
HEAVY BTM METAL
-
Single (Ch.A)
Metal Stack
Metal Stack
U 8- 1
R-FIER LEAD
-
Single (Ch.A)
R-FIER Vnt1
R-FIER Mdn2
U 8- 2
T-AMP LEAD
-
Single (Ch.A)
T-Amp Lead
T-AmpCrunch
U 8- 3
MILD DRIVE LEAD
-
Single (Ch.A)
Mild Drive
Mild Drive
U 8- 4
FAT OD LEAD
Fat OD
Single (Ch.A)
JC-120
JC-120
MS HiGain
U 8- 5
STADIUM ROCK
-
Dual L/R
T-Amp Lead
U 8- 6
SLDN LEAD SOLO
-
Single (Ch.B)
SLDN
Drive Stack
U 8- 7
METAL ZONE LEAD
Metal Zone
Single (Ch.A)
JC-120
StackCrunch
U 8- 8
TWEED LEAD
-
Single (Ch.A)
Tweed
StackCrunch
U 8- 9
OVERDRIVE LEAD
Fat OD
Single (Ch.A)
Crunch
JC-120
U 8-10
POWER STACK LEAD
-
Single (Ch.A)
Power Stack
SLDN
U 9- 1
BG LEAD SOLO
-
Single (Ch.A)
BG Lead
BG Lead
U 9- 2
70’s 335 LEAD
-
Dual Mono
MS HiGain
MS1959(I+II)
U 9- 3
MATCH LEAD
-
Single (Ch.A)
MATCH Lead
Fat MATCH
U 9- 4
CLASSIC DS LEAD
DST+
Single (Ch.A)
Clean TWIN
JC-120
U 9- 5
EDGE LEAD
-
Single (Ch.A)
Edge Lead
Edge Lead
U 9- 6
METAL LEAD
-
Single (Ch.A)
Metal Lead
Metal Lead
U 9- 7
FAT COMP LEAD
-
Single (Ch.A)
StackCrunch
Tweed
U 9- 8
5150 DRIVE
-
Single (Ch.A)
5150 Drive
5150 Drive
U 9- 9
HiGAIN MILD LEAD
-
Single (Ch.A)
Mild Drive
BG Lead
U 9-10
L:RECT R:5150
-
Dual L/R
R-FIER Vnt1
5150 Drive
U10- 1
COMP + OD-1
OD-1
Single (Ch.A)
Crunch
StackCrunch
U10- 2
2 AMPS RECT&PRO
-
Dual L/R
R-FIER Vnt2
Pro Crunch
U10- 3
FAT STEREO LEAD
-
Dual L/R
R-FIER Vnt1
5150 Drive
U10- 4
HEAVY EDGE LEAD
-
Single (Ch.A)
Edge Lead
Edge Lead
U10- 5
T-SCREAM+MS1959
T-Scream
Single (Ch.A)
MS1959(I)
Power Stack
U10- 6
METAL ZONE CHO
Metal Zone
Single (Ch.A)
Clean TWIN
JC-120
U10- 7
FAT BOY
Natural OD
Single (Ch.A)
R-FIER Vnt2
R-FIER Mdn2
U10- 8
PINK ECHO
Booster
Single (Ch.A)
MS1959(I)
MS1959(I)
U10- 9
DIST + MS HiGAIN
Distortion
Single (Ch.A)
MS HiGain
Power Stack
U10-10
MILD LEAD
-
Single (Ch.A)
Mild Drive
SmoothDrive
153
Patch List
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
U11- 1
DEEP STACK LEAD
-
Single (Ch.A)
MS HiGain
MS HiGain
U11- 2
BIG LEAD
T-Scream
Single (Ch.A)
StackCrunch
JC-120
U11- 3
LONG SUSTAIN DRV
Fat OD
Single (Ch.A)
SLDN
StackCrunch
U11- 4
MILKY WAY
T-Scream
Single (Ch.A)
Power Stack
Drive Stack
U11- 5
COMP + TURBO OD
Turbo OD
Single (Ch.A)
Clean TWIN
Warm Clean
U11- 6
DAYDREAM
Turbo OD
Single (Ch.A)
MATCH Drive
JC-120
U11- 7
MID DS+BG LEAD
Mid DS
Single (Ch.A)
BG Lead
SmoothDrive
U11- 8
HiGAIN WAH LEAD
-
Single (Ch.A)
MS HiGain
MS1959(I)
U11- 9
DYNA LEAD/CLEAN
-
Dynamic
StackCrunch
MS HiGain
U11-10
DYNA LEAD/DRIVE
-
Dynamic
Drive Stack
Drive Stack
U12- 1
WARM CRUNCH
-
Single (Ch.A)
Warm Crunch
Mild Drive
U12- 2
DEEP COMP CRUNCH
-
Dual L/R
StackCrunch
VO Drive
U12- 3
MATCH CRUNCH
-
Single (Ch.A)
MATCH Drive
VO Drive
U12- 4
CRUNCH SOLO
-
Single (Ch.A)
Crunch
StackCrunch
U12- 5
DRIVE YOUR CAR
-
Single (Ch.A)
VO Lead
VO Drive
U12- 6
T-AMP CRUNCH
-
Single (Ch.A)
T-AmpCrunch
T-AmpCrunch
U12- 7
VOODOO WAH
-
Single (Ch.A)
MS1959(I)
