Boss Audio Systems Stereo Amplifier GT 100 User Manual

Parameter Guide

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Basic Operation

Editing on the GT-100 is extremely simple; the procedure is always the same..

Choose what you’re going to edit

Press one of the following buttons

page 5

Eﬀect

page 26

System

Here you can edit the parameters of each eﬀect.

Here you can make settings that apply to the

entire GT-100, such as output settings and

phrase loop settings.

page 4

EZ (Easy) Tone

page 31

Control/Expression

Here you can create the desired tone simply by

choosing a musical style and the type of song you

have in mind. You can also customize the amp and

overdrive/distortion settings in an intuitive way.

Here you can assign the desired functions to the

[ACCEL/CTL] pedal, [EXP] pedal, and external

pedals.

Select an item

Turn knob [4] to select the

desired item (the cursor will

move).

Use

to select an item shown in the left

display

The screen shown here is an example of when you’ve pressed the

[EFFECT] button.

Edit the values

Use

to edit the values

Turn the knobs

to edit the

values.

shown in the right display

If page tabs are shown in the screen, you can use the

[PAGE] buttons to move between tabs.

Exit the settings

Press

You’ll be returned to the Play screen.

NOTE

The settings you’ve edited will be lost when you switch patches. If you want to keep the edited settings, you must save them as a user patch

(Owner’s Manual: p. 13).

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EZ TONE

PATCH CREATE

OD/DS CUSTOMIZE

Lets you easily create your sound starting from your choice of musical style

and type of song.

Lets you intuitively customize the overdrive/distortion.

Parameter

Value

Explanation

Parameter

Value

Explanation

OD-1

This models the sound of the BOSS OD-1.

This is a overdrive sound with high gain.

This is a crunch sound.

BLUES

Blues sound

OD-2

Soul Funk

Jazz

Soul and Funk sound

Jazz sound

CRUNCH

This gives a basic, traditional distortion

sound.

DS-1

LIVERPOOL

70's HARD ROCK

80s METAL

MODERN METAL

West Coast

Fuzz Rock

STUDIO

British Rock

CUSTOM

TYPE

DS-2

This creates a heavier distortion sound.

The Hard Rock sound popular in the ’70s

The Metal sound popular in the ’80s

Modern Metal sound

West Coast sound

Fuzz

This is a metal sound with a characteristic

midrange.

METAL1

METAL2

FUZZ

This gives a heavy metal sound.

BASIC TONE

This gives a basic, traditional fuzz sound.

+: Sharp distortion

-: Warm distortion

Recording Studio

Progressive

SOFT –HARD -50–+50

PROGRESSIVE

SURF ROCK

COUNTRY

Acoustic

+: For soloing

-: For backing

BACKING –

-50–+50

SOLO

Surf Rock sound

Country

For Acoustic Guitar

Punk Pop

+: Sharp distortion

-: Warm distortion

SOFT –HARD -50–+50

+: For soloing

-: For backing

BACKING –

-50–+50

SOLO

AMBIENCE

0–100

Adjusts the length of the resonance

AMP CUSTOMIZE

Lets you intuitively customize the amp.

Parameter

Value

Explanation

JC CLEAN

TW CLEAN

This models the sound of the Roland JC-120.

This models a Fender Twin Reverb.

This is a crunch sound that can faithfully

reproduce the nuances of picking.

CRUNCH

This is a combo amp sound that it suited to

sixties-style British rock.

COMBO DRIVE

COMBO LEAD

CUSTOM

TYPE

This is a lead sound of a combo tube amp

typical of the late ‘70s to ‘80s.

This models the sound input to Input I on a

Marshall 1959.

MS HiGAIN

This is a trebly sound suited to hard rock.

This original high-gain amp delivers thick

lows and intense distortion while still

preserving the sound’s clear deﬁnition.

MODERN STACK

+: Sharp distortion

-: Warm distortion

SOFT –HARD -50–+50

+: For soloing

-: For backing

BACKING –

-50–+50

SOLO

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EFFECT

OD/DS TYPE

COMP

This is a list of distortion types that can be selected for OD/DS.

This is an eﬀect that produces a long sustain by evening out the volume

level of the input signal.

Category

Type

Explanation

An unembellished, clean sound that

minimizes the amp’s idiosyncrasies, such as

its trebly character and boomy low end.

NATURL CLEAN

An amp with a broad frequency range and an

extremely ﬂat response.

FULL RANGE

Good for acoustic guitar.

Crunch sound that allows the nuances of

COMBO CRUNCH your picking to be expressed even more

faithfully than on conventional combo amps.

Great-feeling crunch sound that responds

well to picking dynamics while retaining

all the deﬁning characteristics of a 4 x 12”

STACK CRUNCH

speaker cabinet.

ADVANCED

High-gain sound of a vintage Marshall

specially revamped in a way that is possible

only with COSM modeling technology.

HiGAIN STACK

POWER DRIVE

A straight drive sound that works well in a

broad range of situations, from backing to

lead. A sound like this cannot be obtained

from any existing combo amp or stack amp.

A new type of sound that smoothes out the

uneven frequency response that is typical of

existing large stack amps.

EXTREM LEAD

CORE METAL

A large stack sound that has been tweaked

extensively in the pursuit of the ultimate

metal sound.

JC-120

This models the sound of the Roland JC-120.

This models a Fender Twin Reverb.

This models a Fender Pro Reverb.

CLEAN TWIN

PRO CRUNCH

This models a Fender Bassman 4 x 10”

Combo.

TWEED

DELUXE CRUNCH This models a Fender Deluxe Reverb.

This models the drive sound of a VOX

AC-30TB.

VO DRIVE

This is a sound that it suited to sixties-style

British rock.

This models the lead sound of the VOX

AC-30TB.

VO LEAD

This models the sound input to left input on

a Matchless D/C-30.

MATCH DRIVE

A simulation of the latest tube amp widely

used in styles from blues and rock.

This models the lead sound of the MESA/

Boogie combo amp.

BG LEAD

The sound of a tube amp typical of the late

VINTAGE

‘70s to ‘80s.

This models a MESA/Boogie with TREBLE

SHIFT SW on.

BG DRIVE

This models the sound input to Input I on a

Marshall 1959.

MS1959 I

This is a trebly sound suited to hard rock.

The sound of connecting inputs I and II of the

guitar amp in parallel, creating a sound with

a stronger low end than I.

MS1959 I+II

Models the sound of the Channel 2 VINTAGE

Mode on the MESA/Boogie DUAL Rectiﬁer.

R-FIER VINTAGE

R-FIER MODERN

T-AMP LEAD

SLDN

Models the sound of the Channel 2 MODERN

Mode on the MESA/Boogie DUAL Rectiﬁer.

This models a Hughes & Kettner Triamp

AMP3.

This models a Soldano SLO-100. This is the

typical sound of the eighties.

This models the lead channel of a Peavey

EVH 5150.

5150 DRIVE

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EFFECT

CUSTOM AMP SETTING

This adjusts the tone as a equalizer. A parametric type is adopted for the

high-middle and low-middle range.

Parameter

Value

Explanation

JC CLEAN

TW CLEAN

This models the sound of the Roland JC-120.

This models a Fender Twin Reverb.

Parameter

ON/OFF

Value

Explanation

This is a crunch sound that can faithfully

reproduce the nuances of picking.

OFF, ON

Turns this eﬀect on/oﬀ.

CRUNCH

LOW GAIN

HIGH GAIN

-20–+20 dB

Adjusts the low frequency range tone.

Adjusts the high frequency range tone.

This is a combo amp sound that it suited to

sixties-style British rock.

COMBO DRIVE

COMBO LEAD

This is a lead sound of a combo tube amp typical

of the late ‘70s to ‘80s.

CUSTOM TYPE

LEVEL

-20–+20 dB

Adjusts the overall volume level of the equalizer.

This models the sound input to Input I on a

Marshall 1959.

LOW-MID

FREQ

Speciﬁes the center of the frequency range that

will be adjusted by the LOW-MID GAIN.

20 Hz–10.0 kHz

MS HiGAIN

This is a trebly sound suited to hard rock.

Adjusts the width of the area aﬀected by the EQ

centered at the LOW-MID FREQ. Higher values

will narrow the area.

This original high-gain amp delivers thick lows

and intense distortion while still preserving the

sound’s clear deﬁnition.

LOW-MID Q

0.5–16

MODERN

STACK

LOW-MID

GAIN

-20–+20 dB

Adjusts the low-middle frequency range tone.

+: For soloing

-: For backing

CUSTOM CHAR -50–+50

HIGH-MID

FREQ

Speciﬁes the center of the frequency range that

will be adjusted by the HIGH-MID GAIN.

20 Hz–10.0 kHz

This controls the input sound’s low-frequency

range and adjusts the amount of distortion in the

low-frequency range.

CUSTOM

-50–+50

BOTTOM

Adjusts the width of the area aﬀected by the EQ

centered at the HIGH-MID FREQ. Higher values

will narrow the area.

HIGH-MID Q

0.5–16

This controls the input sound’s high-frequency

range and adjusts the amount of distortion in the

high-frequency range.

CUSTOM EDGE -50–+50

HIGH-MID

GAIN

-20–+20 dB

Adjusts the low-middle frequency range tone.

CUSTOM

PREAMP LOW

-50–+50

Adjusts the preamp section’s low-frequency tone.

This sets the frequency at which the low cut ﬁlter

begins to take eﬀect. When FLAT is selected, the

low cut ﬁlter will have no eﬀect.

FLAT,

20 Hz–800 Hz

LOW CUT

HIGH CUT

CUSTOM

PREAMP HIGH

Adjusts the preamp section’s high-frequency

tone.

-50–+50

This sets the frequency at which the high cut

ﬁlter begins to take eﬀect. When FLAT is selected,

the high cut ﬁlter will have no eﬀect.

630 Hz–

12.5 kHz, FLAT

CUSTOM SPEAKER SETTING

Parameter

Value

Explanation

CUSTOM

SP SIZE

5–15"

Selects the size of speaker.

CUSTOM

SP NUMBER

x1, x2, x4, x8

Sets the number of speakers.

Selects the speaker cabinet type.

CUSTOM

CABINET

OPEN

This is an open-backed cabinet

This type of cabinet features an enclosed rear

panel.

CUSTOM

COLOR LOW

-10–+10

Adjusts the speaker section’s low-frequency tone.

CUSTOM

COLOR HIGH

Adjusts the speaker section’s high-frequency

tone.

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EFFECT

Eﬀect Name

PAN

Explanation

FX1/FX2

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.

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

You can select the same eﬀect for FX1 and FX2.

This consecutively interrupts the sound to create the impression

that a rhythm backing phrase is being played.

SLICER

Parameter

ON/OFF

TYPE

Value

Explanation

VIBRATO

This eﬀect creates vibrato by slightly modulating the pitch.

OFF, ON

Turns this eﬀect on/oﬀ.

This creates a bell-like sound by ring-modulating the guitar sound

with the signal from the internal oscillator. The sound can be

unmusical and lack distinctive pitches.

Refer to FX1/FX2 TYPE

RING MOD

HUMANIZER

This can create human vowel-like sounds.

FX1/FX2 TYPE

Frequency band division is employed to produce two diﬀerent

choruses, one for low frequencies and one for higher frequencies,

for both the left and right channels (for a total of four). This allows

you to achieve a more natural chorus sound.

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

2X2 CHORUS

SUB DELAY

Eﬀect Name

Explanation

This is a delay with the maximum delay time of 1,000 ms. This

eﬀect is useful for making the sound fatter.

T WAH

You can produce a wah eﬀect with the ﬁlter changing in response

to the guitar level.

(Touch Wah)

AUTO WAH

This changes the ﬁltering over a periodic cycle, providing an

automatic wah eﬀect.

(Auto Wah)

You can control the wah eﬀect in real time by adjusting the [EXP]

pedal or the expression pedal connected to the SUB CTL 1, 2/SUB

EXP jack.

SUB WAH

ADV COMP

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.

(Advanced

Compressor)

LIMITER

The limiter attenuates loud input levels to prevent distortion.

This eﬀect distorts the sound to create long sustain.

SUB OD/DS

GRAPHIC EQ

This adjusts the tone as a equalizer. You can adjust the sound

quality in ten bands.

(Graphic

Equalizer)

PARAMETRIC

Adjusts the tonal quality. You can adjust the sound quality in four

bands.

(Parametric

Equalizer)

TONE MODIFY This changes the tone of the connected guitar.

Simulation of the characteristics of particular guitar components

GUITAR SIM

such as pickups and diﬀerent guitar bodies allows you to switch

among a number of diﬀerent guitar types all while using a single

guitar.

(Guitar

Simulator)

SLOW GEAR

DEFRETTER

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

This simulates a fretless guitar.

WAVE SYNTH This is a synth sound that processes the guitar input signal.

SITAR SIM

This simulates the sound of the sitar.

(Sitar

Simulator)

OCTAVE

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

This eﬀect changes the pitch of the original sound (up or down)

within a range of two octaves.

PITCH SHIFTER

Harmonist is an eﬀect where the amount of shifting is adjusted

according to an analysis of the guitar input, allowing you to create

harmony based on diatonic scales.

HARMONIST

You can have sound played on the guitar be held continuously.

SOUND HOLD This eﬀect allows you to perform the melody in the upper registers

while holding a note in the lower registers.

AC PROCES-

SOR

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.

(Acoustic

Processor)

By adding varied-phase portions to the direct sound, the phaser

eﬀect gives a whooshing, swirling character to the sound.

PHASER

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

the sound.

