Parameter Guide / Sound List

Transcription

1 Parameter Guide / Sound List 02

2 Contents Basic Operation Basic Procedure for Effect Editing Changing the Effect Connection Order Editing from the Play Screen EASY EDIT EASY SELECT Basic MENU Operations Assigning Favorite Parameters to [1] [3] Knobs EFFECT FX1/FX COMPRESSOR LIMITER T. WAH GRAPHIC EQ PARAMETRIC EQ TONE MODIFY GUITAR SIMULATOR AC.GUITAR SIMULATOR SLOW GEAR OCTAVE PITCH SHIFTER HARMONIST OVERTONE FEEDBACKER AC. PROCESSOR PHASER FLANGER TREMOLO ROTARY UNI-V VIBRATO CHORUS SUB DELAY PEDAL FX OD/DS PREAMP NS (NOISE SUPPRESSOR) FOOT VOLUME DELAY REVERB MASTER SETTING MASTER SETTING MASTER EQ Controllers CTL 1, EXP SW, CTL 2, CTL EXP 1, EXP ASSIGN Virtual Expression Pedal System (Internal Pedal / Wave Pedal) MENU OUTPUT SELECT DISPLAY PLAY (PLAY OPTION) KNOB SETTING PREF (PREFERENCE) LOOP USB PDL CALIBRATION (PEDAL CALIBRATION) F.RESET (FACTORY RESET) Other Settings TUNER Sound List Preset Patch List MEMO 55 This effect sound is mono. 55 This effect sound is output with two channels. 55 These effects take a mono input and output it on two channels. * Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners. Copyright 2016 Roland CORPORATION 2

3 Basic Operation Basic Procedure for Effect Editing You can edit an effect by selecting it in the screen that shows the placement of effects (the effect chain screen). It s also possible to edit the settings of effects and controllers that are not represented by panel buttons. 1. Press the [MEMORY EDIT] button. Changing the Effect Connection Order Here s how to move the position of a selected effect in the effect chain. 1. Press the [MEMORY EDIT] button. The effect chain screen appears. 2. Use the [1] knob to select the effect that you want to move. 3. Use the [2] knob to move the selected effect. The effect chain screen appears. * You can use the button of each effect to turn that effect on/off. Effects that are turned on are indicated with icons. Effects that are turned off are indicated with 5. To turn PDL (PEDAL FX) on/off, press the expression pedal with PDL selected or turn the [3] knob in step 2 below. 2. Use the [1] knob to choose the effect you re going to edit. Editing from the Play Screen You can also edit an effect from the play screen (p. 4) of the Owner s Manual. 1. Long press the button of the effect that you want to edit. MEMO If you ve selected FX1, FX2, or DLY, use the [3] knob to choose the effect type. The EDIT screen appears. * With the edit screen displayed, pressing the effect button again turns that effect on/off. When an effect is on, the button is lit. 3. Press the [ENTER] button to enter the EDIT screen. 4. Use the [1] [3] knobs to edit the value of the parameters shown in the screen. When tabs are displayed on the screen, you can switch pages by pressing the [ENTER] button. 2. Use the [1] [3] knobs to edit the value of the parameters shown in the screen. 5. Press the [EXIT] button a number of times to return to the play screen. Use the [ENTER] button to switch pages of the edit screen. 3. Press the [EXIT] button to return to the play screen. 3

4 Basic Operation EASY EDIT You can use EASY EDIT to change the type of distortion (TONE) for the current sound, add or modify a modulation-type effect (VIBES), or change the reverberation (ECHO). 1. With the play screen displayed, press the [EASY EDIT] button. The EASY EDIT screen appears. 2. Use the [1] [3] knobs to adjust TONE, VIBES, and ECHO to your taste. With the EASY EDIT screen displayed, you can press the [ENTER] button to display the effect chain screen and edit the effects with the procedure described in Basic Procedure for Effect Editing (p. 3). EASY SELECT You can use EASY SELECT to select patches. 1. With the play screen displayed, press the [EASY SELECT] button. EASY SELECT screen is displayed. SORT GENRE DRIVE EFFECT Search items JAZZ/FUSION BLUES COUNTRY DISCO SOUL/FUNK OLDIES ROCK ALTERNATIVE HARD ROCK STUDIO METAL/CORE ACOUSTIC R&B POPS LATIN TRADITIONAL USER 1 USER 2 USER 3 CLEAN CRUNCH HARD HEAVY ENVELOPE TONE-MOD PITCH MODULATE DELAY/REV OTHER * You can turn only the [2] knob to select search items from all SORT. * You can assign USER 1 USER 3 to any desired patches. For example, you might use these categories to collect patches that you use in a live performance. Two categories can be assigned to each patch. For details on how to assign a category, refer to step 5 of Saving a Patch (p. 6) in the owner s manual. 4. Use the [3] knob to choose a patch from the list on the display. 2. Use the [1] knob to choose the search method (SORT ). Value GENRE DRIVE EFFECT Explanation Search by the patch category Search by the distortion type Search by the effect type 3. Use the [2] knob to choose the search item. SORT : GENRE SORT : DRIVE SORT : EFFECT 4

5 Basic Operation Basic MENU Operations Here you can make settings that are common to the entire GT-1 (System parameters). Here you can make settings for output, USB, as well as assign the functions of the [1] [3] knobs, etc. 1. Press the [MENU] button. 2. Use the [1] knob to choose the item that you want to edit. 3. Press the [ENTER] button. 4. Use the [1] [3] knobs to edit the value of the parameters shown in the screen. When tabs are displayed on the screen, you can switch pages by pressing the [ENTER] button. 5. Press the [EXIT] button a number of times to return to the play screen. Assigning Favorite Parameters to [1] [3] Knobs You can assign the parameters that are controlled by parameter knobs [1] [3] when the play screen is displayed. 1. Press [MENU] button. 2. Use the [2] knob to choose KNOB. About the play screen display You can use the [ENTER] button to choose how the play screen is displayed. 3. Use the [1] [3] knobs to specify the parameters to be controlled by each knob. About the icon indications 4. Press the [EXIT] button a number of times to return to the play screen. For details on the parameters that can be assigned, refer to KNOB SETTING (p. 23). Icon Explanation Shown if the looper is on. Shown if OD SOLO is on. Shown if PrA SOLO is on. 5

6 EFFECT FX1/FX2 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. ON/OFF OFF, ON Turns this effect on/off. FX1/FX2 Refer to FX1/FX2 This is a list of the effects that can be selected for FX1/FX2. Effect Name COMPRESSOR LIMITER T. WAH GRAPHIC EQ PARA.EQ (PARAMETRIC EQ) TONE MODIFY GUITAR SIM (GUITAR SIMULATOR) AC.GTR SIM (AC. GUITAR SIMULATOR) SLOW GEAR OCTAVE PITCH SHIFTER HARMONIST OVERTONE FEEDBACKER AC.PROC. (AC.PROCESSOR) PHASER FLANGER TREMOLO ROTARY UNI-V VIBRATO CHORUS SUB DELAY Explanation This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion. The limiter attenuates loud input levels to prevent distortion. You can produce a wah effect with the filter changing in response to the guitar level. This adjusts the tone as a equalizer. You can adjust the tone character in seven bands. Adjusts the tonal quality. You can adjust the tone character in four bands. This changes the tone of the connected guitar. 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 effect simulates the tonal character of an acoustic guitar. This produces a volume-swell effect ( violin-like sound). This adds a note one octave lower and a note two octaves lower, creating a richer sound. This effect changes the pitch of the original sound (up or down) within a range of two octaves. Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales. This effect uses MDP (Multi-Dimensional Processing) technology to add new harmonics to the sound, producing resonance and richness that was not present in the original sound. Generates feedback performance. 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. By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound. The flanging effect gives a twisting, jet-airplane-like character to the sound. 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. Although this resembles a phaser effect, it also provides a unique undulation that you can t get with a regular phaser. This effect creates vibrato by slightly modulating the pitch. In this effect, a slightly detuned sound is added to the original sound to add depth and breadth. This is a delay with the maximum delay time of 1,000 ms. This effect is useful for making the sound fatter. COMPRESSOR 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. Selects the compressor type. BOSS This models a BOSS CS-3. HI-BAND This is a compressor that adds an even stronger effect in the high end. LIGHT This is a compressor with a light effect. D-COMP This models a MXR DynaComp. This is modeled on the sound of the Dan ORANGE Armstrong ORANGE SQUEEZER. FAT When applied heavily, this compressor effect provides a fat tone with a boosted midrange. MILD When applied heavily, this compressor effect produces a sweet tone with the high end cut. STEREO This selects a stereo compressor. SUSTAIN Adjusts the range (time) over which low-level signals are boosted. Larger values will result in longer sustain. ATTACK Adjusts the attack time Adjusts the volume. TONE Adjusts the tone. LIMITER The limiter attenuates loud input levels to prevent distortion. Selects the limiter type. BOSS This selects a stereo limiter. RACK 160D This models a dbx 160X. VTG RACK U This models a UREI THRESHOLD Adjust this as appropriate for the input signal from your guitar. When the input signal level exceeds this threshold level, limiting will be applied. RATIO 1:1 INF:1 This selects the compression ratio used with signals in excess of the threshold level Adjusts the volume. ATTACK Adjusts the attack time. RELEASE Adjusts the release time. 6