MS1959(I)
U12- 8
DYNA AMP CRUNCH
-
Dynamic
Tweed
StackCrunch
U12- 9
50’s ROCK’N’ROLL
-
Single (Ch.A)
Pro Crunch
Tweed
U12-10
NASHVILLE TWANG
-
Dual Mono
T-AmpCrunch
MATCH Drive
U13- 1
COMP TWEED
-
Single (Ch.A)
Tweed
Pro Crunch
U13- 2
DUAL AMP BLUES
Distortion
Dual Mono
BrightClean
Clean TWIN
U13- 3
BLUES LEAD
T-Scream
Single (Ch.A)
Tweed
StackCrunch
U13- 4
BRIGHT CRUNCH
-
Single (Ch.B)
StackCrunch
Tweed
U13- 5
TREMOLO CRUNCH
-
Single (Ch.A)
VO Drive
Tweed
U13- 6
DRY MATCH
-
Single (Ch.A)
MATCH Drive
Fat MATCH
U13- 7
TWIN CRUNCH
-
Single (Ch.A)
Clean TWIN
Pro Crunch
U13- 8
BLUES OD CRUNCH
Blues OD
Single (Ch.A)
Crunch
StackCrunch
U13- 9
60’s TWEED
-
Single (Ch.B)
Clean TWIN
Tweed
U13-10
TWEED ANALOG DLY
-
Single (Ch.A)
Tweed
StackCrunch
U14- 1
COMP CRUNCH
-
Single (Ch.A)
StackCrunch
Warm Clean
U14- 2
BIG CRUNCH
-
Dual L/R
StackCrunch
BG Rhythm
U14- 3
ANOTHER BRICK
-
Single (Ch.A)
MATCH Drive
MATCH Drive
U14- 4
CHORUS CRUNCH
-
Single (Ch.A)
StackCrunch
MS1959(I)
U14- 5
CRUNCH WAH
-
Single (Ch.A)
StackCrunch
Tweed
U14- 6
COUNTRY CRUNCH
-
Single (Ch.B)
JC-120
Warm Clean
U14- 7
LIQUID CRUNCH
’60s FUZZ
Single (Ch.B)
MATCH Lead
JC-120
U14- 8
DUAL COMBO CRNCH
-
Dual L/R
VO Drive
Fat MATCH
U14- 9
MILD CRUNCH
-
Single (Ch.A)
Warm Crunch
Crunch
U14-10
PHASE CRUNCH
-
Single (Ch.A)
StackCrunch
Warm Clean
U15- 1
NATURAL CLEAN
-
Single (Ch.A)
Full Range
Full Range
U15- 2
SHARP CLEAN
-
Single (Ch.A)
BrightClean
JC-120
U15- 3
FAT CLEAN TWIN
-
Single (Ch.A)
Clean TWIN
Pro Crunch
U15- 4
VO CLEAN
-
Single (Ch.A)
VO Clean
VO Lead
U15- 5
MILD CLEAN
-
Single (Ch.A)
Warm Clean
Warm Crunch
U15- 6
MELLOW HOLLOW
-
Single (Ch.A)
Warm Clean
Warm Crunch
U15- 7
BRIGHT CLEAN
-
Single (Ch.A)
BrightClean
StackCrunch
U15- 8
JAZZ HOLLOW
-
Single (Ch.A)
Clean TWIN
Warm Clean
U15- 9
JC-120 + TWIN
-
Dual L/R
JC-120
Clean TWIN
U15-10
MODULATED CLEAN
-
Single (Ch.A)
Full Range
Warm Clean
154
Patch List
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
U16- 1
60’s CLEAN
-
Single (Ch.A)
VO Clean
VO Drive
JC-120
U16- 2
FAT CLEAN
-
Single (Ch.A)
Warm Clean
U16- 3
BIG HALL CLEAN
-
Single (Ch.A)
JC-120
Warm Clean
U16- 4
LOW TONE JAZZ
-
Single (Ch.A)
Jazz Combo
Warm Clean
U16- 5
SMALL WING
-
Single (Ch.A)
MS1959(I+II)
MS1959(I)
U16- 6
MOD HEAVEN
-
Dual L/R
Full Range
Full Range
U16- 7
NEW YORK CLEAN
Warm OD
Dual Mono
Jazz Combo
Full Range
U16- 8
JAZZ COMBO
-
Single (Ch.A)
Jazz Combo
Warm Clean
U16- 9
COUNTRY TWIN
-
Single (Ch.A)
Clean TWIN
JC-120
U16-10
CLEAN MOD
-
Single (Ch.A)
Warm Clean
Warm Clean
U17- 1
FUNKY RHYTHM
-
Single (Ch.B)
Clean TWIN
Clean TWIN
U17- 2
FUNKY FREAK
-
Single (Ch.A)
Clean TWIN
Clean TWIN
U17- 3
CLEAN DLY CHORUS
-
Single (Ch.A)
Clean TWIN
JC-120
U17- 4
ROCKABILLY
-
Single (Ch.A)
StackCrunch
Blues
U17- 5
CLEAN SCREAM
-
Single (Ch.A)
JC-120
MS HiGain
U17- 6
ACOUSTIC GUITAR
-
Dual L/R
Full Range
Full Range
U17- 7
JUMBO FAKE !