FLANGER

TREMOLO

ROTARY

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

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

This models a Uni-Vibe.

UNI-V

Although this resembles a phaser eﬀect, it also provides a unique

undulation that you can’t get with a regular phaser.

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EFFECT

T. WAH

SUB WAH

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

guitar level.

You can control the wah eﬀect in real time by adjusting the [EXP] pedal or

the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack.

Parameter

MODE

Value

Explanation

Parameter

Value

Explanation

Selects the type of wah.

Selects the wah mode.

LPF

This models the sound of the CRY BABY wah

pedal popular in the ‘70s.

This creates a wah eﬀect over a wide

frequency range.

CRY WAH

VO WAH

FAT WAH

This models the sound of the VOX V846.

This is a wah sound featuring a bold tone.

This creates a wah eﬀect in a narrow

frequency range.

BPF

Selects the direction in which the ﬁlter will change in response to

the input.

This wah has a reﬁned sound with no unusual

characteristics.

TYPE

LIGHT WAH

POLAR

DOWN

The frequency of the ﬁlter will fall.

The frequency of the ﬁlter will rise.

This expanded wah features a variable range

compatible with seven-string and baritone

guitars.

7STRING WAH

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.

This completely original eﬀect oﬀers en-

hancements on the characteristic resonances

produced by analog synth ﬁlters.

RESO WAH

0–100

SENS

FREQ

0–100

Adjusts the position of the wah pedal.

PEDAL POS

* This parameter is used after it’s been as-

signed to an EXP Pedal or similar controller.

Adjusts the center frequency of the Wah

eﬀect.

Selects the tone produced when the heel of

the EXP Pedal is depressed.

Adjusts the way in which the wah eﬀect

applies to the area around the center

frequency.

PEDAL MIN

PEDAL MAX

0–100

Selects the tone produced when the toe of

the EXP Pedal is depressed.

PEAK

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.

EFFECT LEVEL 0–100

DIRECT MIX 0–100

Adjusts the volume of the eﬀect sound.

Adjusts the volume of the direct sound.

EFFECT LEVEL 0–100

DIRECT MIX 0–100

Adjusts the volume of the eﬀect sound.

Adjusts the volume of the direct sound.

ADV. COMP

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.

AUTO WAH

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

wah eﬀect.

Parameter

Value

Explanation

Selects the compressor type.

Parameter

MODE

Value

Explanation

BOSS COMP

HI-BAND

This models a BOSS CS-3.

Selects the wah mode.

This is a compressor that adds an even

stronger eﬀect in the high end.

This creates a wah eﬀect over a wide

frequency range.

LPF

LIGHT

This is a compressor with a light eﬀect.

This models a MXR DynaComp.

This creates a wah eﬀect in a narrow

frequency range.

BPF

D-COMP

TYPE

Adjusts the frequency (speed) of the change.

This is modeled on the sound of the Dan

Armstrong ORANGE SQUEEZER.

ORANGE

FAT

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

When applied heavily, this compressor eﬀect

provides a fat tone with a boosted midrange.

0–100,

BPM

When applied heavily, this compressor eﬀect

produces a sweet tone with the high end cut.

RATE

MILD

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

STEREO COMP

This selects a stereo compressor.

Adjusts the range (time) over which low-level

signals are boosted. Larger values will result

in longer sustain.

SUSTAIN

0–100

DEPTH

FREQ

0–100

Adjusts the depth of the eﬀect.

ATTACK

LEVEL

TONE

0–100

Adjusts the attack time.

Adjusts the volume.

Adjusts the tone.

Adjusts the center frequency of the Wah

eﬀect.

0–100

-50–+50

Adjusts the amount of wah eﬀect applied in

the range near the center frequency. Higher

values will produce a stronger tone which

emphasizes the wah eﬀect more. With a value

of 50 a standard wah sound will be produced.

PEAK

0–100

EFFECT LEVEL 0–100

DIRECT MIX 0–100

Adjusts the volume of the eﬀect sound.

Adjusts the volume of the direct sound.

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EFFECT

LIMITER

PARAMETRIC EQ

The limiter attenuates loud input levels to prevent distortion.

Adjusts the tonal quality. You can adjust the sound quality in four bands.

Parameter

Value

Explanation

Parameter

LOW GAIN

HIGH GAIN

Value

Explanation

Selects the limiter type.

-20–+20 dB

Adjusts the low frequency range tone.

Adjusts the high frequency range tone.

BOSS LIMITER

RACK 160D

VTG RACK U

This selects a stereo limiter.

TYPE

This models a dbx 160X.

This models a UREI 1178.

Adjusts the overall volume level of the

equalizer.

LEVEL

-20–+20 dB

LOW-MID

FREQ

Speciﬁes the center of the frequency range

that will be adjusted by the LOW-MID GAIN.

20 Hz–10.0 kHz

Adjust this as appropriate for the input

signal from your guitar. When the input

signal level exceeds this threshold level,

limiting will be applied.

THRESH

0–100

Adjusts the width of the area aﬀected by the

EQ centered at the LOW-MID FREQ. Higher

values will narrow the area.

LOW-MID Q

0.5–16

This selects the compression ratio used with

signals in excess of the threshold level.

RATIO

LEVEL

1:1–INF:1

0–100

LOW-MID

GAIN

Adjusts the low-middle frequency range

tone.

-20–+20 dB

Adjusts the volume.

HIGH-MID

FREQ

Speciﬁes the center of the frequency range

that will be adjusted by the HIGH-MID GAIN.

20 Hz–10.0 kHz

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.

ATTACK

0–100

Adjusts the width of the area aﬀected by the

EQ centered at the HIGH-MID FREQ. Higher

values will narrow the area.

HIGH-MID Q

0.5–16

RELEASE

Adjusts the release time.

HIGH-MID

GAIN

Adjusts the low-middle frequency range

tone.

-20–+20 dB

This sets the frequency at which the low

FLAT, 20 Hz–800 Hz cut ﬁlter begins to take eﬀect. When FLAT is

selected, the low cut ﬁlter will have no eﬀect.

LOW CUT

SUB OD/DS

This sets the frequency at which the high

This eﬀect distorts the sound to create long sustain.

630 Hz–12.5 kHz,

FLAT

cut ﬁlter begins to take eﬀect. When FLAT

is selected, the high cut ﬁlter will have no

eﬀect.

HIGH CUT

Parameter

TYPE

Value

Explanation

Refer to “OD/DS TYPE ”(p. 5)

* “CUSTOM”is not available.

DRIVE

TONE

0–120

Adjusts the depth of distortion.

TONE MODIFY

-50–+50

Adjusts the tone.

EFFECT LEVEL 0–100

Adjusts the volume of the OD/DS sound.

This changes the tone of the connected guitar.

Adjusts the tone for the low frequency range.

Turning this to the left (counterclockwise)

produces a sound with the low end cut;

turning it to the right boosts the low end in

the sound.

Parameter

Value

Explanation

BOTTOM

-50–+50

Selects the type of tone modiﬁcation.

FAT

Fat tone with boosted mid range.

DIRECT MIX

SOLO SW

0–100

Adjusts the volume of the direct sound.

The tone to one suitable for solos.

PRES (PRESENCE)

MILD

Bright tone with boosted high-mid range.

Mild tone with the high end cut back.

Tone with the low frequencies cut.

OFF, ON

TYPE

Adjusts the volume level when the Solo Sw

is ON.

TIGHT

SOLO LEVEL

0–100

ENHANC (ENHANCE) Tone with the high frequencies boosted.

This produces a tone with greater power

RESO 1–3

and punch by adding resonance in the

(RESONATOR 1–3)

low-frequency range and midrange.

GRAPHIC EQ

Adjusts the tone for the low frequency

LOW

-50–+50

range.

This adjusts the tone as a equalizer. You can adjust the sound quality in ten bands.

Adjusts the tone for the High frequency

HIGH

-50–+50

range.

Parameter

31 Hz

Value

LEVEL

0–100

Adjusts the volume of the eﬀect sound.

This adjusts the strength of the low-end and

midrange resonance when TYPE is set to

RESO 1, 2, or 3.

62 Hz

RESO

0–100

125 Hz

250 Hz

500 Hz

1 kHz

-20–+20 dB

2 kHz

4 kHz

8 kHz

16 kHz

LEVEL

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EFFECT

GUITAR SIM

DEFRETTER

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.

This simulates a fretless guitar.

Parameter

SENS

Value

Explanation

This controls the input sensitivity of the

defretter.

0–100

Parameter

Value

Explanation

Selects the type of the guitar simulator.

DEPTH

TONE

0–100

This controls the rate of the harmonics.

Changes from a single-coil pickup tone to a

S g H

Adjusts the amount of blurring between the

notes.

humbucking pickup tone.

-50–+50

Changes from a humbucking pickup tone to

a single-coil pickup tone.

H g S

EFFECT LEVEL 0–100

Adjusts the volume of the eﬀect sound.

Adjusts the attack of the picking sound.

ATTACK

0–100

Changes from a humbucking pickup tone to

a single-coil pickup half tone.

H g HF

Adds a characteristically resonant quality to

the sound.

RESO

Changes a single-coil pickup tone to a hollow

body tone with the body resonance added.

S g HLW (HOLLOW)

DIRECT MIX

Adjusts the volume of the direct sound.

TYPE

Changes a humbucking pickup tone to a

hollow body tone with the body resonance

added.

H g HLW

Changes a single-coil pickup tone to an

acoustic guitar tone.

WAVE SYNTH

S g AC

H g AC

This is a synth sound that processes the guitar input signal.

Changes a humbucking pickup tone to an

acoustic guitar tone.

* When you use a wave synthesizer, observe the following points.

Changes a piezo pickup tone to an acoustic

guitar tone.

• Because of the need to analyze the pitch, chords (two or more sounds

played simultaneously) cannot be played. Be sure to mute all the

other strings and play only one note at a time.

P g AC

-50–+50

0–100

LOW

Adjusts the tone for the low frequency range.

Adjusts the tone for the High frequency

range

• When you are to play the next string while a certain sound is still

playing, mute the previous sound and then play the next one with

a clear attack. If the unit cannot detect the attack, it may not sound

correctly.

HIGH

LEVEL

Adjusts the volume of the eﬀect sound.

Adjusts the way the body sounds when TYPE

is set to S g HLW, H g HLW, S g AC, H g AC

or P g AC.

• The sensitivity may vary according to the guitar’s TONE knob and

pickup type.

BODY

0–100

The body sound increases as the value is

raised; reducing the value produces a tone

similar to that from a piezo pickup.

Parameter

Value

Explanation

Selects a wave type which the synth sound is based.

Creates a synth sound with a saw waveform

SAW

WAVE

(

SLOW GEAR

Creates a synth sound with the square

waveform ( ).

SQUARE

0–100

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

Adjusts the frequency where the harmonics

contents of the sound are cut oﬀ.

CUTOFF

RESO

Parameter

Value

Explanation

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.

Adjusts the sensitivity of the slow gear. When

it is set to a lower value, the eﬀect of the slow

gear can be obtained only with a stronger

picking, while no eﬀect is obtained with a

weaker picking. When the value is set higher,

the eﬀect is obtained even with a weak

picking.

0–100

SENS

0–100

This adjusts the amount of ﬁltering applied in

response to the input.

FILTER SENS

This sets the time needed for the ﬁlter to

ﬁnish its sweep.

FILTER DECAY 0–100

Adjusts the time needed for the volume to

reach its maximum from the moment you

begin picking.

RISE TIME

LEVEL

0–100

Adjusts the depth of the ﬁlter. When the

value is higher, the ﬁlter will change more

drastically.

FILTER DEPTH 0–100

SYNTH LEVEL 0–100

Adjusts the volume of the eﬀect sound.

Adjusts the volume of the synth sound.

Adjusts the volume of the direct sound.

DIRECT MIX

0–100

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EFFECT

SITAR SIM.

PITCH SHIFTER

This simulates the sound of the sitar.

This eﬀect changes the pitch of the original sound (up or down) within a

range of two octaves.

Parameter

Value

Explanation

Parameter

Value

Explanation

Adjusts the sensitivity of the sitar. When it is

set to a lower value, no eﬀect of the sitar is

obtained with weaker picking, while stronger

picking produces the eﬀect. When it is set

to a higher value, the eﬀect of the sitar can

be obtained whether the picking is weak or

strong.

Selects the number of voices for the pitch shift sound.

One-voice pitch-shifted sound output in

monaural.

SENS

0–100

1-VOICE

VOICE

Two-voice pitch-shifted sound (PS1, PS2)

output in monaural.

2-MONO

DEPTH

TONE

0–100

This adjusts the amount of eﬀect applied.

Two-voice pitch-shifted sound (PS1, PS2)

2-STEREO

output through left and right channels.

This adjusts the tone. The high end is boosted

as the value increases.

-50–+50

PS1:PITCH

PS2:PITCH

Adjusts the amount of pitch shift (the

-24–+24

amount of interval) in semitone steps.

EFFECT LEVEL 0–100

Adjust the volume of the sitar sound.

DIRECT MIX

0–100

Adjusts the volume of the direct sound.

RESO

0–100

This adjusts the undulation of the resonance.

Selection for the pitch shifter mode.

FAST,

Adjusts the amount of characteristic buzz

produced by the “buzz bridge”when the

strings make contact with it.

BUZZ

The response is slower in the order of FAST,

MEDIUM and SLOW, but the modulation is

lessened in the same order.

MEDIUM,

SLOW

DIRECT MIX

Adjusts the volume of the direct sound.