7 EFFECT T. WAH You can produce a wah effect with the filter changing in response to the guitar level. Selects the wah mode. MODE LPF Low pass filter. This creates a wah effect over a wide frequency range. BPF Band pass filter. This creates a wah effect in a narrow frequency range. Selects the direction in which the filter will change in response to the input. POLARITY DOWN The frequency of the filter will fall. UP The frequency of the filter will rise. SENS 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. FREQ Adjusts the center frequency of the Wah effect. PEAK Adjusts the way in which the wah effect applies to the area around the center frequency. Higher values will produce a stronger tone which emphasizes the wah effect more. With a value of 50 a standard wah sound will be produced Adjusts the volume of the effect sound. GRAPHIC EQ This adjusts the tone as a equalizer. You can adjust the tone character in seven bands. Parameter 100Hz 200Hz 400Hz 800Hz 1.6kHz 3.2kHz 6.4kHz Value db db PARAMETRIC EQ Adjusts the tonal quality. You can adjust the tone character in four bands. LOW GAIN db Adjusts the tone for the low frequency range. HIGH GAIN db Adjusts the tone for the high frequency range db Adjusts the overall volume level of the equalizer. LM FREQ (LOW-MID FREQUENCY) LM Q (LOW-MID Q) LM GAIN (LOW-MID GAIN) HM FREQ (HIGH-MID FREQUENCY) 20 Hz 10.0 khz db 20 Hz 10.0 khz Specifies the center of the frequency range that will be adjusted by the LOW- MID GAIN. Adjusts the width of the area affected by the EQ centered at the LOW-MID FREQ. Higher values will narrow the area. Adjusts the low-middle frequency range tone. Specifies the center of the frequency range that will be adjusted by the HIGH- MID GAIN. HM Q (HIGH-MID Q) Adjusts the width of the area affected by the EQ centered at the HIGH-MID FREQ. Higher values will narrow the area. HM GAIN (HIGH-MID GAIN) TONE MODIFY db This changes the tone of the connected guitar. Adjusts the low-middle frequency range tone. Selects the type of tone modification. FAT Fat tone with boosted mid range. PRESENCE Bright tone with boosted high-mid range. MILD Mild tone with the high end cut back. TIGHT Tone with the low frequencies cut. ENHANCE Tone with the high frequencies boosted. LOW HIGH RESO 1 3 (RESONATOR 1 3) This produces a tone with greater power and punch by adding resonance in the low-frequency range and midrange. Adjusts the tone for the low frequency range. Adjusts the tone for the high frequency range Adjusts the volume of the effect sound. RESONANCE This adjusts the strength of the low-end and midrange resonance when is set to RESO 1, 2, or 3. GUITAR SIMULATOR 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. Selects the type of the guitar simulator. S0H Changes from a single-coil pickup tone to a humbucking pickup tone. H0S Changes from a humbucking pickup tone to a single-coil pickup tone. H0HALF TN (HALF TONE) S0HOLLOW H0HOLLOW S0AC H0AC PIEZO0AC Changes from a humbucking pickup tone to a single-coil pickup half tone. Changes a single-coil pickup tone to a hollow body tone with the body resonance added. Changes a humbucking pickup tone to a hollow body tone with the body resonance added. Changes a single-coil pickup tone to an acoustic guitar tone. Changes a humbucking pickup tone to an acoustic guitar tone. Changes a piezo pickup tone to an acoustic guitar tone. LOW Adjusts the tone for the low frequency range. HIGH Adjusts the tone for the high frequency range Adjusts the volume of the effect sound. BODY Adjusts the way the body sounds when is set to S0HOLLOW, H0HOLLOW, S0AC, H0AC, or PIEZO0AC The body sound increases as the value is raised; reducing the value produces a tone similar to that from a piezo pickup. 7

8 EFFECT AC.GUITAR SIMULATOR This effect simulates the tonal character of an acoustic guitar. BODY Adjusts the body resonance. LOW Specifies the sense of volume for the lowfrequency range. HIGH Specifies the sense of volume for the highfrequency range Specifies the volume of the effect. SLOW GEAR This produces a volume-swell effect ( violin-like sound). SENS 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. RISE TIME Adjusts the time needed for the volume to reach its maximum from the moment you begin picking Adjusts the volume of the effect sound. OCTAVE This adds a note one octave lower and a note two octaves lower, creating a richer sound. -1 OCT Adjusts the volume of the sound one octave below. -2 OCT Adjusts the volume of the sound two octaves below. D. (DIRECT ) Adjusts the volume of the direct sound. PITCH SHIFTER This effect changes the pitch of the original sound (up or down) within a range of two octaves. PITCH Adjusts the amount of pitch shift (the amount of interval) in semitone steps. D. (DIRECT ) FINE PRE DELAY E FEEDBACK HARMONIST 0 ms 300 ms, BPM Adjusts the volume of the direct sound. Make fine adjustments to the interval. The amount of the change in the Fine 100 is equivalent to that of the Pitch 1. Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at 0 ms. * When set to BPM, the value of each parameter will be set according to the value of the MASTER BPM specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time. * BPM (beats per minute) indicates the number of quarter note beats that occur each minute. Adjusts the volume of the pitch shifter. Adjusts the feedback amount of the pitch shift sound. Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmony based on diatonic scales. * Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Be sure to mute all the other strings and play only one note at a time. * When you are to play the next string while a certain sound is still playing, mute the previous sound and then play the next one with a clear attack. If the unit cannot detect the attack, it may not sound correctly. * The sensitivity may vary according to the guitar s TONE knob and pickup type. HARMONY -2 oct +2 oct This determines the pitch of the sound added to the input sound, when you are making a harmony. It allows you to set it by up to 2 octaves higher or lower than the input sound. The key setting corresponds to the key of the song (#, b) as follows. Major KEY (MASTER KEY) C (Am) B (G#m) Minor Major Minor 8

9 EFFECT 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. PRE DELAY FEEDBACK E. (EFFECT ) D. (DIRECT ) OVERTONE 0 ms 300 ms, 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. * 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 harmony sound Adjusts the volume of the harmony sound Adjusts the volume of the direct sound. This effect uses MDP (Multi-Dimensional Processing) technology to add new harmonics to the sound, producing resonance and richness that was not present in the original sound. LOWER (LOWER ) UPPER (UPPER ) D. (DIRECT ) Adjusts the volume of the harmonic one octave below. Adjusts the volume of the harmonic one octave above Adjusts the volume of the direct sound. DETUNE Adjusts the amount of the detune effect that adds depth to the sound. TONE Adjusts the tone. FEEDBACKER Generates feedback performance. TRIGGER OFF, ON If TRIGGER is ON, a feedback effect is applied. This can be assigned to the [CTL1] pedal etc., and operated. (Refer to ASSIGN 1 6 (p. 17)). DEPTH Adjusts the ease with which feedback will occur when the FEEDBACKER is on. AC. PROCESSOR This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar. Selects the modeling type. SMALL This is the sound of a small-bodied acoustic guitar. This is a standard, unadorned acoustic guitar MEDIUM sound. BRIGHT This is a bright acoustic guitar sound. POWER This is a powerful acoustic guitar sound. BASS Adjusts the tone for the low frequency range. MIDDLE Adjusts the tone for the middle frequency range. TREBLE Adjusts the tone for the high frequency range. PRESENCE Adjusts the tone for the ultra high frequency range Adjusts the volume. PHASER By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound. Selects the number of stages that the phaser effect will use. 4 STAGE This is a four-phase effect. A light phaser effect is obtained. This is an eight-phase effect. It is a popular 8 STAGE phaser effect. 12 STAGE This is a twelve-phase effect. A deep phase effect is obtained. BiPHASE This is the phaser with two phase shift circuits connected in series. This sets the rate of the phaser effect , BPM ª * 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. DEPTH Determines the depth of the phaser effect. RESONANCE Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound. MANUAL Adjusts the center frequency of the phaser effect Adjusts the volume of the phaser. FLANGER The flanging effect gives a twisting, jet-airplane-like character to the sound. This sets the rate of the flanging effect , BPM ª * 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. DEPTH Determines the depth of the flanging effect. RESONANCE Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound. MANUAL Adjusts the center frequency at which to apply the effect. LOW CUT FLAT, 55 Hz 800 Hz 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 Adjusts the volume of the flanger. 9