-
Dual L/R
Full Range
Jazz Combo
U17- 8
A.Gt SIMULATOR
-
Dual L/R
Full Range
Full Range
U17- 9
PIEZO -> ACOUSTIC
-
Single (Ch.A)
Full Range
Full Range
U17-10
for ACOUSTIC Gt
-
Single (Ch.A)
Full Range
Full Range
U18- 1
COOL SITAR
-
Single (Ch.A)
JC-120
Full Range
U18- 2
WAVE SYNTH
-
Single (Ch.A)
Full Range
JC-120
BrightClean
U18- 3
PANNING PHASER
-
Single (Ch.A)
Full Range
U18- 4
PANNING WAH
-
Single (Ch.A)
Tweed
JC-120
U18- 5
E.PIANO GUITAR
-
Single (Ch.A)
Warm Clean
Full Range
U18- 6
MOD SLDN DRIVE
Loud
Single (Ch.A)
SLDN
JC-120
U18- 7
SLOW GEAR PS
-
Dual L/R
JC-120
BrightClean
U18- 8
LIGHT PHASER
-
Single (Ch.A)
BG Rhythm
JC-120
U18- 9
OCTAVE FLANGE
GUV DS
Single (Ch.A)
BG Lead
BG Drive
U18-10
OCTAVE SLICE
-
Single (Ch.A)
StackCrunch
Warm Clean
U19- 1
SYNTH SEQUENCE
Distortion
-
-
-
U19- 2
SLICER&FLANGER
-
Single (Ch.A)
5150 Drive
5150 Drive
U19- 3
PAD
-
Dual L/R
Full Range
Clean TWIN
U19- 4
REVERSE
-
Single (Ch.A)
Full Range
Crunch
JC-120
U19- 5
PHASE FLANGER
-
Single (Ch.A)
Warm Clean
U19- 6
AUTO PAD
-
Single (Ch.A)
JC-120
Full Range
U19- 7
LOVELY
-
Single (Ch.A)
JC-120
Warm Crunch
U19- 8
SPEAKER KILLER
-
Single (Ch.A)
Full Range
Warm Clean
U19- 9
OCTIVIOUS
-
Single (Ch.A)
JC-120
JC-120
U19-10
RISING WAH
-
Single (Ch.B)
BG Rhythm
JC-120
U20- 1
STEREO SITAR
-
Dual L/R
Full Range
Full Range
U20- 2
FRETLESS OCT
-
Single (Ch.A)
JC-120
Full Range
U20- 3
FUNK FOOD
-
Single (Ch.B)
JC-120
Pro Crunch
U20- 4
FAR FROM HUMAN
-
Dual Mono
VO Lead
JC-120
U20- 5
SYNTH BRASS
-
Dual L/R
Clean TWIN
Clean TWIN
U20- 6
SYNCHRO PAN
-
Single (Ch.B)
Full Range
Warm Clean
R-FIER Cln
U20- 7
RING MOD
-
Single (Ch.A)
Clean TWIN
U20- 8
HEAVY OCT
-
Dual L/R
MS HiGain
BG Drive
U20- 9
STEP PHASE
Natural OD
Single (Ch.A)
Tweed
JC-120
U20-10
GUITAR + PAD
-
Single (Ch.A)
MATCH Drive
Full Range
155
Patch List
■ Preset Patch
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
P21- 1
STACK DRIVE
-
Single (Ch.A)
MS HiGain
Power Stack
P21- 2
HEAVY METAL DRV
-
Single (Ch.A)
R-FIER Vnt1
R-FIER Mdn1
P21- 3
MS1959 LEAD
-
Single (Ch.A)
MS1959(I)
MS HiGain
P21- 4
5150 LEAD
-
Single (Ch.A)
5150 Drive
5150 Drive
P21- 5
TWEED CRUNCH
-
Single (Ch.A)
Tweed
JC-120
P21- 6
STACK CRUNCH
-
Single (Ch.A)
StackCrunch
MS HiGain
P21- 7
CLEAN+DD+CH
-
Single (Ch.A)
Warm Clean
SmoothDrive
P21- 8
TIGHT CLEAN
-
Single (Ch.A)
Warm Clean
JC-120
P21- 9
CRUNCH ROTARY
-
Single (Ch.A)
Crunch
JC-120
P21-10
MELLOW FRETLESS
-
Dual L/R
JC-120
JC-120
P22- 1
OD-1 + MS1959
OD-1
Single (Ch.A)
MS1959(I)
MS1959(I)
P22- 2
R-FIER MODERN
-
Single (Ch.A)
R-FIER Mdn1
R-FIER Mdn1
P22- 3
HiGAIN COMBO
-
Single (Ch.A)
MATCH Lead
VO Lead
P22- 4
PLEX + EDGE LEAD
-
Dual L/R
MS1959(I)
Edge Lead
P22- 5
METAL STACK
-
Single (Ch.A)
Metal Stack
Metal Stack
P22- 6
FAT MATCH DRIVE
-
Single (Ch.A)
Fat MATCH
MATCH Lead
P22- 7
OD-1 + TWEED
OD-1
Single (Ch.A)
Tweed
MS1959(I)
P22- 8
DRIVE DISTORTION
Drive DS
Single (Ch.A)
JC-120
Warm Clean
P22- 9
FAT LEAD STACK
-
Single (Ch.A)
Lead Stack
Lead Stack
P22-10
POWER COMBO
Booster
Single (Ch.A)
Fat MATCH
MATCH Lead
P23- 1
POWER STACK
-
Single (Ch.A)
Power Stack
Power Stack
P23- 2
TIGHT STACK
-
Single (Ch.A)
MS HiGain
MS1959(I)
P23- 3
SMOOTH DRIVE
-
Single (Ch.A)
SmoothDrive
Mild Drive
P23- 4
STEREO DRIVE
Crunch
Dual L/R
MS1959(I)
StackCrunch
P23- 5
DRIVE STACK
-
Single (Ch.A)
Drive Stack
Lead Stack
P23- 6
DYNAMIC STACK
-
Dynamic
StackCrunch
MS HiGain
P23- 7
BOTTOM COMBO DRV
Warm OD
Single (Ch.A)
MATCH Drive
Fat MATCH
P23- 8
HEAVY RECT DRIVE
-
Single (Ch.A)
R-FIER Vnt1
SLDN
P23- 9
LEAD STACK
-
Single (Ch.A)
Lead Stack
Lead Stack