PS1:MODE

PS2:MODE

MONO is used for inputting single notes.

* You may be unable to produce the

intended eﬀect when playing chords (two

or more notes played simultaneously).

MONO

OCTAVE

Make ﬁne adjustments to the interval. The

amount of the change in the Fine 100 is

equivalent to that of the Pitch 1.

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

PS1:FINE

PS2:FINE

-50–+50

Parameter

Value

This selects the register to which the eﬀect is applied.

B1 (corresponds to the sound of an open 7th

string) to E6 (corresponds to the 1st string

Explanation

Adjusts the time from when the direct sound

is heard until the pitch shifted sounds are

heard. Normally you can leave this set at 0

ms.

RANGE 1 (B1–E6)

RANGE 2 (B1–E5)

RANGE 3 (B1–E4)

RANGE 4 (B1–E3)

played at the 24th fret)

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

B1 (corresponds to the sound of an open 7th

string) to E5 (corresponds to the 1st string

played at the 12th fret)

PS1:PRE DLY

PS2:PRE DLY

0 ms–300 ms,

BPM

–

RANGE

B1 (corresponds to the sound of an open 7th

string) to E4 (corresponds to the sound of an

open 1st string)

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

B1 (corresponds to the sound of an open 7th

string) to E3 (corresponds to the 4th string

played at the 2nd fret)

PS1:LEVEL

PS2:LEVEL

0–100

Adjusts the volume of the pitch shifter.

OCTAVE

LEVEL

Adjusts the volume of the sound one octave

below.

0–100

Adjusts the feedback amount of the pitch

shift sound.

DIRECT MIX

Adjusts the volume of the direct sound.

PS1:F BACK

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EFFECT

Parameter

Value

Explanation

HARMONIST

C– C–C– C–

Harmonist is an eﬀect where the amount of shifting is adjusted according

to an analysis of the guitar input, allowing you to create harmony based

on diatonic scales.

Db– Db–Db– Db– Db

D– D–D– D–

Eb– Eb–Eb– Eb– Eb

* Because of the need to analyze the pitch, chords (two or more sounds

played simultaneously) cannot be played.

E– E–E– E–

F– F–F– F–

* When you are to play the next string while a certain sound is still playing,

mute the previous sound and then play the next one with a clear attack.

If the unit cannot detect the attack, it may not sound correctly.

USER SCALE

F#– F#–F#– F#– F#

G– G–G– G–

Ab– Ab–Ab– Ab– Ab

A– A–A– A–

Bb– Bb–Bb– Bb– Bb

B– B–B– B–

* The sensitivity may vary according to the guitar’s TONE knob and pickup

type.

* You cannot use the Harmonist eﬀect with audio input via USB.

Parameter

Value

Explanation

Selects the number of voices for the pitch shift sound.

One-voice pitch-shifted sound output in

monaural.

1-VOICE

Specify the note name of the output sound. The minus (-) and plus (+) symbols

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.

VOICE

Two-voice pitch-shifted sound (HR1, HR2) output

in monaural.

2-MONO

Two-voice pitch-shifted sound (HR1, HR2) output

2-STEREO

through left and right channels.

* Eﬀective with USER selected for HARM parameter.

This determines the pitch of the sound added

to the input sound, when you are making a

harmony.

HR1:HARM

HR2:HARM

-2 oct–+2 oct,

It allows you to set it by up to 2 octaves higher

USER

SOUND HOLD

or lower than the input sound. When the scale

is set to USER, this parameter sets the user scale

number to be used.

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.

The key setting corresponds to the key of the

song (#, b) as follows.

* This function will not work properly when two or more notes are played

simultaneously.

Major

Parameter

HOLD

Value

Explanation

MASTER KEY

C(Am)–B(G#m)

Minor

Switches the hold sound on and oﬀ.

Normally, this is controlled with the CTL

pedals.

Major

OFF, ON

•

It is assumed that this parameter will be

assigned to the footswitch.

Minor

•

Patches are written with the HOLD

parameter set to Oﬀ.

Adjusts the time from when the direct sound

is heard until the harmonist sounds are heard.

Normally you can leave this set at 0 ms.

Adjusts how rapidly the Sound Hold sound

is produced.

RISE TIME

0–100

* When set to BPM, the value of each parameter

will be set according to the value of the

“MASTER BPM”speciﬁed for each patch. This

makes it easier to achieve eﬀect sound settings

that match the tempo of the song.

EFFECT LEVEL 0–120

Adjusts the volume of the hold sound.

HR1:PRE DLY

HR2:PRE DLY

0 ms–300 ms,

BPM

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4 of

that time.

Adjusts the feedback amount of the harmonist

sound.

HR1:F BACK

0–100

HR1:LEVEL

HR2:LEVEL

0–100

Adjusts the volume of the harmony sound.

Adjusts the volume of the direct sound.

DIRECT MIX

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EFFECT

Parameter

STEP RATE

Value

Explanation

AC. PROCESSOR

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.

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.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

Parameter

Value

Explanation

OFF, 0–100,

BPM

Selects the modeling type.

–

This is the sound of a small-bodied acoustic

guitar.

SMALL

TYPE

This is a standard, unadorned acoustic guitar

sound.

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

MEDIUM

BRIGHT

POWER

-50–+50

This is a bright acoustic guitar sound.

This is a powerful acoustic guitar sound.

Adjusts the low-end balance.

EFFECT LEVEL 0–100

DIRECT MIX 0–100

Adjusts the volume of the phaser.

BASS

Adjusts the volume of the direct sound.

MIDDLE

Adjusts the midrange balance.

Speciﬁes the frequency range to be adjusted

with Middle.

MIDDLE FREQ 20.0 Hz–10.0 kHz

TREBLE

PRES

-50–+50

0–100

Adjusts the high-end balance.

FLANGER

Adjusts the balance in the extended upper

range.

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

sound.

LEVEL

Adjusts the volume.

Parameter

Value

Explanation

This sets the rate of the ﬂanging eﬀect.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

PHASER

By adding varied-phase portions to the direct sound, the phaser eﬀect

gives a whooshing, swirling character to the sound.

0–100,

BPM

RATE

–

Parameter

Value

Explanation

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

Selects the number of stages that the phaser eﬀect will use.

This is a four-phase eﬀect. A light phaser

eﬀect is obtained.

4 STAGE

DEPTH

RESO

0–100

Determines the depth of the ﬂanging eﬀect.

This is an eight-phase eﬀect. It is a popular

phaser eﬀect.

8 STAGE

Determines the amount of resonance (feed-

back). Increasing the value will emphasize

the eﬀect, creating a more unusual sound.

TYPE

This is a twelve-phase eﬀect. A deep phase

eﬀect is obtained.

12 STAGE

Adjusts the center frequency at which to

apply the eﬀect.

MANUAL

0–100

FLAT,

This is the phaser with two phase shift circuits

connected in series.

BiPHASE

Adjusts the diﬀusion. The diﬀusion increases

as the value increases.

SEPARATION

This sets the rate of the phaser eﬀect.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

This sets the frequency at which the low

cut ﬁlter begins to take eﬀect. When “Flat”is

selected, the low cut ﬁlter will have no eﬀect.

LOW CUT

55 Hz–800 Hz

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

0–100,

BPM

EFFECT LEVEL

DIRECT MIX

0–100

Adjusts the volume of the ﬂanger.

RATE

–

Adjusts the volume of the direct sound.

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

DEPTH

RESO

0–100

Determines the depth of the phaser eﬀect.

Determines the amount of resonance (feed-

back). Increasing the value will emphasize

the eﬀect, creating a more unusual sound.

Adjusts the center frequency of the phaser

eﬀect.

MANUAL

0–100

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EFFECT

TREMOLO

UNI-V

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

This models a Uni-Vibe.

Although this resembles a phaser eﬀect, it also provides a unique

undulation that you can’t get with a regular phaser.

Parameter

Value

Explanation

Adjusts changes in volume level. A higher

value will steepen wave’s shape.

WAVE SHAPE 0–100

Parameter

Value

Explanation

Adjusts the frequency (speed) of the change.

Adjusts the rate of the UNI-V eﬀect.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

0–100,

BPM

0–100,

BPM

RATE

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

DEPTH

LEVEL

0–100

Adjusts the depth of the eﬀect.

Adjusts the volume.

DEPTH

LEVEL

0–100

Adjusts the depth of the UNI-V eﬀect.

Adjusts the volume.

ROTARY

PAN

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

With the volume level of the left and right sides alternately changing,

when playing sound in stereo, you can get an eﬀect that makes the guitar

sound appear to ﬂy back and forth between the speakers.

Parameter

Value

Explanation

SPEED

SELECT

This parameter changes the simulated

speaker’s rotating speed (SLOW or FAST).

SLOW, FAST

Parameter

TYPE

Value

Explanation

0–100,

BPM

This varies the volume level on the left and

right according to the settings for WAVE

SHAPE, RATE, and DEPTH.

This parameter adjusts the SPEED SELECT of

rotation when set to “SLOW.”

RATE-SLOW

AUTO

–

This parameter adjusts the SPEED SELECT of

rotation when set to “FAST.”

Output uses the volume balance set with

POS.

MANUAL

0–100

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

Adjusts changes in volume level.

WAVE SHAPE

A higher value will steepen wave’s shape.

0–100,

BPM

RATE-FAST

Adjusts the frequency (speed) of the change.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

0–100,

BPM

RATE *1

–

This parameter adjusts the amount of depth

in the rotary eﬀect.

DEPTH

0–100

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

This parameter adjusts the time it takes for

the rotation SPEED SELECT to change when

switched from “SLOW”to “FAST.”

RISE TIME

DEPTH *1

POS *2

LEVEL

0–100

Adjusts the depth of the eﬀect.

This parameter adjusts the time it takes for

the rotation SPEED SELECT to change when

switched from “FAST”to “SLOW.”

L 100–CENTER–

R 100

This adjusts the volume balance between the

left and right channels.

FALL TIME

LEVEL

0–100

Adjusts the volume.

*1 Setting available when TYPE is set to AUTO.

*2 Setting available when TYPE is set to MANUAL.

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EFFECT

SLICER

RING MOD.

This consecutively interrupts the sound to create the impression that a

rhythm backing phrase is being played.

This creates a bell-like sound by ring-modulating the guitar sound with the

signal from the internal oscillator. The sound can be unmusical and lack

distinctive pitches.

Parameter

PATTERN

Value

Explanation

Parameter

Value

Explanation

Select the slice pattern that will be used to

cut the sound.

P1–P20

This selects the mode for the ring modulator.

Adjust the rate at which the sound will be

cut.

NORMAL

This is a normal ring modulator.

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.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

MODE

0–100,

BPM

RATE

INTELLIGENT

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

Adjusts the frequency of the internal

oscillator.

FREQUENCY

0–100

Adjust the sensitivity of triggering.

EFFECT LEVEL

DIRECT MIX

0–100

Adjusts the volume of the eﬀect sound.

Adjusts the volume of the direct sound.

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 begin-

ning. With high settings of this parameter,

the phrase will be retriggered even by softly

picked notes.

TRIGGER

SENS

0–100

HUMANIZER

EFFECT LEVEL 0–100

DIRECT MIX 0–100

Adjusts the volume of the eﬀect sound.

Adjusts the volume of the direct sound.

This can create human vowel-like sounds.

Parameter

Value

This sets the mode that switches the vowels.

It changes from VOWEL 1 to VOWEL 2 along

Explanation

VIBRATO

PICKING

with the picking. The time spent for the

change is adjusted with the rate.

MODE

This eﬀect creates vibrato by slightly modulating the pitch.

By adjusting the rate and depth, two vowels

(VOWEL 1 and VOWEL 2) can be switched

automatically.

AUTO

Parameter

Value

Explanation

VOWEL 1

VOWEL 2

a, e, i, o, u

Selects the ﬁrst vowel.

Adjusts the rate of the vibrato.

Selects the second vowel.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

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.

0–100,

BPM

RATE

SENS *1

0–100

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

Adjusts the cycle for changing the two

vowels.

DEPTH

0–100

Adjusts the depth of the vibrato.

This selects on/oﬀ of the vibrato.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

TRIGGER

OFF, ON

* It is assumed that this parameter will be

assigned to the footswitch.

0–100,

RATE

BPM

–

This sets the time passing from the moment

the Trigger is turned on until the set vibrato

is obtained.

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

* When a patch with TRIGGER set to ON is

called up, the eﬀect obtained is identical to

what happens when TRIGGER is switched

from Oﬀ to On. If you want the vibrato

eﬀect to be produced immediately after the

patches are switched, set RISE TIME to 0.

RISE TIME

LEVEL

0–100

DEPTH

0–100

Adjusts the depth of the eﬀect.

This determines the point where the two

vowels are switched. When it is set to 50,

VOWEL 1 and VOWEL 2 are switched in the

same length of time. When it is set to lower

than 50, the time for VOWEL 1 is shorter.

When it is set to higher than 50, the time for

VOWEL 1 is longer.

Adjusts the volume.

MANUAL *2

LEVEL

Adjusts the volume.

*1 Setting available when MODE is set to PICKING.

*2 Setting available when MODE is set to AUTO.

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EFFECT

2X2 CHORUS

SUB DELAY

Frequency band division is employed to produce two diﬀerent choruses,

one for low frequencies and one for higher frequencies, for both the left

and right channels (for a total of four). This allows you to achieve a more

natural chorus sound.

This is a delay with the maximum delay time of 1,000 ms. This eﬀect is

useful for making the sound fatter.

Parameter

TYPE

Value

Explanation

Use this to choose the type of delay.