10 EFFECT TREMOLO Tremolo is an effect that creates a cyclic change in volume. WAVE Adjusts changes in volume level. A higher (WAVE SHAPE) value will steepen wave s shape. 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 0 100, effect sound settings that match the BPM ª 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. DEPTH Adjusts the depth of the effect Adjusts the volume. ROTARY This produces an effect like the sound of a rotary speaker. SPEED This parameter changes the simulated SLOW, FAST (SPEED SELECT) speaker s rotating speed (SLOW or FAST). SLOW FAST TRANSITION (TRANSITION TIME) B/H BAL (BASS/ HORN BALANCE) 0 100, BPM ª 0 100, BPM ª :0 0: Adjusts the volume. UNI-V This parameter adjusts the SPEED SELECT of rotation when set to SLOW. This parameter adjusts the SPEED SELECT of rotation when set to FAST. * When set to BPM, the value of each parameter will be set according to the value of the MASTER BPM specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time. Adjusts the time over which the rotational speed changes when SPEED SELECT is switched. Adjusts the volume balance between the BASS rotor and the HORN rotor. 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. Adjusts the rate of the UNI-V effect , BPM ª * 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. DEPTH Adjusts the depth of the UNI-V effect Adjusts the volume. VIBRATO This effect creates vibrato by slightly modulating the pitch. Adjusts the rate of the vibrato , BPM ª * 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. DEPTH Adjusts the depth of the vibrato. TRIGGER OFF, ON This selects on/off of the vibrato. * It is assumed that this parameter will be assigned to the footswitch. This sets the time passing from the moment the Trigger is turned on until the set vibrato is obtained. * When a patch with TRIGGER set to ON is RISE TIME 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 Adjusts the volume. CHORUS In this effect, a slightly detuned sound is added to the original sound to add depth and breadth. Selection for the chorus mode. MONO This chorus effect outputs the same sound from both L channel and R channel. MODE STEREO1 This is a stereo chorus effect that adds different chorus sounds to L channel and R channel. STEREO2 This stereo chorus uses spatial synthesis, with the direct sound output in the L channel and the effect sound output in the R channel. Adjust the speed of the chorus effect for the high frequency range , BPM ª DEPTH E. (EFFECT ) LOW CUT HIGH CUT * When set to BPM, the value of each parameter will be set according to the value of the MASTER BPM specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time. Adjusts the depth of the chorus effect. * To use it for doubling effect, set the value to Adjusts the volume of the effect sound. FLAT, 20 Hz 800 Hz 630 Hz 12.5 khz, FLAT This sets the frequency at which the low cut filter begins to take effect. When FLAT is selected, the low cut filter will have no effect. This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect. 10

11 EFFECT SUB DELAY This is a delay with the maximum delay time of 1,000 ms. This effect is useful for making the sound fatter. Use this to choose the type of delay. MONO Use this to choose the type of delay. Provides a tap delay effect that divides PAN the delay time between the left and right channels. Adjusts the delay time. TIME (DELAY TIME) FEEDBACK E. (EFFECT ) HIGH CUT 1 ms 1000 ms, BPM TAP TIME * % D. (DIRECT ) * When set to BPM, the value of each parameter will be set according to the value of the MASTER BPM specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time. Adjusts the volume that is returned to the input. Higher settings will result in more delay repeats Adjusts the volume of the delay sound. 630 Hz 12.5 khz, FLAT This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect. Adjusts the delay time of the left channel delay. This setting adjusts the L channel delay time relative to the R channel delay time (considered as 100%) Adjusts the volume of the direct sound. *1 Setting available when is set to PAN. PEDAL FX You can control the wah effect or get a pitch bend effect in real time by adjusting the [EXP] pedal or the expression pedal connected to the CTL 2,3/EXP 2 jack. Selects the type. CRY WAH This models the sound of the CRY BABY wah pedal popular in the 70s. VO WAH This models the sound of the VOX V846. FAT WAH This is a wah sound featuring a bold tone. LIGHT WAH This wah has a refined sound with no unusual characteristics. 7STR WAH (7STRING WAH) RESO WAH PEDAL BND CRY WAH RESO WAH PDL POS (PEDAL POSITION) PDL MIN (PEDAL MIN) PDL MAX (PEDAL MAX) This expanded wah features a variable range compatible with seven-string and baritone guitars. This completely original effect offers enhancements on the characteristic resonances produced by analog synth filters. This lets you use the pedal to get a pitch bend effect. * Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. Adjusts the position of the wah pedal. This parameter is used after it s been assigned to an EXP Pedal or similar controller. Selects the tone produced when the heel of the EXP Pedal is depressed. Selects the tone produced when the toe of the EXP Pedal is depressed Adjusts the volume of the effect sound. PEDAL BEND * Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played. PITCH This sets the pitch at the point where the EXP Pedal is all the way down. PDL POS (PEDAL POSITION) Adjusts the pedal position for pedal bend. This parameter is used after it s been assigned to an EXP Pedal or similar controller Adjusts the volume of the pitch bend sound. 11

12 EFFECT OD/DS This effect distorts the sound to create long sustain. ON/OFF OFF, ON Turns this effect on/off. Refer to OD/DS DRIVE Adjusts the depth of distortion. TONE Adjusts the tone. E. (EFFECT ) BOTTOM D. (DIRECT ) OD/DS Type Adjusts the volume of the effect sound. Adjusts the tone for the low frequency range. Turning this to the left (counterclockwise) produces a sound with the low end cut; turning it to the right boosts the low end in the sound Adjusts the volume of the direct sound. This is a list of distortion types that can be selected for OD/DS. MID BOOST CLEAN BST (CLEAN BOOST) TREBLE BST (TREBLE BOOST) Explanation This is a booster with unique characteristics in the midrange. Making the connection before the COSM amp produces sound suitable for solos. This not only functions as a booster, but also produces a clean tone that has punch even when used alone. This is a booster that has bright characteristics. CRUNCH A lustrous crunch sound with an added element of amp distortion. NATURAL OD This is an overdrive sound that provides distortion with a natural feeling. WARM OD This is a warm overdrive. FAT DS A distortion sound with thick distortion. LEAD DS Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion. METAL DS This is distortion sound that is ideal for performances of heavy riffs. OCT FUZZ A fuzz sound with rich harmonic content. This effect uses MDP (Multi-Dimensional Processing) A-DIST technology to provide ideal distortion in all pitch ranges of the guitar, from low to high. This is a crunch sound of the BOSS BD-2. BLUES OD This produces distortion that faithfully reproduces the nuances of picking. OD-1 This models the sound of the BOSS OD-1. This produces sweet, mild distortion. T-SCREAM This models an Ibanez TS-808. TURBO OD This is the high-gain overdrive sound of the BOSS OD-2. DISTORTION This gives a basic, traditional distortion sound. RAT This models a Proco RAT. GUV DS This models a Marshall GUV NOR. DST+ This models a MXR DISTORTION+. This models the sound of the BOSS MT-2. METAL ZONE It produces a wide range of metal sounds, from old style to slash metal. 60S FUZZ This models a FUZZFACE. It produces a fat fuzz sound. MUFF FUZZ This models an Electro-Harmonix Big Muff π. PREAMP COSM technology simulates different preamp characteristics, speaker sizes, and cabinet shapes. ON/OFF OFF, ON Turns this effect on/off. Refer to PREAMP GAIN Adjusts the distortion of the amp Adjusts the volume of the entire preamp. * Be careful not to raise the Level setting too high. BASS Adjusts the tone for the low frequency range. MIDDLE Adjusts the tone for the middle frequency range. TREBLE Adjusts the tone for the high frequency range. PRESENCE Adjusts the tone for the ultra high frequency range. * The PRESENCE parameter functions as a high-cut filter with some PREAMP s. Turns the bright setting on/off. BRIGHT OFF, ON * The BRIGHT parameter setting is available only with certain PREAMP s. Select the speaker type. OFF This turns off the speaker simulator. This is the built-in speaker of the ORIGIN (ORIGINAL) amp you selected with PREAMP. 1x8 This is a compact open-back speaker cabinet with one 8-inch speaker. 1x10 This is a compact open-back speaker cabinet with one 10-inch speaker. This is a compact open-back speaker 1x12 SP *1 cabinet with one 12-inch speaker. 2x12 This is a general open-back speaker cabinet with two 12-inch speakers. This is an optimal speaker cabinet 4x10 for a large enclosed amp with four 10-inch speakers. This is an optimal speaker cabinet 4x12 for a large enclosed amp with four 12-inch speakers. This is a double stack of two 8x12 cabinets, each with four 12-inch speakers. *1 This is enabled when the OUTPUT SELECT parameter is set to LINE/PHONE. 12