P23-10
HiGAIN TWEED
-
Single (Ch.A)
Tweed
JC-120
P24- 1
PLEX/T-AMP
-
Dual L/R
MS1959(I)
T-Amp Lead
P24- 2
STEREO STACK
-
Dual L/R
StackCrunch
MS HiGain
P24- 3
POWER STACK DRV
-
Single (Ch.A)
Power Stack
Power Stack
P24- 4
DIST+CRUNCH
Distortion
Single (Ch.A)
Crunch
Crunch
P24- 5
NATURAL SPEED
-
Single (Ch.A)
T-Amp Lead
Lead Stack
P24- 6
WARM OVERDRIVE
Fat OD
Single (Ch.A)
JC-120
JC-120
P24- 7
VINTAGE 1959
-
Single (Ch.A)
MS1959(I)
MS1959(I)
P24- 8
TREAD AMP
-
Single (Ch.A)
R-FIER Vnt1
R-FIER Mdn1
P24- 9
FAT MS HiGAIN
-
Single (Ch.A)
MS HiGain
Drive Stack
P24-10
WHOLE STACK
-
Single (Ch.A)
MS1959(I)
MS1959(I)
P25- 1
WEST COAST DRIVE
Booster
Single (Ch.A)
Blues
Tweed
P25- 2
BLUES DRIVE
-
Single (Ch.A)
Blues
Tweed
P25- 3
FOXY DRIVE
’60s FUZZ
Single (Ch.A)
MS1959(I)
MS1959(I)
P25- 4
SCHOOL DRIVE
-
Single (Ch.A)
MS1959(I)
MS1959(I)
P25- 5
MS1959 ch MIX
-
Dual Mono
MS1959(I)
MS1959(II)
P25- 6
POWER MS
-
Single (Ch.A)
MS1959(I)
Power Stack
P25- 7
MechaDS+CRUNCH
Mechanical
Single (Ch.A)
Wild Crunch
StackCrunch
P25- 8
STEREO MODERN
-
Dual L/R
R-FIER Mdn1
R-FIER Mdn2
P25- 9
MID DISTORTION
Mid DS
Single (Ch.A)
JC-120
Clean TWIN
P25-10
HOT BRIT COMBO
-
Single (Ch.A)
VO Lead
BG Drive
156
Patch List
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
P26- 1
AMERICAN DS
RAT
Single (Ch.A)
MS1959(I)
MS HiGain
Metal Stack
P26- 2
HEAVY STACK
-
Single (Ch.A)
Power Stack
P26- 3
BLUES+MS1959 MIX
-
Dual Mono
Blues
MS1959(II)
P26- 4
SMOOTH DETUNE
-
Single (Ch.A)
SmoothDrive
SmoothDrive
P26- 5
WAH FUZZ
’60s FUZZ
Single (Ch.B)
MS1959(I)
MS1959(I)
P26- 6
L:HvyLEAD R:5150
-
Dual L/R
Heavy Lead
5150 Drive
P26- 7
MASSIVE
-
Single (Ch.A)
MS HiGain
MS HiGain
P26- 8
WIDE STACK
-
Single (Ch.A)
MS HiGain
MS HiGain
BG Drive
P26- 9
DOUBLE TRACK
-
Dual L/R
MS HiGain
P26-10
HiGAIN VO DRIVE
-
Single (Ch.A)
VO Drive
VO Drive
P27- 1
R-FIER SCREAM
-
Single (Ch.A)
R-FIER Vnt1
SLDN
P27- 2
70’s 1959 STACK
-
Single (Ch.A)
MS1959(I)
Power Stack
P27- 3
DOUBLE AMP
-
Dual L/R
Clean TWIN
MS1959(II)
P27- 4
5150/1959 DUAL
-
Dual L/R
5150 Drive
MS1959(I+II)
P27- 5
DUAL DRY 1959
-
Dual Mono
MS HiGain
MS1959(I+II)
P27- 6
HEAVY 5150
-
Single (Ch.A)
5150 Drive
5150 Drive
P27- 7
MILD 1959
-
Single (Ch.B)
Warm Clean
MS1959(II)
P27- 8
ROCK WOMAN
R-MAN
Single (Ch.A)
JC-120
JC-120
P27- 9
STEREO MS HiGAIN
-
Single (Ch.A)
MS HiGain
Power Stack
P27-10
HEAVY BTM METAL
-
Single (Ch.A)
Metal Stack
Metal Stack
P28- 1
R-FIER LEAD
-
Single (Ch.A)
R-FIER Vnt1
R-FIER Mdn2
P28- 2
T-AMP LEAD
-
Single (Ch.A)
T-Amp Lead
T-AmpCrunch
P28- 3
MILD DRIVE LEAD
-
Single (Ch.A)
Mild Drive
Mild Drive
P28- 4
FAT OD LEAD
Fat OD
Single (Ch.A)
JC-120
JC-120
MS HiGain
P28- 5
STADIUM ROCK
-
Dual L/R
T-Amp Lead
P28- 6
SLDN LEAD SOLO
-
Single (Ch.B)
SLDN
Drive Stack
P28- 7
METAL ZONE LEAD
Metal Zone
Single (Ch.A)
JC-120
StackCrunch
P28- 8
TWEED LEAD
-
Single (Ch.A)
Tweed
StackCrunch
P28- 9
OVERDRIVE LEAD
Fat OD
Single (Ch.A)
Crunch
JC-120
P28-10
POWER STACK LEAD
-
Single (Ch.A)
Power Stack
SLDN
P29- 1
BG LEAD SOLO
-
Single (Ch.A)
BG Lead
BG Lead
P29- 2
70’s 335 LEAD
-
Dual Mono
MS HiGain
MS1959(I+II)
P29- 3
MATCH LEAD
-
Single (Ch.A)
MATCH Lead
Fat MATCH
P29- 4
CLASSIC DS LEAD
DST+
Single (Ch.A)
Clean TWIN
JC-120
P29- 5
EDGE LEAD
-
Single (Ch.A)
Edge Lead
Edge Lead
P29- 6
METAL LEAD
-
Single (Ch.A)
Metal Lead
Metal Lead
P29- 7
FAT COMP LEAD
-
Single (Ch.A)
StackCrunch
Tweed
P29- 8
5150 DRIVE
-
Single (Ch.A)
5150 Drive
5150 Drive
P29- 9
HiGAIN MILD LEAD
-
Single (Ch.A)
Mild Drive
BG Lead
P29-10
L:RECT R:5150
-
Dual L/R
R-FIER Vnt1
5150 Drive
P30- 1
COMP + OD-1
OD-1