Parameter

Value

Explanation

MONO

PAN

A simple monaural delay.

Adjust the speed of the chorus eﬀect for the

low frequency range.

Provides a tap delay eﬀect that divides

the delay time between the left and right

channels.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

Adjusts the delay time.

0–100,

BPM

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

LOW RATE

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

1 ms–1000 ms,

BPM

DELAY TIME

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

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.

LOW DEPTH

0–100

Adjusts the volume that is returned to the

input. Higher settings will result in more

delay repeats.

Adjust the speed of the chorus eﬀect for the

high frequency range.

F BACK

0–100

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

EFFECT LEVEL 0–120

Adjusts the volume of the delay sound.

This sets the frequency at which the high

cut ﬁlter begins to take eﬀect. When “FLAT”

is selected, the high cut ﬁlter will have no

eﬀect.

0–100,

BPM

630 Hz–12.5 kHz,

FLAT

HIGH RATE

HIGH CUT

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

Adjusts the 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%).

TAP TIME *1

DIRECT MIX

0–100%

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.

Adjusts the volume of the direct sound.

HIGH DEPTH 0–100

*1 Setting available when TYPE is set to PAN.

Adjusts the delay of the eﬀect sound in

the low-frequency range. Extending the

pre-delay will produce the sensation of

multiple sounds (doubling eﬀect).

LOW PRE

DELAY

0.0 ms–40.0 ms

0–100

Adjusts the volume of the eﬀect sound in the

low-frequency range.

LOW LEVEL

Adjusts the delay of the eﬀect sound in

the high-frequency range. Extending the

pre-delay will produce the sensation of

multiple sounds (doubling eﬀect).

HIGH PRE

DELAY

0.0 ms–40.0 ms

0–100

Adjusts the volume of the eﬀect sound in the

high-frequency range.

HIGH LEVEL

This sets the frequency dividing the low- and

high-frequency ranges.

XOVER FREQ 100 Hz–4.00 kHz

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EFFECT

COMMON

DELAY

This eﬀect adds delayed sound to the direct sound, giving more body to

the sound or creating special eﬀects.

Parameter

Value

Explanation

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”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

Parameter

Value

Explanation

DELAY

ON/OFF

OFF, ON

Turns this eﬀect on/oﬀ.

1 ms–2000 ms,

DELAY TIME

BPM

–

This selects which type of delay.

* If you switch patches with the Type set to either DUAL-S, DUAL-P,

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.

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

* The stereo eﬀect is cancelled if a monaural eﬀect or COSM amp is

connected after a stereo delay eﬀect.*

This sets the amount of delay sound returned

to the input. A higher value will increase the

number of the delay repeats.

F BACK

0–100

SINGLE

This is a simple monaural delay.

This sets the frequency at which the high

cut ﬁlter begins to take eﬀect. When “Flat”

is selected, the high cut ﬁlter will have no

eﬀect.

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.

630 Hz–12.5 kHz,

FLAT

HIGH CUT

EFFECT LEVEL 0–120

Adjusts the volume of the delay sound.

Adjusts the volume of the direct sound.

TapTime

OUTPUT L

PAN

DIRECT MIX

0–100

ectLev

DlyTime

OUTPUT R

INPUT

DELAY

PAN

Feedback

The direct sound is output from the left channel,

and the eﬀect sound is output from the right

channel.

Parameter

Value

Explanation

STEREO

DUAL-S

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%).

TAP TIME

0–100%

This is a delay comprising two diﬀerent delays

connected in series. Each delay time can be set in

a range from 1 ms to 1000 ms.

TYPE

D1: DELAY 1

D2: DELAY 2

DUAL-S, DUAL-P, DUAL-L/R

This is a delay comprising two delays connected in

parallel. Each delay time can be set in a range from

1 ms to 1000 ms.

Parameter

Value

Explanation

This determines the delay time.

DUAL-P

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

D1:TIME

D2:TIME

1 ms–1000 ms,

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.

BPM

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

DUAL-L/R

Adjusts the amount of feedback of the DELAY

1 (or DELAY 2). A higher value will increase

the number of the delay repeats.

D1:F BACK

D2:F BACK

0–100

This produces an eﬀect where the sound is played

back in reverse.

REVERSE

ANALOG

This sets the frequency at which the high

cut ﬁlter begins to take eﬀect. When “FLAT”

is selected, the high cut ﬁlter will have no

eﬀect.

This gives a mild analog delay sound. The delay

time can be set within the range of 1 to 2000 ms.

D1:HI CUT

D2:HI CUT

630 Hz–12.5 kHz,

FLAT

This setting provides the characteristic wavering

sound of the tape echo. The delay time can be set

within the range of 1 to 3400 ms.

TAPE

D1:LEVEL

D2:LEVEL

Adjusts the volume of the DELAY 1 (or DELAY

2).

0–120

MOD

(MODULATE)

This delay adds a pleasant wavering eﬀect to the

sound.

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EFFECT

MODULATE

REVERB

This eﬀect adds reverberation to the sound.

Parameter

MOD RATE

Value

0–100

Explanation

Adjusts the modulation rate of the delay

sound.

Parameter

Value

Explanation

REVERB ON/

OFF

Adjusts the modulation depth of the delay

sound.

OFF, ON

Turns this eﬀect on/oﬀ.

MOD DEPTH 0–100

This selects the reverb type. Various diﬀerent simulations of space

are oﬀered.

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.

CHORUS

AMBIENC

(AMBIENCE)

In this eﬀect, a slightly detuned sound is added to the original sound to

add depth and breadth.

Simulates the reverberation in a small room.

Provides warm reverberations.

ROOM

HALL 1

HALL 2

Parameter

Value

Explanation

CHORUS ON/

OFF

Simulates the reverberation in a concert hall.

Provides clear and spacious reverberations.

OFF, ON

Turns this eﬀect on/oﬀ.

TYPE

Simulates the reverberation in a concert hall.

Provides mild reverberations.

Selection for the chorus mode.

This chorus eﬀect outputs the same sound

from both L channel and R channel.

MONO

Simulates plate reverberation (a reverb unit

that uses the vibration of a metallic plate).

Provides a metallic sound with a distinct

upper range.

PLATE

This is a stereo chorus eﬀect that adds

diﬀerent chorus sounds to L channel and R

channel.

MODE

STEREO 1

This simulates the sound of a guitar amp’s

built-in spring reverb.

SPRING

This stereo chorus uses spatial synthesis, with

the direct sound output in the L channel and

the eﬀect sound output in the R channel.

STEREO 2

This reverb adds the wavering sound found

MOD (MODULATE) in hall reverb to provide an extremely

pleasant reverb sound.

Adjusts the rate of the chorus eﬀect.

* When set to BPM, the value of each

parameter will be set according to the

value of the “MASTER BPM”speciﬁed for

each patch. This makes it easier to achieve

eﬀect sound settings that match the tempo

of the song.

REV TIME

0.1 s–10.0 s

Adjusts the length (time) of reverberation.

Adjusts the time until the reverb sound

appears.

PRE DELAY

0 ms–500 ms

0–100,

BPM

RATE

EFFECT LEVEL 0–100

Adjusts the volume of the reverb sound.

This sets the frequency at which the low

–

* If, due to the tempo, the time is longer than

the range of allowable settings, it is then

synchronized to a period either 1/2 or 1/4

of that time.

LOW CUT

FLAT, 20 Hz–800 Hz cut ﬁlter begins to take eﬀect. When “Flat”is

selected, the low cut ﬁlter will have no eﬀect.

This sets the frequency at which the high

630 Hz–12.5 kHz,

FLAT

cut ﬁlter begins to take eﬀect. When “Flat”

is selected, the high cut ﬁlter will have no

eﬀect.

Adjusts the depth of the chorus eﬀect.

HIGH CUT

DEPTH

0–100

* To use it for doubling eﬀect, set the value

to 0.

DENSITY

0–10

Adjusts the density of the reverb sound.

Adjusts the volume of the direct sound.

EFFECT LEVEL 0–100

Adjusts the volume of the eﬀect sound.

DIRECT MIX

SPRING SENS

0–100

Adjusts the time needed for the eﬀect sound

to be output after the direct sound has been

output. By setting a longer pre delay time,

you can obtain an eﬀect that sounds like

more than one sound is being played at the

same time (doubling eﬀect).

Adjusts the sensitivity of the spring eﬀect.

When the value is set higher, the eﬀect is

obtained even with a weak picking.

0–100

(TYPE =

SPRING only)

PRE DELAY

0.0 ms–40.0 ms

This sets the frequency at which the low

FLAT, 20 Hz–800 Hz cut ﬁlter begins to take eﬀect. When “Flat”is

selected, the low cut ﬁlter will have no eﬀect.

LOW CUT

HIGH CUT

This sets the frequency at which the high

630 Hz–12.5 kHz,

FLAT

cut ﬁlter begins to take eﬀect. When “Flat”

is selected, the high cut ﬁlter will have no

eﬀect.

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EFFECT

PEDAL FX

FOOT VOLUME

PEDAL BEND

FOOT VOLUME

This lets you use the pedal to get a pitch bend eﬀect.

This is a volume control eﬀect.

Because of the need to analyze the pitch, chords (two or more sounds played

simultaneously) cannot be played.

Normally, this is controlled with the EXP Pedal or the [EXP] pedal

connected to the SUB CTL 1, 2/SUB EXP jack.

Parameter

PITCH

Value

Explanation

Parameter

Value

Explanation

This sets the pitch at the point where the EXP

Pedal is all the way down.

Sets the volume when the heel of the EXP

Pedal is depressed.

-24–+24

VOLUME MIN 0–100

VOLUME MAX 0–100

Adjusts the pedal position for pedal bend.

This parameter is used after it’s been

assigned to an EXP Pedal or similar controller.

Selects the volume when the toe of the EXP

Pedal is depressed.

PEDAL POS

0–100

You can select how the actual volume

changes relative to the amount the pedal is

pressed.

EFFECT LEVEL 0–100

Adjusts the volume of the pitch bend sound.

Adjusts the volume of the direct sound.

DIRECT MIX

0–100

Volume

WAH

VOLUME

CURVE

SLOW 1, SLOW 2,

NORMAL, FAST

You can control the wah eﬀect in real time by adjusting the [EXP] pedal or

the expression pedal connected to the SUB CTL 1, 2/SUB EXP jack.

Parameter

Value

Explanation

Selects the type of wah.

This models the sound of the CRY BABY wah

pedal popular in the ‘70s.

CRY WAH

When the pedal is

fully raised

When the pedal is

fully advanced

VO WAH

FAT WAH

This models the sound of the VOX V846.

This is a wah sound featuring a bold tone.

LEVEL

0–100

Adjusts the volume.

This wah has a reﬁned sound with no unusual

characteristics.

TYPE

LIGHT WAH

This expanded wah features a variable range

compatible with seven-string and baritone

guitars.

7STRING WAH

This completely original eﬀect oﬀers en-

hancements on the characteristic resonances

produced by analog synth ﬁlters.

RESO WAH

0–100

Adjusts the position of the wah pedal.

PEDAL POS

* This parameter is used after it’s been as-

signed to an EXP Pedal or similar controller.

Selects the tone produced when the heel of

the EXP Pedal is depressed.

PEDAL MIN

PEDAL MAX

0–100

Selects the tone produced when the toe of

the EXP Pedal is depressed.

EFFECT LEVEL 0–100

DIRECT MIX 0–100

Adjusts the volume of the eﬀect sound.

Adjusts the volume of the direct sound.

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EFFECT

DIVIDER

MIXER

Parameter

MODE

Within the eﬀect chain, the point where the signal is split into channels

“A”and “B”is called the “divider,”and the point where the two signals are

recombined is called the “mixer.”

Value

Explanation

Channels “A”and “B”will be mixed and output

in stereo.

STEREO

You can use the divider to switch between channels “A”and “B,”to assign

strongly picked notes and softly picked notes to diﬀerent channels, or

to assign diﬀerent frequency bands of your guitar sound to diﬀerent

channels.

Channels “A”and “B”will be assigned

respectively to the L and R OUTPUT jacks.

PAN L/R

Adjusts the volume balance of channels “A”

and “B.”

The mixer lets you adjust the volume balance of channels “A”and “B,”

place them in the stereo ﬁeld, or slightly delay the sound of channel “B”to

produce a spacious sound.

CH A/B

BALANC

100:0–0:100

* This is shown only if DIVIDER MODE is set

to “DUAL.”

Slightly delays the sound of channel “B”to

make the sound more spacious.

DIVIDER

MIXER

SPREAD

0–100

* This is shown only if DIVIDER MODE is set

to “DUAL.”

Parameter

MODE

Value

Explanation

SINGLE

DUAL

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

Use the two channels “A”and “B.”

SINGLE

Parameter

CH SELECT

Value

Explanation

Ch. A, Ch. B

Selects the channel to use.

DUAL Ch. A, DUAL Ch. B

Parameter

Value

Explanation

OFF

DYNAMIC will not be used.

Only notes picked more strongly than the

DYNAMIC SENS setting will be output.

Ch A/Ch B

DYNAMIC

POLAR+

POLAR-

Only notes picked more softly than the

DYNAMIC SENS setting will be output.

Ch A/Ch B

DYNAMIC

SENS

0–100

Speciﬁes the picking sensitivity.

OFF

LPF

The ﬁlter will not be used.

Only the region below the cutoﬀ frequency

will be output.

Ch A/Ch B

FILTER

Only the region above the cutoﬀ frequency

will be output.