13 EFFECT PREAMP list Type NATRL CLN (NATURAL CLEAN) FUL RANGE (FULL RANGE) CB CRUNCH (COMBO CRUNCH) ST CRUNCH (STACK CRUNCH) HiGAIN STK (HiGAIN STACK) POWER DRV (POWER DRIVE) XTREM LD (EXTREM LEAD) CORE MTL (CORE METAL) JC-120 CLEAN TWIN PR CRUNCH (PRO CRUNCH) TWEED DxCRUNCH (DELUXE CRUNCH) VO DRIVE VO LEAD MATCH DRV (MATCH DRIVE) BG LEAD BG DRIVE MS1959 I MS1959 I+II R-FIER VTG (R-FIER VINTAGE) R-FIER MDN (R-FIER MODERN) T-AMP LD (T-AMP LEAD) SLDN 5150 DRV (5150 DRIVE) BGNR UB ORNG ROCK Explanation An unembellished, clean sound that minimizes the amp s idiosyncrasies, such as its trebly character and boomy low end. An amp with a broad frequency range and an extremely flat response. Good for acoustic guitar. Crunch sound that allows the nuances of your picking to be expressed even more faithfully than on conventional combo amps. Great-feeling crunch sound that responds well to picking dynamics while retaining all the defining characteristics of a 4 x 12 speaker cabinet. High-gain sound of a vintage Marshall specially revamped in a way that is possible only with COSM modeling technology. 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. A large stack sound that has been tweaked extensively in the pursuit of the ultimate metal sound. This models the sound of the Roland JC-120. This models a Fender Twin Reverb. This models a Fender Pro Reverb. This models a Fender Bassman 4 x 10 Combo. This models a Fender Deluxe Reverb. This models the drive sound of a VOX AC-30TB. This is a sound that it suited to sixties-style British rock. This models the lead sound of the VOX AC-30TB. This models the sound input to left input on a Matchless D/C-30. 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. The sound of a tube amp typical of the late 70s to 80s. This models a MESA/Boogie with TREBLE SHIFT SW on. This models the sound input to Input I on a Marshall 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. Models the sound of the Channel 2 VINTAGE Mode on the MESA/Boogie DUAL Rectifier. 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 This is a heavy distortion sound that models the highgain channel of a Bogner Uberschall. This models the dirty channel of an ORANGE ROCKERVERB. 13

14 EFFECT NS (NOISE SUPPRESSOR) This effect reduces the noise and hum picked up by guitar pickups. Since it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound. THRESHOLD Off, Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate. Adjust this value until the decay of the guitar sound is as natural as possible. * High settings for the threshold parameter may result in there being no sound when you play with your guitar volume turned down. * If this is turned Off, NS is off (bypassed). RELEASE Adjusts the time from when the noise suppressor begins to function until the noise level reaches 0. This controls the noise suppressor based on the volume level for the point specified in Detect. INPUT Input volume from input jack. * Ordinarily, DETECT should be set to INPUT. Noise suppressor input volume. * When connected as illustrated below, and you want to prevent a spatial-type effects sound NS INPUT (such as a delay sound) from being eradicated by the NS, you should set DETECT to NS INPUT. DETECT FV OUT FOOT VOLUME DLY 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. INPUT FV Foot Volume This is a volume control effect. Normally, this is controlled with the EXP Pedal or the [EXP] pedal connected to the CTL 2, 3/EXP2 jack. MIN Sets the volume when the heel of the EXP Pedal is depressed. MAX Selects the volume when the toe of the EXP Pedal is depressed Adjusts the volume. NS NS DELAY This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects. DELAY ON/OFF OFF, ON Turns this effect on/off. This selects which type of delay. * The stereo effect is cancelled if a monaural effect or COSM amp is connected after a stereo delay effect. STANDARD This is a simple monaural delay. PAN REVERSE ANALOG TAPE MODULATE TERA ECHO 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. Tap Time OUTPUT L EffectLev Dly Time INPUT OUTPUT R DELAY Feedback This produces an effect where the sound is played back in reverse. This gives a mild analog delay sound. The delay time can be set within the range of 1 to 2000 ms. This setting provides the characteristic wavering sound of the tape echo. The delay time can be set within the range of 1 to 2000 ms. This delay adds a pleasant wavering effect to the sound. This effect uses MDP (Multi-Dimensional Processing) technology to create a unique ambience and a spaciousness that changes according to your picking dynamics. Common to STANDARD MODULATE Adjusts the delay time. TIME (DELAY TIME) FEEDBACK HIGH CUT E. (EFFECT ) 1 ms 2000 ms, BPM 630 Hz 12.5 khz, FLAT * When set to BPM, the value of each parameter will be set according to the value of the MASTER BPM specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time. This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats. This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect Adjusts the volume of the delay sound. PAN TAP TIME 0 100% 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%). 14

15 EFFECT MODULATE MOD MOD DEPTH TERA ECHO Adjusts the modulation rate of the delay sound. Adjusts the modulation depth of the delay sound. TIME Adjusts the length of the effect sound. FEEDBACK Adjusts the decay of the effect sound. E. (EFFECT ) Adjusts the volume of the effect sound. TONE Adjusts the tone. D. (DIRECT ) Adjusts the volume of the direct sound. HOLD OFF, ON The effect sound is held when you turn this on. * Patches are written with the HOLD parameter set to Off. REVERB This effect adds reverberation to the sound. REVERB ON/ OFF OFF, ON Turns this effect on/off. This selects the reverb type. Various different simulations of space are offered. AMBIENCE ROOM HALL 1 HALL 2 PLATE SPRING MODULATE DELAY 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. Simulates the reverberation in a small room. Provides warm reverberations. Simulates the reverberation in a concert hall. Provides clear and spacious reverberations. Simulates the reverberation in a concert hall. Provides mild reverberations. Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range. This simulates the sound of a guitar amp s built-in spring reverb. This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound. This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects. Common to AMBIENCE MODULATE TIME (REVERB TIME) 0.1 s 10.0 s Adjusts the length (time) of reverberation. E. (EFFECT ) Adjusts the volume of the reverb sound. LOW CUT FLAT, 20 Hz 800 Hz 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. HIGH CUT SPRING (SPRING SENS) ( = SPRING only) 630 Hz 12.5 khz, FLAT This sets the frequency at which the high cut filter begins to take effect. When FLAT is selected, the high cut filter will have no effect. Adjusts the sensitivity of the spring effect. When the value is set higher, the effect is obtained even with a weak picking. 15