Single (Ch.A)
Crunch
StackCrunch
P30- 2
2 AMPS RECT&PRO
-
Dual L/R
R-FIER Vnt2
Pro Crunch
P30- 3
FAT STEREO LEAD
-
Dual L/R
R-FIER Vnt1
5150 Drive
P30- 4
HEAVY EDGE LEAD
-
Single (Ch.A)
Edge Lead
Edge Lead
P30- 5
T-SCREAM+MS1959
T-Scream
Single (Ch.A)
MS1959(I)
Power Stack
P30- 6
METAL ZONE CHO
Metal Zone
Single (Ch.A)
Clean TWIN
JC-120
P30- 7
FAT BOY
Natural OD
Single (Ch.A)
R-FIER Vnt2
R-FIER Mdn2
P30- 8
PINK ECHO
Booster
Single (Ch.A)
MS1959(I)
MS1959(I)
P30- 9
DIST + MS HiGAIN
Distortion
Single (Ch.A)
MS HiGain
Power Stack
P30-10
MILD LEAD
-
Single (Ch.A)
Mild Drive
SmoothDrive
157
Patch List
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
P31- 1
DEEP STACK LEAD
-
Single (Ch.A)
MS HiGain
MS HiGain
P31- 2
BIG LEAD
T-Scream
Single (Ch.A)
StackCrunch
JC-120
P31- 3
LONG SUSTAIN DRV
Fat OD
Single (Ch.A)
SLDN
StackCrunch
P31- 4
MILKY WAY
T-Scream
Single (Ch.A)
Power Stack
Drive Stack
P31- 5
COMP + TURBO OD
Turbo OD
Single (Ch.A)
Clean TWIN
Warm Clean
P31- 6
DAYDREAM
Turbo OD
Single (Ch.A)
MATCH Drive
JC-120
P31- 7
MID DS+BG LEAD
Mid DS
Single (Ch.A)
BG Lead
SmoothDrive
P31- 8
HiGAIN WAH LEAD
-
Single (Ch.A)
MS HiGain
MS1959(I)
P31- 9
DYNA LEAD/CLEAN
-
Dynamic
StackCrunch
MS HiGain
P31-10
DYNA LEAD/DRIVE
-
Dynamic
Drive Stack
Drive Stack
P32- 1
WARM CRUNCH
-
Single (Ch.A)
Warm Crunch
Mild Drive
P32- 2
DEEP COMP CRUNCH
-
Dual L/R
StackCrunch
VO Drive
P32- 3
MATCH CRUNCH
-
Single (Ch.A)
MATCH Drive
VO Drive
P32- 4
CRUNCH SOLO
-
Single (Ch.A)
Crunch
StackCrunch
P32- 5
DRIVE YOUR CAR
-
Single (Ch.A)
VO Lead
VO Drive
P32- 6
T-AMP CRUNCH
-
Single (Ch.A)
T-AmpCrunch
T-AmpCrunch
P32- 7
VOODOO WAH
-
Single (Ch.A)
MS1959(I)
MS1959(I)
P32- 8
DYNA AMP CRUNCH
-
Dynamic
Tweed
StackCrunch
P32- 9
50’s ROCK’N’ROLL
-
Single (Ch.A)
Pro Crunch
Tweed
P32-10
NASHVILLE TWANG
-
Dual Mono
T-AmpCrunch
MATCH Drive
P33- 1
COMP TWEED
-
Single (Ch.A)
Tweed
Pro Crunch
P33- 2
DUAL AMP BLUES
Distortion
Dual Mono
BrightClean
Clean TWIN
P33- 3
BLUES LEAD
T-Scream
Single (Ch.A)
Tweed
StackCrunch
P33- 4
BRIGHT CRUNCH
-
Single (Ch.B)
StackCrunch
Tweed
P33- 5
TREMOLO CRUNCH
-
Single (Ch.A)
VO Drive
Tweed
P33- 6
DRY MATCH
-
Single (Ch.A)
MATCH Drive
Fat MATCH
P33- 7
TWIN CRUNCH
-
Single (Ch.A)
Clean TWIN
Pro Crunch
P33- 8
BLUES OD CRUNCH
Blues OD
Single (Ch.A)
Crunch
StackCrunch
P33- 9
60’s TWEED
-
Single (Ch.B)
Clean TWIN
Tweed
P33-10
TWEED ANALOG DLY
-
Single (Ch.A)
Tweed
StackCrunch
P34- 1
COMP CRUNCH
-
Single (Ch.A)
StackCrunch
Warm Clean
P34- 2
BIG CRUNCH
-
Dual L/R
StackCrunch
BG Rhythm
P34- 3
ANOTHER BRICK
-
Single (Ch.A)
MATCH Drive
MATCH Drive
P34- 4
CHORUS CRUNCH
-
Single (Ch.A)
StackCrunch
MS1959(I)
P34- 5
CRUNCH WAH
-
Single (Ch.A)
StackCrunch
Tweed
P34- 6
COUNTRY CRUNCH
-
Single (Ch.B)
JC-120
Warm Clean
P34- 7
LIQUID CRUNCH
’60s FUZZ
Single (Ch.B)
MATCH Lead
JC-120
P34- 8
DUAL COMBO CRNCH
-
Dual L/R
VO Drive
Fat MATCH
P34- 9
MILD CRUNCH
-
Single (Ch.A)
Warm Crunch
Crunch
P34-10
PHASE CRUNCH
-
Single (Ch.A)
StackCrunch
Warm Clean
P35- 1
NATURAL CLEAN
-
Single (Ch.A)
Full Range
Full Range
P35- 2
SHARP CLEAN
-
Single (Ch.A)
BrightClean
JC-120
P35- 3
FAT CLEAN TWIN
-
Single (Ch.A)
Clean TWIN
Pro Crunch
P35- 4
VO CLEAN
-
Single (Ch.A)
VO Clean
VO Lead
P35- 5
MILD CLEAN
-
Single (Ch.A)
Warm Clean
Warm Crunch
P35- 6
MELLOW HOLLOW
-
Single (Ch.A)
Warm Clean
Warm Crunch
P35- 7
BRIGHT CLEAN
-
Single (Ch.A)
BrightClean
StackCrunch
P35- 8
JAZZ HOLLOW
-
Single (Ch.A)
Clean TWIN
Warm Clean
P35- 9
JC-120 + TWIN
-
Dual L/R
JC-120
Clean TWIN
P35-10
MODULATED CLEAN
-
Single (Ch.A)
Full Range
Warm Clean
158
Patch List
No.