HPF

Ch A/Ch B

CUTOFF FREQ

100 Hz–2 kHz

Cutoﬀ frequency

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EFFECT

SEND/RETURN

NS1/NS2

You can connect an external eﬀects processor between the SEND jack and

RETURN jack, and use it as one of the GT-100’s eﬀects processors.

This eﬀect reduces the noise and hum picked up by guitar pickups. Since

it suppresses the noise in synchronization with the envelope of the guitar

sound (the way in which the guitar sound decays over time), it has very

little eﬀect on the guitar sound, and does not harm the natural character

of the sound.

Parameter

NS ON/OFF

Value

Explanation

OFF, ON

Switches the noise suppressor eﬀect on/oﬀ.

Adjust this parameter as appropriate for the volume

of the noise. If the noise level is high, a higher setting

is appropriate. If the noise level is low, a lower setting

is appropriate. Adjust this value until the decay of the

guitar sound is as natural as possible.

THRESH

RELEASE

0–100

* High settings for the threshold parameter may result

in there being no sound when you play with your

guitar volume turned down.

Adjusts the time from when the noise suppressor

begins to function until the noise level reaches “0.”

0–100

This controls the noise suppressor based on the volume level for

the point speciﬁed in Detect.

The sound that is input to SEND/RETURN within the eﬀect chain will be

output to the SEND jack. The sound that is input via the RETURN jack will

be input to SEND/RETURN within the eﬀect chain.

Input volume from input jack.

INPUT

* Ordinarily, DETECT should be set to “INPUT.”

Noise suppressor input volume.

* When connected as illustrated below, and you want

to prevent a spatial-type eﬀects sound (such as a

delay sound) from being eradicated by the NS, you

Parameter

Value

Explanation

SEND/

RETURN

ON/OFF

NS INPUT

should set DETECT to “NS INPUT.”

OFF, ON

Turns the SEND/RETURN on/oﬀ.

DLY

NS1

DETECT

The input to SEND/RETURN within the eﬀect

chain will be output to the SEND jack, and

the input from the RETURN jack will be

output following SEND/RETURN.

(Spatial-type eﬀect)

Volume after passing through Foot Volume.

* If you want to use FV (Foot Volume) in place of the

guitar’s volume control, you need to set DETECT to

“FV OUT.”

Use this setting if you want to connect an

external eﬀects processor in series within the

GT-100’s eﬀect chain.

NORMAL

FV OUT

INPUT

NS1

SEND

RETURN

Foot Volume

The input to SEND/RETURN within the eﬀect

chain will be output to the SEND jack, and

the input from the RETURN jack and the input

to SEND/RETURN (the direct sound) will be

mixed and output following SEND/RETURN.

Use this when you want to mix the GT-100’s

eﬀects sounds together with the sound with

the external eﬀects device applied to it.

MODE

DIRECT MIX

SEND

RETURN

The input to SEND/RETURN within the eﬀect

chain will be output to the SEND jack. The

input from the RETURN jack will be ignored.

For example, by placing SEND/RETURN in

the GT-100’s eﬀect chain in front of reverb or

delay, this allows you to use the SEND jack as

a dry out.

BRANCH OUT

SEND

Adjusts the volume of the output to the

external eﬀects device.

SEND LEVEL

0–200

RETURN

LEVEL

Adjusts the volume of the input from the

external eﬀects device.

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EFFECT

TWIST

ACCEL FX

Produces an aggressive sense of rotation. Using this in conjunction with

distortion will produce an even wilder sense of rotation.

This allows for the use of six diﬀerent types of Accel eﬀects, which modify

the sound over time when you depress the [ACCEL/CTL] pedal.

Parameter

RISE TIME

Value

Explanation

Parameter

Value

Explanation

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

maximum.

S-BEND

Applies intense bending.

Produces a laser beam-like sound.

0–100

LASER BEAM

Produces a metallic sound, creating the

impression that the sound is being focused.

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

original.

RING MOD.

TWIST

FALL TIME

LEVEL

0–100

TYPE

Produces an aggressive sense of rotation.

Using this in conjunction with distortion will

produce an even wilder sense of rotation.

Adjusts the volume of the eﬀect sound.

WARP

Produces a dream-like sound.

FEEDBACKER

Generates feedback performance.

WARP

Produces a dream-like sound.

S-BEND

Parameter

RISE TIME

Value

Explanation

Applies intense bending.

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

maximum.

0–100

Parameter

PITCH

Value

Explanation

-3 oct, -2 oct,

-1 oct, +1 oct,

+2 oct, +3 oct,

+4 oct

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

original.

Adjusts the amount of pitch shift in octave

steps.

FALL TIME

LEVEL

0–100

Adjusts the volume of the eﬀect sound.

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

maximum.

RISE TIME

FALL TIME

0–100

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

original.

FEEDBACKER

Generates feedback performance.

* Note that the notes you want to apply feedback to must be played

singly and cleanly.

LASER BEAM

Parameter

MODE

Value

Explanation

Produces a laser beam-like sound.

Analyzes the pitch of the guitar sound being

input, and then creates a feedback sound.

NORMAL

Parameter

RATE

Value

0–100

Explanation

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.

Adjusts the modulation rate of the sound.

Adjusts the modulation depth of the sound.

DEPTH

OSC

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

maximum.

RISE TIME

FALL TIME

0–100

Adjusts the ease with which feedback will

occur when the FEEDBACKER is on.

DEPTH *1

0–100

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

original.

This determines the time needed for the

volume of the feedback sound to reach its

maximum from the moment the eﬀect is

turned on.

RISE TIME *2 0–100

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.

RING MOD.

OCTAVE RISE

0–100

TIME *2

Produces a metallic sound, creating the impression that the sound is being

focused.

F BACK LEVEL

0–100

Adjusts the volume of the feedback sound.

Parameter

FREQ

Value

Explanation

OCTAVE

F BACK LEVEL 0–100

Adjusts the volume of the one octave higher

feedback sound.

Adjusts the frequency of the internal

oscillator.

0–100

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

maximum.

Adjusts the rate of the vibrato when the

FEEDBACKER is on.

VIB RATE *2

0–100

RISE TIME

0–100

Adjusts the depth of the vibrato when the

FEEDBACKER is on.

VIB DEPTH *2 0–100

This parameter adjusts the amount of time

it is to take for the eﬀect to transition to the

original.

FALL TIME

*1 MODE=NORMAL only

*2 MODE=OSC only

RING LEVEL

0–100

Adjusts the volume of the eﬀect sound.

OCTAVE

LEVEL

Adjusts the volume of the one octave low

sound.

DIRECT MIX

Adjusts the volume of the direct sound.

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EFFECT

AMP CONTROL

MASTER SETTING

By connecting your guitar amp’s channel switching jack to the GT-100’s

AMP CONTROL jack, you can then use Amp Control to switch the amp

channel.

These settings are applied to the overall patch.

MASTER SETTING

Parameter

Value

Explanation

PATCH LEVEL 0–200

Adjusts the volume of the patch.

Adjusts the BPM value for each patch.

* BPM (beats per minute) indicates the number

of quarter note beats that occur each minute.

* 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”SYNC

CLOCK ”(p. 29) to INTERNAL.

MASTER BPM 40–250

This sets the key for the FX HARMONIST.

Major

This combining of the GT-100 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.

Minor

Major

MASTER KEY C (Am)–B (G#m)

Parameter

Value

Explanation

GT-100

Minor

(AMP CONTROL jack)

MASTER EQ

OFF

Parameter

Value

Explanation

MASTER LOW

GAIN

-20–+20 dB

Adjusts the low frequency range tone.

MASTER HIGH

GAIN

Guitar Amp

-20–+20 dB

Adjusts the high frequency range tone.

(Channel switching jack)

AMP

CONTROL

Specify the center of the frequency range

that will be adjusted by the MASTER MID

GAIN.

MASTER MID

FREQ

20.0 Hz–10.0 kHz

GT-100

(AMP CONTROL jack)

Adjusts the width of the area aﬀected by the

EQ centered at the MASTER MID FREQ. Higher

values will narrow the area.

MASTER

MID Q

0.5–16

MASTER MID

GAIN

-20–+20 dB

Adjusts the middle frequency range tone.

Guitar Amp

(Channel switching jack)

* 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.

* Note that, depending on the circuitry of the channel switching jack in

the guitar amp used, the Amp Control function may not operate.

* Since this is a single mono plug, it can’t switch a three-channel amp.

MEMO

With Amp Control, not only can you switch amp channels,

you can also use it to switch the amp’s eﬀects on and oﬀ, like a

footswitch controller.

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SYSTEM

OUTPUT SELECT

TOTAL

Specify the device (amp) that’s connected to the OUTPUT jacks.

These parameters control the threshold level of the noise suppressor used

by each patch, the overall reverb level, and the overall output. They do not

aﬀect the settings of each patch.

Parameter

Value

Explanation

Choose this setting if the GT-100 is connected

to the guitar input of a Roland JC-120 guitar

amp.

Parameter

NS THRESH

Value

Explanation

JC-120

Control the threshold level of the noise

suppressor used by each patch. This does not

aﬀect the settings of each patch.

Choose this setting if the GT-100 is connected

to a small guitar amp.

SMALL AMP

COMBO AMP

-20–+20 dB

* If you want to use the settings speciﬁed for

each patch, set this to 0 dB.

Choose this setting if the GT-100 is connected

to the guitar input of a combo-type guitar

amp (i.e., a single unit that contains the amp

and speaker) other than the JC-120.

Adjusts the reverb level speciﬁed for each

patch.

For some types of guitar amps, the “JC-120”

setting might produce better results.

It is useful to adjust the reverb level

appropriately for the space in which you’re

performing. This does not aﬀect the settings

of each patch.

REVERB

0–200%

Choose this setting if the GT-100 is connected

to the guitar input of a stack-type guitar amp

(i.e., one in which the amp and speaker are

separate units).

STACK AMP

* If you want to use the settings speciﬁed for

each patch, set this to 100 %.

SELECT

Choose this setting if the GT-100 is connected

to the RETURN jack of the JC-120.

MAIN

OUTPUT

LEVEL

Speciﬁes the output reference level as

appropriate for the input level of the device

connected to the OUTPUT jacks.

JC-120 RETURN

COMBO RETURN

-10 dB, +4 dB

Choose this setting if the GT-100 is connected

to the RETURN jack of a combo-type guitar

amp.

Choose this setting if the GT-100 is connected

to the RETURN jack of a stack-type guitar

amp. You should also choose the “STACK

RETURN”setting if you’re using a guitar

power amp together with a speaker cabinet.

PHRASE LOOP

STACK RETURN

LINE/PHONES

Here are various settings for the Phrase Loop function.

Choose this setting if you’re using

headphones, or if the GT-100 is connected to

a keyboard amp, mixer, or digital recorder.

Parameter

Value

Explanation

The sound processed by the eﬀects will be

recorded.

PERFORM

This lets you create a variety of performances

by layering diﬀerent sounds.

MODE

The sound before being processed by the

eﬀects will be recorded, and the eﬀects will

be applied when the loop is played back.

INPUT

PATCH EDIT

MONO

Adjust the input level according to the output level of the guitar that

you’ve connected.

This is a convenient way to adjust the eﬀects,

or to compare the sound of diﬀerent patches.

The phrase will be recorded in monaural

(maximum 38 seconds).

Parameter

Value

Explanation

INPUT LEVEL -20–+20 dB

Adjusts the guitar input level.

REC MODE

PLAY LEVEL

PEDAL FUNC

The phrase will be recorded in stereo

(maximum 19 seconds).

STEREO

0–120

OFF

Speciﬁes the phrase playback volume.

Phrase Loop will not operate even if you

press the [PHRASE LOOP] pedal.

GLOBAL EQ

This adjusts the tone of the OUTPUT regardless of the equalizer on/oﬀ

settings of individual patches.

You can use the [PHRASE LOOP] pedal to

switch Phrase Loop on/oﬀ or to record.

PHRASE LOOP

Parameter

LOW GAIN

MID GAIN

Value

Explanation

-20–+20 dB

Adjusts the low frequency range tone.

Adjusts the middle frequency range tone.

PLAY OPTION

Speciﬁes the center of the frequency range

that will be adjusted by the MID GAIN.

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

MID FREQ

20.0 Hz–10.0 kHz

Adjusts the width of the area aﬀected by the

EQ centered at the MID FREQ. Higher values

will narrow the area.

Parameter

Value

Explanation

MID Q

0.5–16

Although the indication in the display is

updated to reﬂect the change in the bank

when a BANK pedal is pressed, the patch will

not change until a number pedal has been

pressed.

HIGH GAIN

-20–+20 dB

Adjusts the high frequency range tone.

WAIT

BANK

CHANGE

MODE

The patch switches instantly when a BANK

pedal or any of the number pedals is pressed.

IMMED

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SYSTEM

Parameter

Value

Explanation

Display of parameters you can set with KNOB

The operational status of the EXP PEDAL’s

FUNC (p. 31) is not carried over when patches

are switched.

SETTING

OFF

The parameter names displayed in the Play screen are abbreviated.

For details about the parameter names, refer to the chart shown below.

If the EXP PEDAL’s FUNC (p. 31) are the same

between 2 patches, the operational status is

carried over when patches are switched.

Value

Display

OFF

Value

Display

DlyFBK

DlyHC

For example, if EXP PEDAL FUNC is set to

FOOT VOLUME in both patches, the one

before and the one after the change, the

volume corresponding to the position the

pedal is in (angle) at the time of the patch

change will be maintained after the patch

change. On the other hand, if the patch being

changed to is set to WAH, the volume will be

in accordance with the value set within the

patch, and you’ll obtain a wah eﬀect that is

in accordance with a value that reﬂects the

current position (angle) of the pedal.