16 EFFECT DELAY Adjusts the delay time. TIME (DELAY TIME) E. (EFFECT ) FEEDBACK HIGH CUT D. (DIRECT ) 1 ms 650 ms, 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. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time Adjusts the volume of the delay sound. 630 Hz 12.5 khz, FLAT This sets the amount of delay sound returned to the input. A higher value will increase the number of the delay repeats. This sets the frequency at which the high cut filter begins to take effect. When Flat is selected, the high cut filter will have no effect Adjusts the volume of the direct sound. MASTER SETTING These settings are applied to the overall patch. MASTER SETTING PATCH LVL (PATCH ) Adjusts the volume of the patch. Adjusts the BPM value for each patch. BPM (MASTER BPM) KEY (MASTER KEY) C (Am) B (G#m) * BPM (beats per minute) indicates the number of quarter note beats that occur each minute. This sets the key for the FX HARMONIST. Major Minor Major Minor MASTER EQ LOW GAIN (MASTER LOW GAIN) MID GAIN (MASTER MID GAIN) HIGH GAIN (MASTER HIGH GAIN) MID FREQ (MASTER MID FREQUENCY) MID Q (MASTER MID Q) db db db 20.0 Hz 10.0 khz Adjusts the tone for the low frequency range. Adjusts the tone for the middle frequency range. Adjusts the tone for the high frequency range. Specify the center of the frequency range that will be adjusted by the MASTER MID GAIN. Adjusts the width of the area affected by the EQ centered at the MASTER MID FREQ. Higher values will narrow the area. 16

17 Controllers CTL 1, EXP SW, CTL 2, CTL 3, DOWN, UP Here s how to assign the parameters that will be controlled by the CTL 1, EXP SW, CTL 2, CTL 3, DOWN, and UP pedals. OFF No assignment. OD SOLO Switches the OD/DS SOLO on and off. PrA SOLO Switches the Preamp SOLO on and off. FX1 Switches the FX1 on and off. OD/DS Switches the OD/DS on and off. PREAMP Switches the PREAMP/SPEAKER on and off. FX2 Switches the FX2 on and off. DELAY Switches the DELAY on and off. REVERB Switches the REVERB on and off. FUNC PEDAL FX Switches the Pedal FX on and off. TUNER Switches the TUNER/BYPASS on and off. BPM TAP *1 *2 Used for tap input of the MASTER BPM. DELAY TAP *1 *2 Used for tap input of the delay time. +10 *1 Increases the patch volume level by 10 units. +20 *1 Increases the patch volume level by 20 units. -10 *1 Decreases the patch volume level by 10 units. -20 *1 Decreases the patch volume level by 20 units. NUMBER +1 *1 Switches to the next patch number. NUMBER -1 *1 Switches to the previous patch number. LED ON/OFF *3 Lights/extinguishes the pedal s LED indicator. *1 The function will activate as soon as you press the pedal, regardless of whether the SOURCE MODE parameter is MOMENT or TOGGLE. *2 Cannot be selected for EXP SW. *3 Can be selected only for DOWN or UP. This sets the behavior of the value each time the switch is operation. * Shown only when certain parameters are selected. MODE (SOURCE MODE) MOMENT TOGGLE SOLO EXP 1, EXP 2 The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed. The setting is toggled On (maximum value) or Off (minimum value) with each press of the footswitch. Adjusts the volume when OD SOLO or PrA SOLO are on. * Shown only if OD SOLO or PrA SOLO are selected. Here s how to assign the parameters that will be controlled by the GT-1 s [EXP] pedal, and by an expression pedal (such as the EV-5; sold separately) connected to the CTL 2, 3/EXP2 jack. OFF No assignment. Foot volume will be FOOT VOL (FOOT VOLUME) assigned. FUNCTION PEDAL FX PEDAL FX will be assigned. PDL FX/FV (PEDAL FX/FOOT VOLUME) PEDAL FX and foot volume will be assigned. * Only FOOT VOLUME can be assigned to EXP2 (external expression pedal). If you want to assign a function other than FOOT VOLUME, use Assign. ASSIGN 1 6 For each parameter, you can specify, in detail, which controller will control which parameter. You can create eight sets of such assignments. If you want to light the [CTL1] switch s LED indicator while the ASSIGN 1 6 function is assigned to the [CTL1] switch, set the CTL1 pedal FUNC (p. 17) to LED ON/OFF. OFF/ON OFF, ON Turns the ASSIGN 1 6 on/off. Specifies the controller (source). EXP 1 Assigns the GT-1 s [EXP] pedal. CTL 1 Assigns the [CTL1] switch. Assigns the external expression pedal (such as EXP 2 the EV-5; sold separately) connected to the CTL 2, 3/EXP2 jack. SOURCE CTL2 CTL3 Assigns the external footswitch (FS-5U, FS-6, FS-7; sold separately) connected to the CTL 2, 3/EXP2 jack. INT PEDAL Refer to Virtual Expression Pedal System (Internal Pedal / Wave Pedal) (p. 21) WAVE PEDAL Refer to Virtual Expression Pedal System (Internal Pedal / Wave Pedal) (p. 21) MOMENT The normal state is Off (minimum value), with the switch On (maximum value) only while the footswitch is depressed. MODE TOGGLE The setting is toggled On (maximum value) or Off (minimum value) with each press of the footswitch. TARGET This selects the parameter to be changed. CATEGRY TARGET Refer to TARGET list (p. 19). This sets the minimum value for the range in which the TARGET MIN parameter can change. The value differs depending on the parameter assigned for TARGET parameter. This sets the maximum value for the range in which the TARGET MAX parameter can change. The value differs depending on the parameter assigned for TARGET parameter. Specifies how the motion of the internal pedal will be triggered. PAT CNG This is activated when a patch is selected. EXP1 LO This is activated when the GT-1 s [EXP] pedal is set to the minimum position. EXP1 MID This is activated when the GT-1 s [EXP] pedal is moved through the middle position. EXP1 HI This is activated when the GT-1 s [EXP] pedal is set to the maximum position. TRIGGER *1 This is activated when the EXP pedal switch is EXP1 SW operated. CTL1 PDL This is activated when the [CTL1] switch is operated. This is activated when an external expression EXP2 PDL pedal connected to the CTL 2, 3/EXP2 jack is operated. CTL2PDL This is activated when an external footswitch connected to the CTL 2, 3/EXP2 jack is CTL3PDL operated. TIME * This specifies the time over which the internal pedal will move from the toe-raised position to the toe-down position. Select one of the following curves to specify the change produced by the internal pedal. CURVE *1 LINEAR SLOW FAST 17

18 Controllers WAVE * , BPM ª This determines the time spend for one cycle of the assumed EXP Pedal. When set to BPM, the value of each parameter will be set according to the value of the MASTER BPM specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song. * If, due to the tempo, the time is longer than the range of allowable settings, it is then synchronized to a period either 1/2 or 1/4 of that time. Select one of the following to specify the change produced by the wave pedal. WAVEFORM *2 SAW TRI SINE *1 The INT PDL TRIGGER, INT PDL TIME, and INT PDL CURVE parameters are enabled when the SOURCE parameter is set to INT PEDAL. *2 The WAVE and WAVEFORM parameters are enabled when the SOURCE parameter is set to WAVE PEDAL. 18

