BOSSCO GT-001 User manual

Parameter Guide
• Roland, BOSS, COSM, COMBO DRIVE, CRUNCH, FEEDBACKER,
HARMONIST, INTELLIGENT, METAL ZONE, OVERDRIVE, ROTARY SOUND,
SLICER, TOUCH WAH, Friend Jam, and BOSS Tone Central are either
registered trademarks or trademarks of Roland Corporation in the
United States and/or other countries.
• Company names and product names appearing in this document are
the registered trademarks or trademarks of their respective owners.
This document uses these names in order to appropriately describe the
sounds simulated by COSM technology.
Copyright © 2014 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION. 01

2
Contents
EFFECT ..........................................................3
Editing the Eects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
COMP ..........................................................3
OD/DS ..........................................................3
PREAMP (PrA/PrB) ...............................................4
EQ ..............................................................7
FX1/FX2 ........................................................7
T. WAH ....................................................8
AUTO WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
SUB WAH .................................................9
ADV. COMP ...............................................9
LIMITER ...................................................9
SUB OD/DS ..............................................10
GRAPHIC EQ .............................................10
PARAMETRIC EQ .........................................10
TONE MODIFY ...........................................10
GUITAR SIM ..............................................11
AC. GUITAR SIM ..........................................11
SLOW GEAR ..............................................11
DEFRETTER ..............................................11
WAVE SYNTH .............................................11
SITAR SIM. ...............................................12
OCTAVE ..................................................12
PITCH SHIFTER ...........................................12
HARMONIST .............................................13
OVERTONE (FX2 Only) ....................................13
SOUND HOLD ............................................13
AC. PROCESSOR ..........................................14
PHASER ..................................................14
FLANGER ................................................14
TREMOLO ................................................15
ROTARY 1/ROTARY 2 .....................................15
UNI-V ....................................................15
PAN .....................................................15
SLICER ...................................................16
VIBRATO .................................................16
RING MOD ...............................................16
HUMANIZER .............................................16
2X2 CHORUS .............................................17
SUB DELAY ...............................................17
TERA ECHO (FX2 Only) ...................................17
DELAY .........................................................18
CHORUS .......................................................19
REVERB ........................................................20
PEDAL FX ......................................................20
PEDAL BEND .............................................20
WAH .....................................................20
FOOT VOLUME .................................................21
FOOT VOLUME ...........................................21
DIVIDER .......................................................21
SINGLE ..................................................21
DUAL Ch. A, DUAL Ch. B ..................................21
MIXER .........................................................22
NS1/NS2 .......................................................22
ACCEL FX ......................................................22
S-BEND ..................................................22
LASER BEAM .............................................22
RING MOD ...............................................23
TWIST ...................................................23
WARP ....................................................23
FEEDBACKER .............................................23
MASTER SETTING ..............................................24
MASTER SETTING ........................................24
MASTER EQ ..............................................24
MENU ..........................................................25
CTL/EXP .......................................................25
Pedal Settings ...........................................25
Using a Pedal to Control Desired Parameters . . . . . . . . . . . . . .25
CTL1, CTL2 ...............................................25
EXP ......................................................26
Specifying the External Pedal Function for Each Patch
(Assign) ..................................................26
ASSIGN COMMON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
ASSIGN 1–8 ..............................................26
Virtual expression pedal system (Internal Pedal / Wave
Pedal) ...................................................31
Input level ...............................................31
SYSTEM ........................................................33
OUTPUT SELECT .........................................33
INPUT ...................................................33
KNOB SETTING ...........................................33
USB ......................................................34
GLOBAL EQ ..............................................34
TOTAL ...................................................35
PLAY OPTION ............................................35
PREFERENCE .............................................35
LCD ......................................................35
G.2MIDI (GUITAR TO MIDI) ................................35
MIDI SETTING ............................................36
P.MAP (MIDI-PROGRAM CHG MAP) . . . . . . . . . . . . . . . . . . . . . . . .37
MIDI BULK DUMP ........................................37
AUTO OFF ...............................................37
FACTORY RESET ..........................................37
DAW CTL (DAW Control) ........................................38
Other Settings ..................................................39
TUNER/METRONOME ..........................................39
TUNER ...................................................39
METRONOME ............................................39
Troubleshooting ................................................40
Preset Patch List ................................................41
MEMO
• This eect sound is mono.
• This eect sound is output with two channels.
• These eects take a mono input and output it on two channels.