OFF

DELAY F BACK

DELAY HI CUT

DELAY E LEV

EXP PEDAL

HOLD

PATCH

CmpSUS

CmpATK

CmpLEV

OD DRV

OD TNE

OD ELV

OD SLV

A:TYPE

A:GAIN

A:LEV

COMP SUSTAIN

COMP ATTACK

COMP LEVEL

OD/DS DRIVE

OD/DS TONE

OD/DS E LEV

OD/DS SOLO LV

PRE A TYPE

PRE A GAIN

PRE A LEVEL

PRE A BASS

PRE A MID

DlyELV

D1 TIM

D1 FBK

D1 HC

DELAY D1TIME

DELAY D1F BK

DELAY D1HICUT

DELAY D1LEV

DELAY D2TIME

DELAY D2F BK

DELAY D2HICUT

DELAY D2LEV

CHORUS RATE

CHORUS DEPTH

CHORUS PREDLY

CHORUS E LEV

REVERB TIME

REVERB HI CUT

REVERB E LEV

MASTER LOW

MASTER MID

MASTER HIGH

PATCH LEVEL

PEDAL WAH LEV

PEDAL PB LEV

DIV CH SELECT

SR SEND LEVEL

SR RTN LEVEL

NS1 THRESH

D1 LEV

D2 TIM

D2 FBK

D2 HC

Speciﬁes whether knob operations will be

disabled. If this is ON, knob operations will

be disabled.

KNOB LOCK

OFF, ON

OFF, TUNER,

Ch. A/B, OD SOLO,

A/B SOLO,

Selects the function that will be recalled

when you press the pedal of the same

number as the currently selected patch.

D2 LEV

ChoRAT

ChoDPT

ChoDLY

ChoLEV

RevTIM

RevHC

RevELV

MT LOW

MT MID

MT HI

NUM PEDAL

A&B SOLO

A:BASS

A:MID

BANK EXTENT P01–P50,

MIN U01–U50

Sets the lower limit for the banks.

Sets the upper limit for the banks.

PRE A TREBLE

PRE A PRES

PRE A SOLO LV

PRE A MIC LEV

PRE B TYPE

PRE B GAIN

PRE B LEVEL

PRE B BASS

PRE B MID

A:TRB

BANK EXTENT P01–P50,

MAX

U01–U50

A:PRES

A:SLV

PEDAL

INDICAT

If this is ON, all currently unlit pedal

indicators will blink dimly.

OFF, ON

A:MLV

B:TYPE

B:GAIN

B:LEV

KNOB SETTING

B:BASS

B:MID

PAT LV

Here you can assign the desired parameters to knobs [1]–[8] in the Play

Screen.

WahLEV

PB LEV

CH A/B

SR SND

SR RTN

NS1THR

NS1REL

NS2THR

NS2REL

GB LOW

GB MID

GB HI

* The settings you make here are only for the knobs in the Play Screen.

PRE B TREBLE

PRE B PRES

PRE B SOLO LV

PRE B MIC LEV

EQ LO CUT

EQ LOW

B:TRB

B:PRES

B:SLV

Parameter

KNOB 1

Value

OFF, PATCH, COMP SUSTAIN, COMP ATTACK, COMP LEVEL,

OD/DS DRIVE, OD/DS TONE, OD/DS E.LEV, OD/DS SOLO LV,

PRE A TYPE, PRE A GAIN, PRE A LEVEL, PRE A BASS, PRE A MID,

PRE A TREBLE, PRE A PRES, PRE A SOLO LV, PRE A MIC LEV,

PRE B TYPE, PRE B GAIN, PRE B LEVEL, PRE B BASS, PRE B MID,

PRE B TREBLE, PRE B PRES, PRE B SOLO LV, PRE B MIC LEV,

EQ LO CUT, EQ LOW, EQ LO-MID, EQ HI-MID, EQ HIGH, EQ HI CUT,

DELAY TIME, DELAY F.BACK,DELAY HI CUT, DELAY E.LEV,

DELAY D1TIME, DELAY D1F.BK, DELAY D1HICUT, DELAY D1LEV,

DELAY D2TIME, DELAY D2F.BK, DELAY D2HICUT, DELAY D2LEV,

CHORUS RATE , CHORUS DEPTH, CHORUS PREDLY, CHORUS E.LEV,

REVERB TIME, REVERB HI CUT, REVERB E.LEV, MASTER LOW,

MASTER MID, MASTER HIGH, PATCH LEVEL, PEDAL WAH LEV,

PEDAL PB LEV, DIV CH SELECT, SR SEND LEVEL, SR RTN LEVEL,

NS1 THRESH, NS1 RELEASE, NS2 THRESH, NS2 RELEASE,

GLOBAL EQ LOW, GLOBAL EQ MID, GLOBAL EQ HIGH

B:MLV

EQ LC

KNOB 2

KNOB 3

KNOB 4

KNOB 5

KNOB 6

KNOB 7

KNOB 8

EQ LOW

EQ LMD

EQ HMD

EQ HI

NS1 RELEASE

NS2 THRESH

EQ LO-MID

EQ HI-MID

NS2 RELEASE

GLOBAL EQ LOW

GLOBAL EQ MID

GLOBAL EQ HIGH

EQ HIGH

EQ HI CUT

EQ HC

DlyTIM

DELAY TIME

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SYSTEM

PREFERENCE

USB

Here you can specify whether settings for the type of connected amp and

preamp, control pedal, expression pedal, etc. will be independent for each

patch, or whether the same settings will be shared by all patches.

Here you can make USB-related settings for when the GT-100 is connected

to a computer via USB.

USB audio ﬂow

Parameter

Value

Explanation

USB IN-OUT MODE: NORMAL

OUTPUT

SELECT

If this is set to PATCH, diﬀerent settings can

be made independently for each patch. If this

is set to SYSTEM, the same settings will be

shared by all patches.

PATCH, SYSTEM

USB OUT

OUTPUT

GT-100

PREAMP

ACCEL/CTL

EXP

PATCH, SYSTEM 1–3

PATCH, SYSTEM

* Here, even if a CTL/EXP pedal that has been

set to SYSTEM is set to ASSIGN SOURCE (p.

32), that setting will be ignored. In the case

of the ACCEL/CTL pedal, in addition to the

above, settings for Manual mode (p. 37) will

also be ignored.

EXP SW

USB IN

INPUT

MIX

Level

SUB CTL 1

SUB CTL 2

SUB EXP

OUTPUT

Level

Eﬀect Chain

LCD

USB IN-OUT MODE: DRY OUT

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

USB OUT

OUTPUT

GT-100

Parameter

Value

Explanation

CONTRST

LEFT

USB IN

INPUT

1–16

Higher values increase the brightness.

MIX

Level

CONTRST

RIGHT

OUTPUT

Level

Eﬀect Chain

USB IN-OUT MODE: REAMP

USB OUT

OUTPUT

GT-100

USB IN

INPUT

OUTPUT

Level

INPUT

Level

Eﬀect Chain

Parameter

Value

Explanation

Here you can specify the audio ﬂow for USB input/output.

The guitar input will be sent through the

GT-100’s eﬀects and output to the computer. The

NORMAL

input from the computer will be mixed with the

GT-100’s output, and then output.

The sound of the guitar processed by the eﬀects

will be monitored, while the guitar input will

be output to the computer without passing

through the GT-100’s eﬀects. The input from the

DRY OUT

USB IN-OUT

MODE

computer will be mixed with the GT-100’s output

(eﬀect-processed guitar sound) and then output.

The sound being input from the computer will

pass through the GT-100’s eﬀects, and then be

output from the GT-100’s OUTPUT and USB OUT.

With this setting, the guitar sound recorded on

the computer can be played back through the

GT-100’s eﬀects and output from the GT-100’s

guitar OUTPUT and USB OUT.

REAMP

* If REAMP is selected, the GT-100’s INPUT

cannot be used.

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SYSTEM

Parameter

MIX LEVEL

Value

Explanation

Parameter

Value

Explanation

Adjusts the level of the audio input from the computer that

will be mixed with the sound processed by the GT-100’s eﬀects

when “USB IN-OUT MODE”is not set to “REAMP”.

This setting determines the basis used for synchronizing

the timing for eﬀect modulation rates and other time-based

parameters.

Adjusts the level of the audio input from the

computer that will be mixed with the sound

processed by the GT-100’s eﬀects.

* 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.”

0–200 %

Adjusts the input level from the computer to the GT-100’s eﬀects

when “USB IN-OUT MODE”is set to “REAMP”.

* 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.

SYNC

CLOCK

INPUT LEVEL

Adjusts the input level from the computer to the

GT-100’s eﬀects .

-20–+20 dB

Operations are synchronized to the MIDI Clock

received via MIDI. However, operations are

automatically synchronized to the GT-100’s

internal Clock if the GT-100 is unable to receive

the external Clock.

Adjusts the level of the output from the GT-100 to the computer.

OUTPUT LEVEL

AUTO

0–200%

Adjusts the level of the output to the computer.

Switches the output of the GT-100 sound to the OUTPUT and

PHONES jacks.

Operations are synchronized to the GT-100’s

internal Clock.

INTERNAL

* This setting cannot be saved. It is set to ON when the power

is turned on.

This selects whether MIDI messages will be received from the

MIDI IN connector or from the USB port.

* If you are using the special driver, you can control DIR.

MONITOR On/Oﬀ from ASIO 2.0 - compatible application.

MIDI messages will be received via the USB port.

Set this to Oﬀ if transmitting audio data

internally through a computer (Thru).

DIR MONITOR

MIDI IN

SELECT

* If the USB port is not connected to a

computer, MIDI messages will be received

from the MIDI IN connector.

USB (AUTO)

MIDI

OFF

No sound is heard at this time unless the setting

for the computer is Thru.

MIDI messages will be received from the MIDI

IN connector.

The GT-100 sound is output. Set this to ON

when using the GT-100 as a standalone device,

without connecting to a computer (only USB

input sound will be output if this is set to Oﬀ).

This setting determines whether or not Program Change

messages are output when patches are switched on the GT-100.

This setting determines whether or not the command (the

Direct Monitor command) controlling the Direct Monitor setting

is enabled.

* On the GT-100, Bank Select messages are output simultane-

ously with Program Change messages.

PC OUT

Program Change messages are not output, even

when patches are switched.

OFF

The Direct Monitor command is disabled,

DIR MONITOR

CMD

DISABLE

ENABLE

maintaining the Direct Monitor mode set by the

GT-100.

Program Change messages are simultaneously

output when patches are switched.

The Direct Monitor command is enabled, allow-

ing the Direct Monitor mode to be switched

from an external device.

This setting determines whether patches are switched according

to the Program Change Map settings, or to the default settings.

This deactivates the Program Change Map.

FIX

MAP

SELECT

Switches to the patches according to the default

settings.

This activates the Program Change Map.

MIDI SETTING

PROG

Switches to the patches according to the

Program Change Map.

Here you can make settings for using the GT-100 connected with an

external MIDI device or with a second GT-100 unit.

This sets the controller number when [PHRASE LOOP] pedal

switch operation data is output as Control Change messages.

Parameter

Value

Explanation

PH LOOP

OFF

Control Change messages are not output.

OUT

This sets the MIDI channel used for receiving MIDI messages.

Ch. 1– Ch. 16 Speciﬁes the receive channel.

This sets the controller number when [PHRASE

LOOP] pedal operation data is output as Control

Change messages.

RX CHANNEL

CC#1–CC#31,

CC#64–CC#95

This makes the settings for the channels used for MIDI

information.

This sets the controller number when [ACCEL/CTL] pedal switch

operation data is output as Control Change messages.

Information is received on the channel speciﬁed

by the RX CHANNEL setting.

OMNI MODE

OFF

ACC/CTL

OUT

OFF

Control Change messages are not output.

This sets the controller number when [ACCEL/

CTL] pedal operation data is output as Control

Change messages.

Messages are received on all channels, regard-

less of the MIDI channel settings.

CC#1–CC#31,

CC#64–CC#95

This sets the MIDI channel used for transmitting MIDI messages.

Ch. 1– Ch. 16. Speciﬁes the transmit channel.

This sets the controller number when [EXP] pedal operation data

is output as Control Change messages.

TX CHANNEL

DEVICE ID

Transmits on the same channel as the RX

CHANNEL.

OFF

Control Change messages are not output.

EXP OUT

This sets the controller number when [EXP]

pedal operation data is output as Control

Change messages.

CC#1–CC#31,

CC#64–CC#95

This sets the MIDI Device ID used for transmitting and receiving

Exclusive messages.

1–32

Sets the MIDI Device ID.

This sets the controller number when EXP PEDAL SW operation

data is output as Control Change messages.

EXP SW

OUT

OFF

Control Change messages are not output.

This sets the controller number when EXP

PEDAL SW operation data is output as Control

Change messages.

CC#1–CC#31,

CC#64–CC#95

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SYSTEM

Parameter

Value

Explanation

AUTO OFF

This sets the controller number when operation data from the

footswitch connected to the SUB CTL 1, 2/SUB EXP jack is output

as Control Change messages.

The GT-100 can turn oﬀ its power automatically. The power will turn

oﬀ automatically when 10 hours have passed since you last played or

operated the unit. The display will show a message approximately 15

minutes before the power turns oﬀ.

SUB

CTL 1

OUT

OFF

Control Change messages are not output.