19 Controllers TARGET list CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET CATEGORY TARGET FX1 1 COMP 1 LIMITER 1 T.WAH 1 GEQ 1 PEQ 1 ToneMOD 1 GtrSIM 1 AcG.SIM 1 SlwGEAR 1 OCTAVE ON/OFF SUSTAIN ATTACK TONE ATTACK THRESHOLD RATIO RELEASE MODE POLARITY SENS FREQ PEAK 100Hz 200Hz 400Hz 800Hz 1.6kHz 3.2kHz 6.4kHz LOW GAIN LM FREQ LM Q LM GAIN HM FREQ HM Q HM GAIN HIGH GAIN RESONANCE LOW HIGH LOW HIGH BODY BODY LOW HIGH SENS RISE TIME -2 OCT -1 OCT D. 1 P.SHIFT 1 HARMONY 1 OvrTONE 1 FEEDBCKR 1 AcPROC 1 PHASER 1 FLANGER 1 TREMOLO 1 ROTARY 1 UNI-V 1 VIBRATO 1 CHORUS PITCH FINE PRE DELAY E. FEEDBACK D. HARMONY PRE DELAY E. FEEDBACK D. LOWER UPPER D. DETUNE TONE DEPTH TRIGGER BASS MIDDLE TREBLE PRESENCE DEPTH MANUAL RESONANCE DEPTH MANUAL RESONANCE LOW CUT WAVE DEPTH SPEED SLOW FAST TRANSITION B/H BAL DEPTH DEPTH TRIGGER RISE TIME DEPTH E. MODE LOW CUT HIGH CUT 1 SubDELAY OD/DS PREAMP FX2 2 COMP 2 LIMITER 2 T.WAH 2 GEQ 2 PEQ TIME FEEDBACK HIGH CUT E. D. TAP TIME ON/OFF DRIVE BOTTOM TONE E. D. ON/OFF GAIN BASS MIDDLE TREBLE PRESENCE BRIGHT SP ON/OFF SUSTAIN ATTACK TONE ATTACK THRESHOLD RATIO RELEASE MODE POLARITY SENS FREQ PEAK 100Hz 200Hz 400Hz 800Hz 1.6kHz 3.2kHz 6.4kHz LOW GAIN LM FREQ LM Q LM GAIN HM FREQ HM Q HM GAIN HIGH GAIN 2 ToneMOD 2 GtrSIM 2 AcG.SIM 2 SlwGEAR 2 OCTAVE 2 P.SHIFT 2 HARMONY 2 OvrTONE 2 FEEDBCKR 2 AcPROC 2 PHASER 2 FLANGER RESONANCE LOW HIGH LOW HIGH BODY BODY LOW HIGH SENS RISE TIME -2 OCT -1 OCT D. PITCH FINE PRE DELAY E. FEEDBACK D. HARMONY PRE DELAY E. FEEDBACK D. - LOWER UPPER D. DETUNE TONE DEPTH TRIGGER BASS MIDDLE TREBLE PRESENCE DEPTH MANUAL RESONANCE DEPTH MANUAL RESONANCE LOW CUT 19

20 Controllers CATEGORY TARGET CATEGORY TARGET 2 TREMOLO 2 ROTARY 2 UNI-V 2 VIBRATO 2 CHORUS 2 SubDELAY DELAY REVERB FOOT VOL WAVE DEPTH SPEED SLOW FAST TRANSITION B/H BAL DEPTH DEPTH TRIGGER RISE TIME DEPTH E. MODE LOW CUT HIGH CUT TIME FEEDBACK HIGH CUT E. D. TAP TIME ON/OFF TIME FEEDBACK HIGH CUT E. TAP TIME MOD MOD DEPTH TE TIME TE FEEDBK TE TONE TE E. TE D. TE HOLD ON/OFF TIME LOW CUT HIGH CUT E. SPRING DLY TIME DLY FB DLY HI CUT DLY E. DLY D. PEDAL FX MASTER BPM/KEY TUNER PATCH ON/OFF WAH WAHPDMIN WAHPDMAX WAHPDPOS PB PB PITCH PB PD POS PATCH LVL LOW GAIN MID FREQ MID Q MID GAIN HIGH GAIN BPM KEY TUNER SW

21 Controllers Virtual Expression Pedal System (Internal Pedal / Wave Pedal) By assigning a desired parameter to the virtual expression pedal, you can produce an effect as though you were operating a physical expression pedal to change the volume or tone quality in real time. The virtual expression pedal system provides the following two types of functions, and you can use the SOURCE setting for ASSIGN 1 6 to choose the desired type. * If you want to use the internal pedal or wave pedal, set the ASSIGN parameter SOURCE MODE to MOMENT. Internal pedal If SOURCE is set to INT PEDAL, the virtual expression pedal will begin operating when started by the specified trigger (TRIGGER), modifying the parameter specified by TARGET. The value changes in a curve When the trigger occurs Wave pedal If SOURCE is set to WAVE PEDAL, the virtual expression pedal will cyclically modify the parameter specified by TARGET in a fixed wave form. 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-1. When using an external footswitch, or other controller that acts as an on/off switch, MIN is selected with Off, and MAX is selected with On. When using an external expression pedal or other controller that generates a consecutive change in the value, the value of the setting changes accordingly, within the range set by the minimum and maximum values. Also, when the target is of an on/off type, the median value of the received data is used as the dividing line in determining whether to switch it on or off. When using the footswitch: Allowable Parameter Settings Range MAX MIN OFF When using the expression pedal: Allowable Parameter Settings Range MAX MIN ON Always changes in a fixed curve regardless of the actual pedal When the When the pedal is fully pedal is fully raised advanced When controlling the On/Off target with the expression pedal: Value ON OFF Degree to which expression pedal is depressed When the pedal is advanced halfway When the pedal is fully raised When the pedal is fully advanced * The range that can be selected changes according to the target setting. * When the MIN 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 MIN and MAX settings have been made. If you ve changed the target, be sure to recheck the MIN and MAX settings. 21

22 MENU OUTPUT SELECT Specify the device (amp) that s connected to the OUTPUT jacks. SELECT DISPLAY JC-120 SMALL AMP COMBO AMP STACK AMP JC-120 RETURN COMBO RETURN STACK RETURN LINE/PHONES Choose this setting if the GT-1 is connected to the guitar input of a Roland JC-120 guitar amp. Choose this setting if the GT-1 is connected to a small guitar amp. Choose this setting if the GT-1 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. For some types of guitar amps, the JC-120 setting might produce better results. Choose this setting if the GT-1 is connected to the guitar input of a stack-type guitar amp (i.e., one in which the amp and speaker are separate units). Choose this setting if the GT-1 is connected to the RETURN jack of the JC-120. Choose this setting if the GT-1 is connected to the RETURN jack of a combo-type guitar amp. Choose this setting if the GT-1 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. Choose this setting if you re using headphones, or if the GT-1 is connected to a keyboard amp, mixer, or digital recorder. Here you can adjust the brightness of the characters in the display. CONTRAST 1 16 Higher values increase the brightness. PLAY (PLAY OPTION) Here you can specify how the pedals will work during performance. The operational status of the EXP OFF 1/2 PEDAL's FUNCTION (p. 17) is not carried over when patches are switched. If the EXP 1/2 PEDAL s FUNC (p. 17) are the same between 2 patches, the operational status is carried over when patches are switched. EXP1 HLD (EXP 1 PEDAL HOLD), EXP2 HLD (EXP 2 PEDAL HOLD) KNOB LOCK DWN+UP UP+CTL1 PEDAL LIGHT ON OFF, ON OFF, TUNER, LOOP, MEM+1, MEM-1 OFF, ON For example, if EXP 1/2 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. Specifies whether knob operations will be disabled. If this is ON, knob operations will be disabled. Specifies the function when the [I] and [H] switches are pressed simultaneously. Specifies the function when the [H] and [CTL1] switches are pressed simultaneously. Specifies whether the [I], [H], and [CTL1] switches are lit or unlit. 22