3
EFFECT
Editing the Eects
To edit the eect settings, use the value knob to select a page in the
display, and use knobs [1]–[4] to select the value of each parameter.
MEMO
• For details on basic operation for eects, refer to “Editing:
Editing the Eects” (p. 7) in the owner’s manual.
• In each edit screen, you can press the value knob to turn the
eect on/o.
COMP
This is an eect that produces a long sustain by evening out the
volume level of the input signal.
Knob Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Page 1
[1] TYPE
BOSS
(BOSS COMP) This models a BOSS CS-3.
HI-BAND
This is a compressor that adds
an even stronger eect in the
high end.
LIGHT This is a compressor with a light
eect.
D-COMP This models a MXR DynaComp.
ORANGE
This is modeled on the sound
of the Dan Armstrong ORANGE
SQUEEZER.
FAT
When applied heavily, this
compressor eect provides a fat
tone with a boosted midrange.
MILD
When applied heavily, this
compressor eect produces a
sweet tone with the high end
cut.
STEREO
(STEREO COMP)
This selects a stereo compres-
sor.
[2] SUSTAIN 0–100
Adjusts the range (time) over
which low-level signals are
boosted. Larger values will
result in longer sustain.
[3] ATTACK 0–100
Adjusts the strength of the
picking attack when the strings
are played. Higher values result
in s sharper attack, creating a
more clearly dened sound.
[4] LEVEL 0–100 Adjusts the volume.
Page 2
[1] TONE -50–+50 This adjusts the tone.
OD/DS
This eect distorts the sound to create long sustain.
Knob Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Page 1
[1] TYPE Refer to OD/DS TYPE
[2] DRIVE 0–120 Adjusts the depth of distortion.
[3] TONE -50–+50 This adjusts the tone.
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the eect
sound.
Page 2
[1] BOTTOM -50–+50
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.
[2] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
[3] SOL.SW
(SOLO SW) OFF, ON Switches to a tone that is suitable
for solos.
[4] SOL.LV
(SOLO LEVEL) 0–100 Adjusts the volume level when the
Solo Sw is ON.
OD/DS TYPE
This is a list of distortion types that can be selected for OD/DS.
Category Type Explanation
ADVANCED
MID BST
(MID BOOST)
This is a booster with unique characteristics
in the midrange.
Making the connection before the COSM
amp produces sound suitable for solos.
CLN BST
(CLEAN BOOST)
This not only functions as a booster, but
also produces a clean tone that has punch
even when used alone.
TRB BST
(TREBLE BOOST)
This is a booster that has bright
characteristics.
CRUNCH A lustrous crunch sound with an added
element of amp distortion.
NTRL OD
(NATURAL OD)
This is an overdrive sound that provides
distortion with a natural feeling.
WRM OD (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.
METL DS
(METAL DS)
This is distortion sound that is ideal for
performances of heavy ris.
OCT FUZ
(OCT FUZZ) A fuzz sound with rich harmonic content.
A-DIST
* Only for OD/DS
and SUB OD/DS
in FX2
This eect uses MDP (Multi-Dimensional
Processing) to provide ideal distortion in all
pitch ranges of the guitar, from low to high.