This sets the controller number when SUB CTL

1 pedal operation data is output as Control

Change messages.

CC#1–CC#31,

CC#64–CC#95

With the factory settings, this function is turned “ON”(power-oﬀ in 10

hours). If you want to have the power remain on all the time, turn it “OFF.”

OFF

Control Change messages are not output.

* When the power is turned oﬀ, any settings you were editing will be lost.

You must save settings that you want to keep.

SUB

CTL 2

OUT

This sets the controller number when SUB CTL

2 pedal operation data is output as Control

Change messages.

CC#1–CC#31,

CC#64–CC#95

Parameter

AUTO OFF

Value

Explanation

This sets the controller number when operation data from the

expression pedal connected to the SUB CTL 1, 2/SUB EXP jack is

output as Control Change messages.

OFF

The power will not turn oﬀ automatically.

The power will automatically turn oﬀ when

10 hours have passed since you last played or

operated the GT-100.

SUB

EXP

OUT

OFF

Control Change messages are not output.

This sets the controller number when external

SUB EXP Pedal operation data is output as

Control Change messages.

CC#1–CC#31,

CC#64–CC#95

FACTORY RESET

Initializes the GT-100 to its factory-set condition. Refer to “Restoring the

Factory Settings.

MIDI PROGRAM MAP BANK 0–3

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-100 and the patches to be

switched to in the “Program Change Map.”

Parameter

FROM

Value

Explanation

SYSTEM

QUICK

System parameter settings

Settings for User Quick Setting

Settings for Patch Number U01-1 through U50-4

System parameter settings

U01-1–U50-4

SYSTEM

QUICK

Parameter

Value

Explanation

This sets the patch number (P01-1 through

U50-4) for the corresponding Program Change

number.

U01-1–U50-4,

P01-1–P50-4

Settings for User Quick Setting

Settings for Patch Number U01-1 through U50-4

PC#1–PC#128

U01-1–U50-4

MIDI BULK DUMP

You can use Exclusive messages to provide another GT-100 with identical

settings, and save eﬀect settings on a MIDI sequencer or other device.

Parameter

FROM

Value

Explanation

SYSTEM

QUICK

System parameter settings

Settings for User Quick Setting

U01-1–U50-4 Settings for Patch Number U01-1 through U50-4

TEMP

Settings for the patch that is currently selected

System parameter settings

SYSTEM

QUICK

Settings for User Quick Setting

U01-1–U50-4 Settings for Patch Number U01-1 through U50-4

TEMP Settings for the patch that is currently selected

PEDAL CALIBRATION

You can readjust the [EXP] pedal so that it will operate optimally.

Parameter

Value

Explanation

Adjusts the sensitivity at which the EXP PEDAL SW will

respond.

THRESHOLD 1–16

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CTL/EXP

Parameter

MIN

Value

Explanation

ACCEL/CTL, EXP SW, SUB CTL 1, SUB

CTL 2

OFF, ON

This sets the value for times when the

switch is Oﬀ.

(or STOP, START)

OFF, ON

This sets the value for times when the

switch is On.

MAX

(or STOP, START)

Here’s how to assign the parameters that will be controlled by the ACCEL/

CTL, EXP SW, SUB CTL 1 and SUB CTL 2 pedals.

This sets the behavior of the value each time the switch is

operation.

Parameter

Value

Explanation

The normal state is Oﬀ (minimum value),

SOURCE

MODE

MOMENT

TOGGLE

with the switch On (maximum value) only

while the footswitch is depressed.

OFF

No assignment.

ACCEL

Switches the ACCEL eﬀect on and oﬀ.

Switches the PHRASE LOOP on and oﬀ.

Records/plays back the phrase.

Stops/plays back the phrase.

Clears the phrase

The setting is toggled On (maximum value)

or Oﬀ (minimum value) with each press of

the footswitch.

P.LOOP ON/OFF

P.LOOP REC/PLY

P.LOOP STP/PLY

P.LOOP CLEAR

DIV CH SELECT

OD/DS SOLO

A/B SOLO

Switches between Preamp channel A and B.

Switches the OD/DS SOLO on and oﬀ.

Switches the Preamp SOLO on and oﬀ.

EXP, SUB EXP

Here’s how to assign the parameters that will be controlled by the GT-100’s

[EXP] pedal, and by an expression pedal (such as the separately available

EV-5) connected to the SUB CTL 1, 2/SUB EXP jack.

Switches the preamp SOLO, for both

channel A and B, on and oﬀ.

A&B SOLO

If one of the two channels is oﬀ, both will be

turned on.

Parameter

Value

Explanation

COMP

Switches the COMP on and oﬀ.

OFF

No assignment.

OD/DS

Switches the OD/DS on and oﬀ.

Switches the PREAMP/SPEAKER on and oﬀ.

Switches the EQ on and oﬀ.

FOOT VOLUME Foot volume will be assigned.

PREAMP

PEDAL BEND

WAH

Pedal bend will be assigned.

Wah will be assigned.

FX1

Switches the FX1 on and oﬀ.

FUNC

PB/FV

Pedal bend and foot volume will be assigned.

Wah and foot volume will be assigned.

Patch level will be assigned.

FX2

Switches the FX2 on and oﬀ.

WAH/FV

DELAY

Switches the DELAY on and oﬀ.

CHORUS

REVERB

Switches the CHORUS on and oﬀ.

Switches the REVERB on and oﬀ.

Switches the Pedal FX on and oﬀ.

Switches the SEND/RETURN on and oﬀ.

Switches the Amp Control on and oﬀ.

Switches the TUNER/BYPASS on and oﬀ.

Switches the MANUAL MODE on and oﬀ.

Used for tap input of the MASTER BPM.

Used for tap input of the delay time.

PATCH LEVEL

* This is shown only if PERFORMANCE (p. 28) is set

to SYSTEM.

PEDAL FX

SEND/RETURN

AMP CTL

TUNER

Speciﬁes the minimum value.

PATCH LEVEL

MIN

0–200

* This is shown only if FUNC is set to PATCH

LEVEL.

Speciﬁes the maximum value.

PATCH LEVEL

MAX

FUNC

MANUAL MODE

BPM TAP *1

DELAY TAP *1

* This is shown only if FUNC is set to Patch Level.

* Only FOOT VOLUME can be assigned to SUB EXP (external expression

pedal). If you want to assign a function other than FOOT VOLUME, use

Assign.

Controls the Start/Stop of external MIDI

devices (such as sequencers).

MIDI START

MMC PLAY

Controls the Play/Stop of external MIDI

devices (such as hard disk recorders).

Increases the patch volume level by 10

units.

LEVEL +10 *1

LEVEL +20 *1

LEVEL -10 *1

LEVEL -20 *1

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 to the next higher patch number

in the same bank as the currently selected

patch.

NUMBER INC *1

NUMBER DEC *1

Switches to the next lower patch number

in the same bank as the currently selected

patch.

BANK INC *1

BANK DEC *1

Switches to the next higher bank number.

Switches to the next lower bank number.

Lights/extinguishes the pedal’s LED

indicator.

* This is shown only when ACCEL/CTL pedal

is selected.

LED ON/OFF

* This is shown only if PERFORMANCE (p. 28)

is set to PATCH.

*1 The function will activate as soon as you press the pedal, regardless of

whether the SOURCE MODE parameter is MOMENT or TOGGLE.

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CTL/EXP

Parameter

Value

Explanation

ASSIGN COMMON

SAW

Parameter

Value

Explanation

This adjusts the input sensitivity when INPUT

LEVEL is selected for SOURCE.

WAVEFORM *1 TRI

INPUT SENS

0–100

SINE

PATCH CHANGE This is activated when a patch is selected.

ASSIGN 1–8

This is activated when the GT-100’s [EXP] pedal is

EXP PDL-LO

set to the minimum position.

* If you want to light the ACCEL/CTL pedal’s LED indicator while the

ASSIGN 1–8 function is assigned to the ACCEL/CTL pedal, set the ACCEL/

CTL pedal FUNC (p. 31) to “LED ON/OFF.”

This is activated when the GT-100’s [EXP] pedal is

EXP PDL-MID

moved through the middle position.

This is activated when the GT-100’s [EXP] pedal is

EXP PDL-HI

set to the maximum position.

Parameter

OFF/ON

Value

Explanation

This is activated when the EXP pedal switch is

OFF, ON

Turns the ASSIGN 1–8 on/oﬀ.

Assigns the GT-100’s [EXP] pedal.

Assigns the EXP pedal switch.

EXP PDL SW

operated.

EXP PEDAL

EXP PDL SW

This is activated when the [PHRASE LOOP] pedal

P.LOOP PEDAL

is operated.

P.LOOP PEDAL Assigns the GT-100’s [PHRASE LOOP] pedal.

This is activated when the [ACCEL/CTL] Pedal is

ACC/CTL PDL

operated.

INT PDL

TRIGGER *2

ACC/CTL PDL

Assigns the [ACCEL/CTL] pedal.

This is activated when an external expression

pedal connected to the SUB CTL 1, 2/SUB EXP

jack is operated.

Assigns the external expression pedal (such as

the separately available EV-5) connected to the

SUB CTL 1, 2/SUB EXP jack.

SUB EXP PDL

This is activated when an external footswitch

SUB CTL1 PDL connected to the SUB CTL 1, 2/SUB EXP jack is

operated.

Assigns the external footswitch (FS-5U, FS-6;

SUB CTL1 PDL available separately) connected to the SUB CTL

1, 2/SUB EXP jack.

This is activated when an external footswitch

SUB CTL2 PDL connected to the SUB CTL 1, 2/SUB EXP jack is

operated.

Assigns the external foot switch (FS-5U, FS-6;

SUB CTL2 PDL available separately) connected to the SUB CTL

1, 2/SUB EXP jack.

SOURCE

This is activated when a control change is

CC#1–#31

received.

Refer to “Virtual expression pedal system

INT PEDAL

(Internal Pedal / Wave Pedal)”(p. 35)

This is activated when a control change is

CC#64–#95

received.

Refer to “Virtual expression pedal system

WAVE PEDAL

(Internal Pedal / Wave Pedal)”(p. 35)

This speciﬁes the time over which the internal

pedal will move from the toe-raised position to

the toe-down position.

INT PDL TIME

0–100

The assigned target parameter will change

INPUT LEVEL

according to the input level.

Control Change messages from an external MIDI

CC#1–#31

device.

LINEAR

Control Change messages from an external MIDI

CC#64–#95

device.

INT PDL

SLOW RISE

FAST RISE

The normal state is Oﬀ (minimum value), with

the switch On (maximum value) only while the

footswitch is depressed.

CURVE *2

MOMENT

TOGGLE

SOURCE MODE

The setting is toggled On (maximum value)

or Oﬀ (minimum value) with each press of the

footswitch.

*1 The WAVE RATE and WAVEFORM parameters are enabled when the Source

parameter is set to WAVE PEDAL.

TARGET

CATEGRY

This selects the parameter to be changed.

Refer to TARGET list

*2 The INT PDL TRIGGER, INT PDL TIME, and INT PDL CURVE parameters are enabled

when the SOURCE parameter is set to INT PEDAL.

TARGET

This sets the minimum value for the range in which the parameter

can change. The value diﬀers depending on the parameter

assigned for TARGET parameter.

TARGET MIN

This sets the maximum value for the range in which the parameter

can change. The value diﬀers depending on the parameter

assigned for TARGET parameter.

TARGET MAX

You can set the controllable range for target

parameters within the source’s operational

range. Target parameters are controlled within

the range set with ACT RANGE LO and ACT

RANGE HI. You should normally set ACT RANGE

LO to 0 and ACT RANGE HI to 127.

ACT RANGE LO 0–126

ACT RANGE HI 1–127

0–100,

This determines the time spend for one cycle of

the assumed EXP Pedal.

BPM

–

When set to BPM, the value of each parameter will be set accord-

ing to the value of the “MASTER BPM”speciﬁed for each patch. This

makes it easier to achieve eﬀect sound settings that match the

tempo of the song.

WAVE RATE *1

* If, due to the tempo, the time is longer than the range of

allowable settings, it is then synchronized to a period either 1/2

or 1/4 of that time.