23 MENU KNOB SETTING Here you can assign the desired parameters to knobs [1] [3] in the play screen. * The settings you make here are only for the knobs in the play screen. Parameter KNOB 1 KNOB 3 The parameter names displayed in the play screen are abbreviated. For details about the parameter names, refer to the chart shown below. Value Display Value Display Value Display OFF PATCH FX1:COMP FX1:COMP SUSTAIN FX1:COMP ATTACK FX1:COMP TONE FX1:COMP FX1:LIMITER FX1:LIMITER ATTACK FX1:LIMITER THRESHOLD FX1:LIMITER RATIO FX1:LIMITER RELEASE FX1:LIMITER FX1:T.WAH MODE FX1:T.WAH POLARITY FX1:T.WAH SENS FX1:T.WAH FREQ FX1:T.WAH PEAK FX1:T.WAH FX1:GEQ 100Hz FX1:GEQ 200Hz FX1:GEQ 400Hz FX1:GEQ 800Hz FX1:GEQ 1.6kHz FX1:GEQ 3.2kHz FX1:GEQ 6.4kHz FX1:GEQ FX1:PEQ LOW GAIN FX1:PEQ LOW-MID FREQ FX1:PEQ LOW-MID Q FX1:PEQ LOW-MID GAIN FX1:PEQ HIGH-MID FREQ FX1:PEQ HIGH-MID Q FX1:PEQ HIGH-MID GAIN FX1:PEQ HIGH GAIN FX1:PEQ FX1:TONE MOD FX1:TONE MOD RESONANCE FX1:TONE MOD LOW FX1:TONE MOD HIGH FX1:TONE MOD FX1:GUITAR SIM FX1:GUITAR SIM LOW FX1:GUITAR SIM HIGH FX1:GUITAR SIM FX1:GUITAR SIM BODY FX1:A.GUITAR SIM HIGH FX1:A.GUITAR SIM BODY FX1:A.GUITAR SIM LOW FX1:A.GUITAR SIM FX1:SLOW GEAR SENS FX1:SLOW GEAR RISE TIME OFF PATCH 1CmpTYP 1CmpSUS 1CmpATK 1CmpTON 1CmpLVL 1LmtTYP 1LmtATK 1LmtTHR 1LmtRAT 1LmtREL 1LmtLVL 1TwhMOD 1TwhPOL 1TwhSNS 1TwhFRQ 1TwhPEK 1TwhLVL 1GEq100 1GEq200 1GEq400 1GEq800 1GEq1.6k 1GEq3.2k 1GEq6.4k 1GEqLVL 1PEqLoG 1PEqLmF 1PEqLmQ 1PEqLmG 1PEqHmF 1PEqHmQ 1PEqHmG 1PEqHiG 1PEqLVL 1TmodTYP 1TmodRES 1TmodLO 1TmodHI 1TmodLVL 1GSimTYP 1GSimLO 1GSimHI 1GSimLVL 1GSimBDY 1ASimHI 1ASimBDY 1ASimLO 1ASimLVL 1SgSNS 1SgRIS FX1:SLOW GEAR FX1:OCTAVE -2OCT FX1:OCTAVE -1OCT FX1:OCTAVE DIRECT FX1:PITCH SHIFT PITCH FX1:PITCH SHIFT FINE FX1:PITCH SHIFT PRE-DELAY FX1:PITCH SHIFT E. FX1:PITCH SHIFT FEEDBACK FX1:PITCH SHIFT D. FX1:HARMONIST HARMONY FX1:HARMONIST PRE-DELAY FX1:HARMONIST E. FX1:HARMONIST FEEDBACK FX1:HARMONIST D. FX1:OVERTONE DETUNE FX1:OVERTONE TONE FX1:OVERTONE UPPER FX1:OVERTONE LOWER FX1:OVERTONE D. FX1:FEEDBACKER DEPTH FX1:FEEDBACKER TRIGGER FX1:AC.PROCESSOR FX1:AC.PROCESSOR BASS FX1:AC.PROCESSOR MIDDLE FX1:AC.PROCESSOR TREBLE FX1:AC.PROCESSOR PRESENCE FX1:AC.PROCESSOR FX1:PHASER FX1:PHASER FX1:PHASER DEPTH FX1:PHASER MANUAL FX1:PHASER RESONANCE FX1:PHASER FX1:FLANGER FX1:FLANGER DEPTH FX1:FLANGER MANUAL FX1:FLANGER RESONANCE FX1:FLANGER LOW CUT FX1:FLANGER FX1:TREMOLO WAVE FX1:TREMOLO FX1:TREMOLO DEPTH FX1:TREMOLO FX1:ROTARY BALANCE FX1:ROTARY SPEED FX1:ROTARY SLOW FX1:ROTARY FAST FX1:ROTARY TRANSITION FX1:ROTARY FX1:UNI-V FX1:UNI-V DEPTH 1SgLVL 1Oct-2 1Oct-1 1OctDLV 1PsPITCH 1PsFINE 1PsPDLY 1PsELV 1PsFBK 1PsDLV 1HrmHARM 1HrmPDLY 1HrmELV 1HrmFBK 1HrmDLV 1OvtnDTN 1OvtnTON 1OvtnUPR 1OvtnLWR 1OvtnDLV 1FbkDPT 1FbkTRG 1AcpTYP 1AcpBAS 1AcpMID 1AcpTRBL 1AcpPRES 1AcpLVL 1PhTYP 1PhRAT 1PhDPT 1PhMAN 1PhRES 1PhLVL 1FlgRAT 1FlgDPT 1FlgMAN 1FlgRES 1FlgLoC 1FlgLVL 1TrmWAV 1TrmRAT 1TrmDPT 1TrmLVL 1RotBAL 1RotSPD 1RotSLW 1RotFST 1RotTRA 1RotLVL 1UnvRAT 1UnvDPT FX1:UNI-V FX1:VIBRATO FX1:VIB DEPTH FX1:VIBRATO TRIGGER FX1:VIB RISE TIME FX1:VIBRATO FX1:CHORUS MODE FX1:CHORUS FX1:CHORUS DEPTH FX1:CHORUS LOW CUT FX1:CHORUS HIGH CUT FX1:CHORUS E. FX1:SUB DELAY FX1:SUB DELAY TIME FX1:SUB DELAY FEEDBACK FX1:SUB DELAY HIGH CUT FX1:SUB DELAY E. FX1:SUB DELAY D. FX1:SUB DELAY TAP TIME OD/DS: OD/DS:DRIVE OD/DS:BOTTOM OD/DS:TONE OD/DS:E. OD/DS:D. PREAMP: PREAMP:GAIN PREAMP:BASS PREAMP:MIDDLE PREAMP:TREBLE PREAMP:PRESENCE PREAMP: PREAMP:BRIGHT PREAMP:SP. NS:THRESHOLD NS:RELEASE FX2:COMP FX2:COMP SUSTAIN FX2:COMP ATTACK FX2:COMP TONE FX2:COMP FX2:LIMITER FX2:LIMITER ATTACK FX2:LIMITER THRESHOLD FX2:LIMITER RATIO FX2:LIMITER RELEASE FX2:LIMITER FX2:T.WAH MODE FX2:T.WAH POLARITY FX2:T.WAH SENS FX2:T.WAH FREQ FX2:T.WAH PEAK 1UnvLVL 1VibRAT 1VibDPT 1VibTRG 1VibRIS 1VibLVL 1ChoMOD 1ChoRAT 1ChoDPT 1ChoLoC 1ChoHiC 1ChoELV 1DlyTYP 1DlyTIM 1DlyFBK 1DlyHiC 1DlyELV 1DlyDLV 1DlyTAP OD: OD:DRIVE OD:BOTM OD:TONE OD:ELV OD:DLV PrA: PrA:GAIN PrA:BASS PrA:MID PrA:TRBL PrA:PRES PrA: PrA:BRT PrA:SP NS:THRES NS:RELEAS 2CmpTYP 2CmpSUS 2CmpATK 2CmpTON 2CmpLVL 2LmtTYP 2LmtATK 2LmtTHR 2LmtRAT 2LmtREL 2LmtLVL 2TwhMOD 2TwhPOL 2TwhSNS 2TwhFRQ 2TwhPEK 23