Patch Name
OD/DS Type
PRE Ch.Mode
Ch.A Type
Ch.B Type
P36- 1
60’s CLEAN
-
Single (Ch.A)
VO Clean
VO Drive
JC-120
P36- 2
FAT CLEAN
-
Single (Ch.A)
Warm Clean
P36- 3
BIG HALL CLEAN
-
Single (Ch.A)
JC-120
Warm Clean
P36- 4
LOW TONE JAZZ
-
Single (Ch.A)
Jazz Combo
Warm Clean
P36- 5
SMALL WING
-
Single (Ch.A)
MS1959(I+II)
MS1959(I)
P36- 6
MOD HEAVEN
-
Dual L/R
Full Range
Full Range
P36- 7
NEW YORK CLEAN
Warm OD
Dual Mono
Jazz Combo
Full Range
P36- 8
JAZZ COMBO
-
Single (Ch.A)
Jazz Combo
Warm Clean
P36- 9
COUNTRY TWIN
-
Single (Ch.A)
Clean TWIN
JC-120
P36-10
CLEAN MOD
-
Single (Ch.A)
Warm Clean
Warm Clean
P37- 1
FUNKY RHYTHM
-
Single (Ch.B)
Clean TWIN
Clean TWIN
P37- 2
FUNKY FREAK
-
Single (Ch.A)
Clean TWIN
Clean TWIN
P37- 3
CLEAN DLY CHORUS
-
Single (Ch.A)
Clean TWIN
JC-120
P37- 4
ROCKABILLY
-
Single (Ch.A)
StackCrunch
Blues
P37- 5
CLEAN SCREAM
-
Single (Ch.A)
JC-120
MS HiGain
P37- 6
ACOUSTIC GUITAR
-
Dual L/R
Full Range
Full Range
P37- 7
JUMBO FAKE !
-
Dual L/R
Full Range
Jazz Combo
P37- 8
A.Gt SIMULATOR
-
Dual L/R
Full Range
Full Range
P37- 9
PIEZO -> ACOUSTIC
-
Single (Ch.A)
Full Range
Full Range
P37-10
for ACOUSTIC Gt
-
Single (Ch.A)
Full Range
Full Range
P38- 1
COOL SITAR
-
Single (Ch.A)
JC-120
Full Range
P38- 2
WAVE SYNTH
-
Single (Ch.A)
Full Range
JC-120
BrightClean
P38- 3
PANNING PHASER
-
Single (Ch.A)
Full Range
P38- 4
PANNING WAH
-
Single (Ch.A)
Tweed
JC-120
P38- 5
E.PIANO GUITAR
-
Single (Ch.A)
Warm Clean
Full Range
P38- 6
MOD SLDN DRIVE
Loud
Single (Ch.A)
SLDN
JC-120
P38- 7
SLOW GEAR PS
-
Dual L/R
JC-120
BrightClean
P38- 8
LIGHT PHASER
-
Single (Ch.A)
BG Rhythm
JC-120
P38- 9
OCTAVE FLANGE
GUV DS
Single (Ch.A)
BG Lead
BG Drive
P38-10
OCTAVE SLICE
-
Single (Ch.A)
StackCrunch
Warm Clean
P39- 1
SYNTH SEQUENCE
Distortion
-
-
-
P39- 2
SLICER&FLANGER
-
Single (Ch.A)
5150 Drive
5150 Drive
P39- 3
PAD
-
Dual L/R
Full Range
Clean TWIN
P39- 4
REVERSE
-
Single (Ch.A)
Full Range
Crunch
JC-120
P39- 5
PHASE FLANGER
-
Single (Ch.A)
Warm Clean
P39- 6
AUTO PAD
-
Single (Ch.A)
JC-120
Full Range
P39- 7
LOVELY
-
Single (Ch.A)
JC-120
Warm Crunch
P39- 8
SPEAKER KILLER
-
Single (Ch.A)
Full Range
Warm Clean
P39- 9
OCTIVIOUS
-
Single (Ch.A)
JC-120
JC-120
P39-10
RISING WAH
-
Single (Ch.B)
BG Rhythm
JC-120
P40- 1
STEREO SITAR
-
Dual L/R
Full Range
Full Range
P40- 2
FRETLESS OCT
-
Single (Ch.A)
JC-120
Full Range
P40- 3
FUNK FOOD
-
Single (Ch.B)
JC-120
Pro Crunch
P40- 4
FAR FROM HUMAN
-
Dual Mono
VO Lead
JC-120
P40- 5
SYNTH BRASS
-
Dual L/R
Clean TWIN
Clean TWIN
P40- 6
SYNCHRO PAN
-
Single (Ch.B)
Full Range
Warm Clean
R-FIER Cln
P40- 7
RING MOD
-
Single (Ch.A)
Clean TWIN
P40- 8
HEAVY OCT
-
Dual L/R
MS HiGain
BG Drive
P40- 9
STEP PHASE
Natural OD
Single (Ch.A)
Tweed
JC-120
P40-10
GUITAR + PAD
-
Single (Ch.A)
MATCH Drive
Full Range
159
Index
Numerics
D
2 x 2 Chorus .............................................................................. 48
2CE ............................................................................................. 48
DEL ................................................................................ 23, 27, 56
DELAY .......................................................................... 12, 32–33
DGT ........................................................................................... 22
DIGITAL OUT ......................................................................... 13
Digital Signature .................................................................... 115
Direct Monitor .......................................................................... 89
DIRECT OUT ........................................................................... 13
Direct Sound ............................................................................. 28
Driver Mode ............................................................................. 88
Driver Signing ................................................................ 114–115
Driver Signing Options ......................................................... 111
Dynamic Mode ........................................................................ 92
Dynamic Sens ........................................................................... 92
A
AC .............................................................................................. 50
Acoustic Processor .................................................................. 50
ACS ............................................................................................ 37
Active Range ............................................................................ 69
Advanced .................................................................................. 88
Advanced Compressor ........................................................... 37
AF Method .............................................................................. 107
AFB ............................................................................................ 43
Amp ........................................................................................... 16
Amp Control ............................................................................ 54
AMP CTL .................................................................................. 54
AMP CTL 1 ................................................................... 12–13, 54
AMP CTL 2 ................................................................... 12–13, 54
Anti-feedback ........................................................................... 43
AR .............................................................................................. 48
ASIO ........................................................................................ 123
ASSIGN ......................................................................... 12, 22, 56
Assign ........................................................................................ 93
Assign Hold .............................................................................. 99
Audio devices ........................................................................ 123
Auto Riff ................................................................................... 48
Auto Wah .................................................................................. 38
AW ............................................................................................. 38
B
Background Services ............................................................. 116
background services ............................................................. 113
BANK ........................................................................................ 19
BASS .................................................................................... 11, 20
Bulk Dump ............................................................................... 75
Bulk Load .................................................................................. 76
Bypass ..................................................................................... 102
C
CAPS ............................................................................. 23, 27, 56
CC#1 .................................................................................... 64–65
CC#7 .................................................................................... 64–65
CC#7 FV .................................................................................... 65
CC#80 ........................................................................................ 64
CHANNEL ............................................................................... 11
Channel ..................................................................................... 27
CHANNEL A ........................................................................... 27
CHANNEL B ............................................................................ 27
CHORUS ............................................................................. 12, 34
COMP .................................................................................. 12, 35
Compressor .............................................................................. 35
Connection ................................................................................ 15
Contrast ..................................................................................... 96
Control Change ............................................................ 72, 78–79
Copy .......................................................................................... 24
COSM ........................................................................................ 10
CTL 1/2 ..................................................................................... 13
CTL 3/4 ..................................................................................... 13
Current .................................................................................... 102
Customize ................................................................................. 57
160
E
Effect .......................................................................................... 28
Effect Chain ........................................................................ 22, 56
Effect Sound ............................................................................. 28
EQ ........................................................................................ 12, 51
Equalizer ................................................................................... 51
Error Message ........................................................................ 143
Exclusive ................................................................................... 79
EXIT ........................................................................................... 12
EXP Pedal ........................................................................... 63, 68
EXP PEDAL 1 ........................................................................... 13
EXP PEDAL 2 ........................................................................... 13
EXP1 FV .................................................................................... 65
Expression Pedal ...................................................................... 16
External Effects .................................................................. 16, 18
External Effects Loop .............................................................. 52
EZ Tone ..................................................................................... 26
F
Factory Reset .......................................................................... 103
Factory Settings ...................................................................... 103
FB ............................................................................................... 42
FC-200 ........................................................................................ 81
FC-200 Bank Change ............................................................... 82
FC-200 Bank Limit ................................................................... 81