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CTL/EXP

TARGET list

CATEGORY

TARGET

CATEGORY

TARGET

ON/OFF

LOW CUT

LOW GAIN

LOW-MID FREQ

LOW-MID Q

LOW-MID GAIN

HI-MID FREQ

HI-MID Q

HI-MID GAIN

HIGH GAIN

HIGH CUT

LEVEL

CATEGORY

TARGET

31 Hz

CATEGORY

TARGET

ON/OFF

RANGE

FX1/FX2

OCTAVE

TYPE

62Hz

OCTAVE LEVEL

DIRECT MIX

VOICE

SUSTAIN

125 Hz

COMP

ATTACK

250 Hz

TONE

500 Hz

PS1 MODE

PS1 PITCH

PS1 FINE

PS1 PRE DLY

PS1 LEVEL

PS2 MODE

PS2 PITCH

PS2 FINE

PS2 PRE DLY

PS2 LEVEL

PS1 F.BACK

DIRECT MIX

VOICE

FX1/FX2

GEQ

LEVEL

1 kHz

ON/OFF

2 kHz

TYPE

4 kHz

DRIVE

8 kHz

FX1/FX2

P SHIFT

BOTTOM

16 kHz

TONE

LEVEL

SOLO SW

LOW CUT

LOW GAIN

LOW-MID FREQ

LOW-MID Q

LOW-MID GAIN

HI-MID FREQ

HI-MID Q

HI-MID GAIN

HIGH CUT

HIGH GAIN

LEVEL

SOLO LEVEL

EFFECT LEVEL

DIRECT MIX

CUSTOM TYPE

CUSTOM BOTTOM

CUSTOM TOP

CUSTOM LOW

CUSTOM HIGH

CUSTOM CHAR

ON/OFF

TYPE

FX1/FX2

OD/DS

MODE

POLARITY

SENS

FX1/FX2

PEQ

FX1/FX2

T WAH

FREQ

HR1 HARMONY

HR1 PRE DLY

HR1 LEVEL

HR2 HARMONY

HR2 PRE DLY

HR2 LEVEL

HR1 F.BACK

DIRECT MIX

HOLD

PEAK

EFFECT LEVEL

DIRECT MIX

MODE

FX1/FX2

HARM

PREAMP

FREQ

TYPE

PEAK

RESO

GAIN

FX1/FX2

A WAH

FX1/FX2

ToneMOD

RATE

LOW

T-COMP

DEPTH

HIGH

BASS

FX1/FX2

S HOLD

EFFECT LEVEL

DIRECT MIX

TYPE

LEVEL

RISE TIME

EFFECT LEVEL

TYPE

MIDDLE

TYPE

TREBLE

LOW

PRES

FX1/FX2

GTR SIM

PDL POS

PEDAL MIN

PEDAL MAX

EFFECT LEVEL

DIRECT MIX

TYPE

HIGH

BASS

LEVEL

BODY

MIDDLE

BRIGHT

FX1/FX2

SUB WAH

FX1/FX2

AC PRO

LEVEL

MIDDLE FREQ

TREBLE

GAIN SW

SENS

SOLO SW

FX1/FX2

SL GEAR

RISE TIME

LEVEL

PRES

SOLO LEVEL

SP TYPE

LEVEL

SUSTAIN

ATTACK

TONE

TYPE

MIC TYPE

FX1/FX2

ADV CMP

PREAMP

A/B

SENS

RATE

MIC DIST

TONE

ATTACK

DEPTH

MIC POS

FX1/FX2

DEFRET

LEVEL

MANUAL

RESO

MIC LEVEL

DIRECT MIX

CUSTOM TYPE

CUSTOM BOTTOM

CUSTOM EDGE

CUSTOM LOW

CUSTOM HIGH

CUSTOM CHAR

SPCSTM SIZE

SPCSTM COLOR L

SPCSTM COLOR H

SPCSTM SP NUM

SPCSTM CABINET

FX1/FX2

PHASER

TYPE

RESO

ATTACK

EFFECT LEVEL

DIRECT MIX

WAVE

STEP RATE

EFFECT LEVEL

DIRECT MIX

RATE

THRESH

FX1/FX2

LIMITER

RATIO

RELEASE

LEVEL

CUTOFF

RESO

DEPTH

TYPE

FILTER SENS

FILTER DECAY

FILTER DEPTH

SYNTH LEVEL

DIRECT MIX

TONE

MANUAL

RESO

FX1/FX2

WAV SYN

DRIVE

FX1/FX2

FLANGER

BOTTOM

TONE

SEPARATION

LOW CUT

EFFECT LEVEL

DIRECT MIX

WAVE SHAPE

RATE

FX1/FX2

OD/DS

SOLO SW

SOLO LEVEL

EFFECT LEVEL

DIRECT MIX

SENS

DEPTH

FX1/FX2

TREMOLO

FX1/FX2

SitarSIM

RESO

DEPTH

BUZZ

LEVEL

EFFECT LEVEL

DIRECT MIX

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CTL/EXP

CATEGORY

TARGET

SPEED SELECT

RATE SLOW

RATE FAST

RISE TIME

FALL TIME

DEPTH

CATEGORY

DELAY

TARGET

ON/OFF

CATEGORY

DIVIDER

TARGET

CATEGORY

MASTER

TARGET

MODE

PATCH LEVEL

MASTER LOW

MASTER MID F

MASTER MID Q

MASTER MID G

MASTER HIGH

MASTER BPM

MASTER KEY

TUNER SW

TYPE

CHANNEL SELECT

ChA DYNAMIC

ChA DYN SENS

ChA FILTER

ChA CUTOFF

ChB DYNAMIC

ChB DYN SENS

ChB FILTER

ChB CUTOFF

MODE

DELAY TIME

F.BACK

FX1/FX2

ROTARY

HIGH CUT

EFFECT LEVEL

DIRECT MIX

PAN TAP TIME

TIME

LEVEL

BPM/

KEY

RATE

FX1/FX2

UNIV

DEPTH

TUNER

LEVEL

F.BACK

MANUAL MODE SW

ON/OFF

MANUAL

DELAY

TYPE

HIGH CUT

LEVEL

WAVE SHAPE

RATE

ChA/B BALANCE

SPREAD

MIXER

REC/ PLAY

PHRASE

LOOP

TIME

STOP/ PLAY

CLEAR

FX1/FX2

PAN

DEPTH

F.BACK

ON/OFF

DELAY

POS

HIGH CUT

LEVEL

MODE

BPM TAP

SEND/

RETURN

TAP

LEVEL

SEND LEVEL

RETURN LEVEL

DELAY TAP

PATTERN

RATE

MOD. RATE

MOD. DEPTH

ON/OFF

START/ STOP

MMC PLY /STOP

LEVEL +10

DELAY

MOD

MIDI

AMP

CTL

AMP CTL SW

FX1/FX2

SLICER

TRIGGER SENS

EFFECT LEVEL

DIRECT MIX

RATE

ON/OFF

MODE

LEVEL +20

THRESH

RATE

LEVEL -10

NS1

RELEASE

DETECT

DEPTH

LEVEL -20

CHORUS

PATCH

DEPTH

PRE DELAY

LOW CUT

HIGH CUT

EFFECT LEVEL

ON/OFF

NUMBER INC

NUMBER DEC

BANK INC

FX1/FX2

VIBRATO

ON/OFF

TRIGGER

RISE TIME

LEVEL

THRESH

NS2

RELEASE

DETECT

BANK DEC

MODE

ON/OFF

FREQ

TYPE

FX1/FX2

RINGMOD

ACCEL

TYPE

EFFECT LEVEL

DIRECT MIX

MODE

REVERB TIME

PRE DELAY

LOW CUT

HIGH CUT

DENSITY

EFFECT LEVEL

DIRECT MIX

SPRING SENS

PITCH

ACCEL

S-BEND

RISE TIME

FALL TIME

RATE

REVERB

VOWEL 1

VOWEL 2

SENS

DEPTH

ACCEL

LASER

FX1/FX2

HUMAN

RISE TIME

FALL TIME

FREQ

RATE

DEPTH

MANUAL

LEVEL

PEDAL

ON/OFF

RISE TIME

FALL TIME

RING LEVEL

OCTAVE LEVEL

DIRECT MIX

LEVEL

PITCH

ACCEL

RING

XOVER FREQ

LOW RATE

LOW DEPTH

LOW PRE DLY

LOW LEVEL

HIGH RATE

HIGH DEPTH

HIGH PRE DLY

HIGH LEVEL

TYPE

PDL POS

PEDAL

P B

EFFECT LEVEL

DIRECT MIX

TYPE

FX1/FX2

2x2CHO

ACCEL

TWIST

PDL POS

RISE TIME

FALL TIME

LEVEL

PEDAL MIN

PEDAL MAX

EFFECT LEVEL

DIRECT MIX

VOLUME CURVE

VOLUME MIN

VOLUME MAX

LEVEL

PEDAL

WAH

ACCEL

WARP

RISE TIME

FALL TIME

MODE

DELAY TIME

F.BACK

DEPTH

FOOT

VOLUME

FX1/FX2

SUB DLY

RISE TIME

OCTAVE R.TIME

FB LEVEL

OCTAVE FB LEV

VIB RATE

VIB DEPTH

HIGH CUT

EFFECT LEVEL

DIRECT MIX

TAP TIME

ACCEL

F BACK

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CTL/EXP

Virtual expression pedal system (Internal

Pedal / Wave Pedal)

By assigning a desired parameter to the virtual expression pedal, you can

produce an eﬀect as though you were operating a physical expression

pedal to change the volume or tone quality in real time.

About the Range of a Target’s Change

The value of the parameter selected as the target changes within

the range deﬁned by “Min”and “Max,”as set on the GT-100.

When using an external footswitch, or other controller that acts as

an on/oﬀ switch, “Min”is selected with Oﬀ (CLOSED), and “Max”is

selected with On (OPEN).

When using an external expression pedal or other controller that

generates a consecutive change in the value, the value of the

setting changes accordingly, within the range set by the minimum

and maximum values. Also, when the target is of an on/oﬀ type,

the median value of the received data is used as the dividing line in

determining whether to switch it on or oﬀ.

The virtual expression pedal system provides the following two types of

functions, and you can use the SOURCE setting for ASSIGN 1–8 to choose

the desired type.

* If you want to use the internal pedal or wave pedal, set the ASSIGN

parameter SOURCE MODE to “MOMENT.”

When using the footswitch:

Internal pedal

If SOURCE is set to “INT PEDAL,”the virtual expression pedal will begin

operating when started by the speciﬁed trigger (INT PDL TRIGGER),

modifying the parameter speciﬁed by TARGET.

MAX

The value changes in a curve

MIN

OFF

When using the expression pedal:

When the trigger occurs

MAX

MIN

Wave pedal

If SOURCE is set to “WAVE PEDAL,”the virtual expression pedal will

cyclically modify the parameter speciﬁed by TARGET in a ﬁxed wave form.

127

When the pedal is

fully raised

When the pedal is

fully advanced

Always changes in a ﬁxed curve regardless of the actual pedal

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

Value

Input Level

Input level

The parameter set as the target changes in response to the input level.

MEMO

Degree to

Which Expres-

sion Pedal Is

Depressed

If you want to adjust the input sensitivity, set the INPUT SENS.

OFF

127

When the pedal is When the pedal When the pedal

fully raised

is advanced

halfway

is fully advanced

*The range that can be selected changes according to the target

setting.

*When the “minimum”is set to a higher value than the “maximum,”

the change in the parameter is reversed.

*“The values of settings can change if the target is changed after

the “minimum”and “maximum”settings have been made. If

you’ve changed the target, be sure to recheck the “minimum”and

“maximum”settings.

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CTL/EXP

About the Range of a Controller’s Change

This sets the operational range within which the value of the setting

changes when an expression pedal or other controller that changes

the value consecutively is used as the source. If the controller is

moved outside the operational range, the value does not change, it

stops at “minimum”or “maximum.”

(Example) With ACT RANGE LO: 40, ACT RANGE HI: 80

MAX

Degree to

Which Expres-

sion Pedal Is

Depressed

MIN

ACT

RANGE

127

When the

pedal is fully

raised

ACT

RANGE

pedal is fully

advanced

Value

Degree to

Which Expres-

sion Pedal Is

Depressed

OFF

127

When the

pedal is fully RANGE Value RANGE

raised LO HI

ACT

Center ACT

When the

pedal is fully

advanced

*When using a footswitch or other on/oﬀ switching controller as the

source, leave these at “ACT RANGE LO: 0”and “ACT RANGE HI: 127.”

With certain settings, the value may not change.

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Other Settings

TUNER METRONOME MODE

MANUAL MODE

Editing procedure

1. Simultaneously press pedals [1] and [2]

1. Simultaneously press pedals [BANK DOWN] and

[BANK UP]

The tuner function and the metronome function will turn on.

The MANUAL mode will turn on.

2. Use knobs [1], [4]–[8] to specify the settings

2. Use knobs [1]–[8] to specify the settings

3. Simultaneously press pedals [1] and [2] to return to

the Play screen

3. Simultaneously press pedals [BANK DOWN] and

[BANK UP] to return to the Play screen

You can also return to the Play screen by pressing the [EXIT]

button.

Here you can make settings for the MANUAL mode.

Parameter

BANK DOWN

BANK UP

Value

Explanation

TUNER

Here you can make settings for the TUNER mode.

OFF, ACCEL, PL (PHRASE LOOP),

PL R/P, PL S/P, PL CLR, CH A/B,

OD SOLO, A/B SOLO, A&B SOLO,

CMP, OD, PREAMP, EQ, FX1, FX2,

DLY, CHO, REV, PDL FX, S/R,

AMP CTL, TUNER, MANUAL,

BPM TAP, DLY TAP,

MIDI (MIDI START), MMC PLAY,

LEV +10, LEV +20, LEV -10, LEV -20,

NUM INC, NUM DEC,

NUMBER

PEDAL 1

Parameter

PITCH

Value

Explanation

435 Hz–445 Hz

MUTE

Speciﬁes the reference pitch.

Sound will not be output while tuning.

NUMBER

PEDAL 2

You can assign the desired

eﬀects unit to each pedal.

While tuning, the sound of the guitar being

input to the GT-100 will be output without

change. All eﬀects will be oﬀ.

NUMBER

PEDAL 3

BYPASS

THRU

OUTPUT

NUMBER

PEDAL 4

Allows you to tune while hearing the

current eﬀect sound.

BANK INC, BANK DEC

PHRASE LOOP

ACCEL/CTL

METRONOME

Here you can make settings for the METRONOME mode.

Parameter

TEMPO

Value

Explanation

40–250

Speciﬁes the tempo of the metronome.

1/1–8/1,

1/2–8/2,

1/4–8/4,

1/8–8/8

BEAT

Selects the time signature.

ON/OFF

LEVEL

OFF, ON

0–100

Turns the metronome on/oﬀ.

Adjusts the volume of the metronome.

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1PS

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