24 MENU Value Display Value Display Value Display FX2:T.WAH FX2:GEQ 100Hz FX2:GEQ 200Hz FX2:GEQ 400Hz FX2:GEQ 800Hz FX2:GEQ 1.6kHz FX2:GEQ 3.2kHz FX2:GEQ 6.4kHz FX2:GEQ FX2:PEQ LOW GAIN FX2:PEQ LOW-MID FREQ FX2:PEQ LOW-MID Q FX2:PEQ LOW-MID GAIN FX2:PEQ HIGH-MID FREQ FX2:PEQ HIGH-MID Q FX2:PEQ HIGH-MID GAIN FX2:PEQ HIGH GAIN FX2:PEQ FX2:TONE MOD FX2:TONE MOD RESONANCE FX2:TONE MOD LOW FX2:TONE MOD HIGH FX2:TONE MOD FX2:GUITAR SIM FX2:GUITAR SIM LOW FX2:GUITAR SIM HIGH FX2:GUITAR SIM FX2:GUITAR SIM BODY FX2:A.GUITAR SIM HIGH FX2:A.GUITAR SIM BODY FX2:A.GUITAR SIM LOW FX2:A.GUITAR SIM FX2:SLOW GEAR SENS FX2:SLOW GEAR RISE TIME FX2:SLOW GEAR FX2:OCTAVE -2OCT FX2:OCTAVE -1OCT FX2:OCTAVE DIRECT FX2:PITCH SHIFT PITCH FX2:PITCH SHIFT FINE FX2:PITCH SHIFT PRE-DELAY FX2:PITCH SHIFT E. FX2:PITCH SHIFT FEEDBACK FX2:PITCH SHIFT D. FX2:HARMONIST HARMONY FX2:HARMONIST PRE-DELAY FX2:HARMONIST E. FX2:HARMONIST FEEDBACK FX2:HARMONIST D. FX2:OVERTONE DETUNE FX2:OVERTONE TONE FX2:OVERTONE UPPER FX2:OVERTONE LOWER FX2:OVERTONE D. FX2:FEEDBACKER DEPTH FX2:FEEDBACKER TRIGGER FX2:AC.PROCESSOR FX2:AC.PROCESSOR BASS FX2:AC.PROCESSOR MIDDLE FX2:AC.PROCESSOR TREBLE FX2:AC.PROCESSOR PRESENCE FX2:AC.PROCESSOR 2TwhLVL 2GEq100 2GEq200 2GEq400 2GEq800 2GEq1.6k 2GEq3.2k 2GEq6.4k 2GEqLVL 2PEqLoG 2PEqLmF 2PEqLmQ 2PEqLmG 2PEqHmF 2PEqHmQ 2PEqHmG 2PEqHiG 2PEqLVL 2TmodTYP 2TmodRES 2TmodLO 2TmodHI 2TmodLVL 2GSimTYP 2GSimLO 2GSimHI 2GSimLVL 2GSimBDY 2ASimHI 2ASimBDY 2ASimLO 2ASimLVL 2SgSNS 2SgRIS 2SgLVL 2Oct-2 2Oct-1 2OctDLV 2PsPITCH 2PsFINE 2PsPDLY 2PsELV 2PsFBK 2PsDLV 2HrmHARM 2HrmPDLY 2HrmELV 2HrmFBK 2HrmDLV 2OvtnDTN 2OvtnTON 2OvtnUPR 2OvtnLWR 2OvtnDLV 2FbkDPT 2FbkTRG 2AcpTYP 2AcpBAS 2AcpMID 2AcpTRBL 2AcpPRES 2AcpLVL FX2:PHASER FX2:PHASER FX2:PHASER DEPTH FX2:PHASER MANUAL FX2:PHASER RESONANCE FX2:PHASER FX2:FLANGER FX2:FLANGER DEPTH FX2:FLANGER MANUAL FX2:FLANGER RESONANCE FX2:FLANGER LOW CUT FX2:FLANGER FX2:TREMOLO WAVE FX2:TREMOLO FX2:TREMOLO DEPTH FX2:TREMOLO FX2:ROTARY BALANCE FX2:ROTARY SPEED FX2:ROTARY SLOW FX2:ROTARY FAST FX2:ROTARY TRANSITION FX2:ROTARY FX2:UNI-V FX2:UNI-V DEPTH FX2:UNI-V FX2:VIBRATO FX2:VIB DEPTH FX2:VIBRATO TRIGGER FX2:VIB RISE TIME FX2:VIBRATO FX2:CHORUS MODE FX2:CHORUS FX2:CHORUS DEPTH FX2:CHORUS LOW CUT FX2:CHORUS HIGH CUT FX2:CHORUS E. FX2:SUB DELAY FX2:SUB DELAY TIME FX2:SUB DELAY FEEDBACK FX2:SUB DELAY HIGH CUT FX2:SUB DELAY E. FX2:SUB DELAY D. FX2:SUB DELAY TAP TIME DELAY: DELAY:TIME DELAY:FEEDBACK DELAY:HIGH CUT DELAY:E. DELAY:TAP TIME DELAY:MODULATION DELAY:MODULATION DEPTH TERA ECHO:TIME TERA ECHO:FEEDBACK TERA ECHO:TONE TERA ECHO:E. TERA ECHO:D. TERA ECHO:HOLD REVERB: REVERB:TIME REVERB:LOW CUT REVERB:HIGH CUT REVERB: 2PhTYP 2PhRAT 2PhDPT 2PhMAN 2PhRES 2PhLVL 2FlgRAT 2FlgDPT 2FlgMAN 2FlgRES 2FlgLoC 2FlgLVL 2TrmWAV 2TrmRAT 2TrmDPT 2TrmLVL 2RotBAL 2RotSPD 2RotSLW 2RotFST 2RotTRA 2RotLVL 2UnvRAT 2UnvDPT 2UnvLVL 2VibRAT 2VibDPT 2VibTRG 2VibRIS 2VibLVL 2ChoMOD 2ChoRAT 2ChoDPT 2ChoLoC 2ChoHiC 2ChoELV 2DlyTYP 2DlyTIM 2DlyFBK 2DlyHiC 2DlyELV 2DlyDLV 2DlyTAP DL: DL:TIME DL:FBK DL:HiC DL:ELV DL:TAP DL:M.RAT DL:M.DPT TE:TIME TE:FBK TE:TONE TE:ELV TE:DLV TE:HOLD RV: RV:TIME RV:LoC RV:HiC RV: REVERB:SPRING SENS REVERB:DELAY TIME REVERB:DELAY FEEDBACK REVERB:DELAY HIGH CUT REVERB:DELAY E. REVERB:DELAY D. FOOT VOLUME: PEDAL FX: PEDAL FX:WAH PEDAL POS PEDAL FX:WAH PEDAL FX:PEDAL BEND PITCH PEDAL FX:PEDAL BEND PEDAL POS PEDAL FX:PEDAL BEND MASTER LOW GAIN MASTER MIDDLE FREQ MASTER MIDDLE Q MASTER MIDDLE GAIN MASTER HIGH GAIN PATCH MASTER BPM MASTER KEY USB MIX FX1 OD/DS PREAMP FX2 DELAY REVERB PEDAL FX OUTPUT RV:SPRNG RV:DlTIM RV:DlFBK RV:DlHiC RV:DlELV RV:DlDLV FV:LVL PdFX: WAH:POS WAH: PB:PITCH PB:POS PB: LOW GAIN MID FREQ MID Q MID GAIN HI GAIN PATCH LVL BPM KEY USB:MIX FX1 OD/DS PREAMP FX2 DELAY REVERB PEDAL FX OUT 24

25 MENU PREF (PREFERENCE) 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. EXP 1 CTL 1 EXP SW DOWN UP EXP 2 CTL 2 CTL 3 LOOP PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM PATCH, SYSTEM This specifies the level of loop playback. 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. * Here, even if a CTL/EXP pedal that has been set to SYSTEM is set to ASSIGN SOURCE (p. 17), that setting will be ignored. LOOP Specifies the phrase playback volume. USB Here you can make USB-related settings for when the GT-1 is connected to a computer via USB. USB audio flow GT-1 outputs the effect sound, and the return from the computer is mixed with your guitar performance at the final stage. GT-1 USB IN INPUT EFFECT OUT USB OUT Effect Chain OUTPUT MIX MIX 0 200% Adjusts the level of the audio input from the computer. At this time, the audio input from the computer is mixed at the final stage of the GT-1. EFX OUT (EFFECT OUT ) DIRECT MONITOR 0 200% Adjusts the level at which the sound processed by the effects of the GT-1 is output to the computer. Switches whether the sound of the GT-1 is output to the PHONES jack or the OUTPUT jacks. * This setting cannot be saved. It will be ON when the unit is powered-on. Turn this off if the audio data is being passed thru within the computer. OFF In this case, you won t hear sound unless the computer is set to thru. The sound of the GT-1 is output directly. Turn this on if you re using the GT-1 on its own without ON connecting it to a computer. (If you turn this off, only the sound being input via USB is output.) PDL CALIBRATION (PEDAL CALIBRATION) You can readjust the expression pedal so that it will operate optimally. THRESHOLD 1 16 Adjusts the sensitivity at which the EXP PEDAL SW will respond. F.RESET (FACTORY RESET) Initializes the GT-1 to its factory-set condition. FROM SYSTEM System parameter settings U01 U99 Settings for Patch Number U01 through U99 TO SYSTEM System parameter settings U01 U99 Settings for Patch Number U01 through U99 25

26 Other Settings TUNER Editing procedure 1. Simultaneously press switches [I] and [H]. The tuner function will turn on. 2. Use knobs [1] and [3] to specify the settings. Knob [1] PITCH 435 Hz 445 Hz Specifies the reference pitch. [3] OUTPUT MUTE BYPASS THRU Sound will not be output while tuning. While tuning, the sound of the guitar being input to the GT-1 will be output without change. All effects will be off. Allows you to tune while hearing the current effect sound. 3. Simultaneously press switches [I] and [H] to return to the play screen. You can also return to the play screen by pressing the [EXIT] button. 26