FC-200 CTL ............................................................................... 69
FC-200 CTL Pedal .................................................................... 81
FC-200 EXP ............................................................................... 69
FC-200 Mode ............................................................................ 81
FC-200 Program Change Out ................................................. 82
Feedbacker ................................................................................ 42
FL ............................................................................................... 40
Flanger ...................................................................................... 40
Foot Switch ......................................................................... 16, 68
Foot Volume ........................................................... 22, 55, 61, 65
Fretless Guitar .......................................................................... 41
FV ............................................................................................... 55
FX CHAIN ................................................................................ 56
FX-1 ...................................................................................... 12, 36
FX-2 ................................................................................ 12, 36, 45
G
GAIN ................................................................................... 11, 20
Global ........................................................................................ 94
GND LIFT ................................................................................. 13
Index
GS ............................................................................................... 38
GT-PRO Editor ......................................................................... 88
GT-PRO Librarian ................................................................... 88
Guitar Amp ........................................................................ 18, 54
Guitar In .............................................................................. 90, 96
Guitar Simulator ...................................................................... 38
Guitar Synth ............................................................................. 49
H
MIDI IN ..................................................................................... 13
MIDI Map Select ...................................................................... 78
MIDI OUT ................................................................................. 13
MIDI Sequencer ................................................................. 75–76
MIDI THRU .............................................................................. 13
MME ........................................................................................ 123
MODE Switch .......................................................................... 16
Mute ......................................................................................... 102
45
46
45
43
43
N
Initialize .............................................................................. 25–26
INPUT ................................................................................. 11, 13
INPUT LEVEL .......................................................................... 11
Input Level ............................................................................... 97
Input Presence .......................................................................... 97
Input Select ......................................................................... 90, 96
Input Sens ................................................................................. 93
INS ................................................................................. 23, 27, 56
Insert Disk ............................................................................... 112
Internal Pedal ........................................................................... 70
Internal Pedal System ............................................................. 70
O
Harmonist .................................................................................
Harmonist Scale .......................................................................
HR ..............................................................................................
HU .............................................................................................
Humanizer ................................................................................
I
K
Knob Mode ............................................................................... 99
L
LCD Contrast ........................................................................... 96
LEVEL ................................................................................. 11, 20
Level Meter ............................................................................. 100
Limiter ....................................................................................... 37
LINE/PHONES ................................................................. 17–18
LM .............................................................................................. 37
LOOP ......................................................................................... 52
LOOP 1/2 ..................................................................... 12–13, 52
LOOP 1/2 RETURN Level ................................................... 100
LOOP 1/2 SEND Level ......................................................... 100
M
MAIN ........................................................................................ 11
Main Global EQ ....................................................................... 94
MAIN OUT ............................................................................... 13
MAIN OUT Level .................................................................. 100
Manual Mode ........................................................................... 85
Manual Setting ......................................................................... 67
Map Select ........................................................................... 77–78
MASTER ....................................................................... 12, 22, 54
Master BPM .............................................................................. 55
METER .................................................................................... 100
MIDDLE .............................................................................. 11, 20
MIDI .................................................................................... 72, 79
MIDI Channel .......................................................................... 79
MIDI devices .......................................................................... 123
MIDI Implementation ............................................................. 80
MIDI Implementation Chart ................................................ 105
NAME ....................................................................................... 56
NAME/FX CHAIN ..................................................... 12, 22–23
Noise Suppressor ............................................................... 22, 54
NS .............................................................................................. 54
Number ..................................................................................... 19
OC .............................................................................................. 47
Octave ........................................................................................ 47
On/Off ...................................................................................... 20
On/Off Button ....................................................... 21–22, 57, 59
Original Phrase ........................................................................ 49
OS/DS ....................................................................................... 12
OUTPUT ................................................................................... 11
Output ....................................................................................... 55
Output Channel ....................................................................... 95
OUTPUT SELECT ........................................................ 12, 17–18
OVERDRIVE/DISTORTION ........................................... 31, 59
P
P.Chnge Mode .......................................................................... 97
PAN ........................................................................................... 40
Parameter ...................................................................... 19, 22, 28
Patch .................................................................................... 16, 19
Patch Change ........................................................................... 19
Patch Change Mode ................................................................ 97
Patch Copy ............................................................................... 24
Patch Exchange ........................................................................ 25
Patch Extent .............................................................................. 98
PATCH LEVEL ............................................................ 12, 20, 55
Patch Name ........................................................................ 23, 56
Patch Number .......................................................................... 78
Patch Write ............................................................................... 24
PATCH/VALUE ..................................................................... 11
PB ............................................................................................... 47
PEAK ......................................................................................... 11
Pedal .......................................................................................... 61
Pedal Bend ................................................................................ 47
Pedal Wah ................................................................................. 60
PH .............................................................................................. 39
Phaser ........................................................................................ 39
PHONES ................................................................................... 11
Pitch Shifter .............................................................................. 46
Play Screen ................................................................................ 16
POLARITY Switch ................................................................... 16
POWER ............................................................................... 12, 16
PRE LOOP .................................................................... 12–13, 53
Preamp ...................................................................................... 92
Preamp Mode ........................................................................... 98
PREAMP/SPEAKER ................................. 11, 20, 27–28, 57–58
161
Index
Preamp/Speaker Simulator ................................................... 28
PRESENCE ......................................................................... 11, 20
Preset Bank ............................................................................... 19
Preset Patch .............................................................................. 19
Program Change ................................................................ 72, 79
Program Change Map ............................................................. 77
Program Map ........................................................................... 77
PS ............................................................................................... 46
Q
Quick FX ................................................................................... 21
Quick Setting ...................................................................... 21, 66
R
Reference Pitch ....................................................................... 102
RETURN ............................................................................. 13, 52
REVERB .............................................................................. 12, 35
Ring Modulator ....................................................................... 41
RM ............................................................................................. 41
Rotary ........................................................................................ 47
RT ............................................................................................... 47
S
SDD ............................................................................................ 51
SEND ................................................................................... 13, 52
SEQ ............................................................................................ 44
SG ............................................................................................... 41
SH .............................................................................................. 51
SHIFT ........................................................................................ 12
Sitar ............................................................................................ 42
Sitar Simulator ......................................................................... 42
SL ............................................................................................... 43
Slicer .......................................................................................... 43
Slow Gear .................................................................................. 41
SOLO ......................................................................................... 11
Sound Hold .............................................................................. 51
Sound playback ..................................................................... 124
Sound recording .................................................................... 124
Source Mode ............................................................................. 69
SPEAKER ............................................................................ 11, 58
Speaker ................................................................................ 16, 58
Speaker Simulator ............................................................. 17–18
Special Driver Mode ..................................................... 110, 126
Standard .................................................................................... 88
Standard Driver Mode .................................................. 110, 126
Store ........................................................................................... 24
STR ............................................................................................. 42
SUB ............................................................................................ 11
Sub Delay .................................................................................. 51
Sub Equalizer ........................................................................... 44
Sub Global EQ .......................................................................... 95
SUB OUT ................................................................................... 13
SUB OUT Level ...................................................................... 100
Swap .......................................................................................... 25
SYN ............................................................................................ 49
SYSTEM .................................................................................... 12
162
T
Target ........................................................................................ 67
Target Range ............................................................................ 68
TM .............................................................................................. 38
Tone Modify ............................................................................. 38
Total NS .................................................................................... 94
Total REVERB .......................................................................... 94
Touch Wah ............................................................................... 37
TR ............................................................................................... 39
TREBLE ............................................................................... 11, 20
Tremolo ..................................................................................... 39
Tuner ................................................................................. 18, 101
TUNER OUT ............................................................................ 13
TUNER/BYPASS ..................................................................... 12
Tuning ............................................................................... 18, 101
TW ............................................................................................. 37
TYPE .................................................................................... 11, 20
TYPE VARIATION .................................................................. 11
U
Uni-V ......................................................................................... 41
USB ...................................................................................... 13, 88
USB Direct Monitor ................................................................. 90
USB Driver .............................................................................. 109
USB In .................................................................................. 90, 96
USB Mix Channel .................................................................... 89
USB Mix Level .......................................................................... 89
USB Monitor Command ......................................................... 90
USB/Digital Out ...................................................................... 95
USB/Digital Out Channel ...................................................... 89
USB/Digital Out Level ........................................................... 89
User Bank .................................................................................. 19
User Patch ..................................................................... 19, 24–25
User Phrase ............................................................................... 49
User Quick Setting ................................................................... 26
User Scale .................................................................................. 46
UV .............................................................................................. 41
V
VB ...............................................................................................
Vibrato .......................................................................................
Volume ......................................................................................
Volume-swell Effect ................................................................
40
40
16
41
W
WAH ............................................................................. 12, 36, 60
Wave Pedal ............................................................................... 71
Wave Synth .............................................................................. 44
WDM ....................................................................................... 123
WRITE ........................................................................... 12, 24–27
Write .......................................................................................... 24
WSY ........................................................................................... 44
For EU Countries
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
Apparatus containing
Lithium batteries
ADVARSEL!
VARNING
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
Levér det brugte batteri tilbage til
leverandøren.
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Kassera använt batteri enligt
fabrikantens instruktion.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specified by the
manufacturer.
12. Use only with the cart, stand, tripod, bracket,
or table specified by the manufacturer, or
sold with the apparatus. When a cart is used,
use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
ADVARSEL
VAROITUS
Eksplosjonsfare ved feilaktig skifte av
batteri.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
Telephone :
2
GT-PRO
Guitar Effects Processor
Roland Corporation U.S.
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
Owner’s Manual
Thank you, and congratulations on your choice of the BOSS GT-PRO
Guitar Effects Processor.
Before using this unit, carefully read the sections entitled:
• IMPORTANT SAFETY INSTRUCTIONS (page 2)
• USING THE UNIT SAFELY (page 3–4)
• IMPORTANT NOTES (page 5–6)
These sections provide important information concerning the proper
operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of
every feature provided by your new unit, Owner’s manual should be read in
its entirety. The manual should be saved and kept on hand as a convenient
reference.
■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate bottons.
[WRITE]
[SYSTEM]
WRITE button
SYSTEM button
• EXP pedal is an abbreviation of “Expression pedal.”
• Reference such as (p. **) indicate pages in this manual to which you can refer.
Copyright © 2005 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written
permission of BOSS CORPORATION.
03899334
’05-3-1N
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