EFFECT
4
Category Type Explanation
VINTAGE
BLUS OD
(BLUES OD)
This is a crunch sound of the BOSS BD-2.
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-SCRM
(T-SCREAM) This models an Ibanez TS-808.
TURB OD
(TURBO OD)
This is the high-gain overdrive sound of the
BOSS OD-2.
DIST
(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+.
MTL ZON
(METAL ZONE)
This models the sound of the BOSS MT-2.
It produces a wide range of metal sounds,
from old style to slash metal.
60S FUZ
('60S FUZZ)
This models a FUZZFACE.
It produces a fat fuzz sound.
MUF FUZ
(MUFF FUZZ)
This models an Electro-Harmonix Big
Mu π.
CUSTOM
Custom OD/DS
You can customize it however you like to
match the sound you want.
CUSTOM OD/DS SETTING
Knob Parameter Value Explanation
Page 3 (shown only if OD/DS TYPE is set to “CUSTOM”)
[1] TYPE
(CUSTOM TYPE)
OD-1 This models the sound of
the BOSS OD-1.
OD-2 This is a overdrive sound
with high gain.
CRUNCH This is a crunch sound.
DS-1
This gives a basic,
traditional distortion
sound.
DS-2 This creates a heavier
distortion sound.
METAL1 This is a metal sound with a
characteristic midrange.
METAL2 This gives a heavy metal
sound.
FUZZ This gives a basic,
traditional fuzz sound.
[2] CHAR
(CUSTOM CHARACTER) -50–+50 +: For soloing
-: For backing
[3] BOTTOM
(CUSTOM BOTTOM) -50–+50
This controls the input
sound’s low-frequency
range and adjusts the
amount of distortion in the
low-frequency range
[4] TOP
(CUSTOM TOP) -50–+50
This controls the input
sound’s high-frequency
range and adjusts the
amount of distortion in the
high-frequency range.
Page 4 (shown only if OD/DS TYPE is set to “CUSTOM”)
[1] LOW (CUSTOM LOW) -50–+50
Adjusts the low-range
tones after distortion is
applied.
[2] HIGH (CUSTOM HIGH) -50–+50
Adjusts the high-range
tones after distortion is
applied.
PREAMP (PrA/PrB)
COSM technology simulates dierent preamp characteristics,
speaker sizes, and cabinet shapes.
Knob Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Page 1
[1] TYPE Refer to PREAMP TYPE
[2] GAIN 0–120 Adjusts the distortion of the amp.
[3] T-COMP -10–0–+10 Adjusts the sense of compression
of the amp.
[4] LEVEL 0–100
Adjusts the volume of the entire
preamp.
* Be careful not to raise the Level
setting too high.
Page 2
[1] BASS 0–100 Adjusts the tone for the low
frequency range.
[2] MIDDLE 0–100 Adjusts the tone for the middle
frequency range.
[3] TREBLE 0–100 Adjusts the tone for the high
frequency range.
[4] PRES (PRESENCE) 0–100
Adjusts the tone for the ultra high
frequency range.
* The PRESENCE parameter
functions as a high-cut lter with
some PREAMP TYPEs.
Page 3
[1] BRIGHT OFF, ON
Turns the bright setting on/o.
* The BRIGHT parameter setting
is available only with certain
PREAMP TYPEs.
[2] GAIN.SW LOW, MIDDLE,
HIGH
Switches the amp’s amount of
distortion in three steps: LOW,
MIDDLE, and HIGH. The steps
LOW, MIDDLE, and HIGH provide
correspondingly increasing
amounts of distortion.
* The sound of each Type is
created on the basis that the
Gain is set to MIDDLE.
[3] SOL.SW
(SOLO SW) OFF, ON The tone to one suitable for solos.
[4] SOL.LV
(SOLO LEVEL) 0–100 Adjusts the volume level when the
Solo Sw is ON.

EFFECT
5
Knob Parameter Value Explanation
Page 4
[1]
SP.TYP
(SPEAKER TYPE)
*1
Select the speaker type.
OFF This turns o the speaker
simulator.
ORIGIN
(ORIGINAL)
This is the built-in speaker of the
amp you selected with PREAMP
TYPE.
1x8"
This is a compact open-back
speaker cabinet with one 8-inch
speaker.
1x10"
This is a compact open-back
speaker cabinet with one 10-inch
speaker.
1x12"
This is a compact open-back
speaker cabinet with one 12-inch
speaker.
2x12" This is a general open-back speaker
cabinet with two 12-inch speakers.
4x10"
This is an optimal speaker cabinet
for a large enclosed amp with four
10-inch speakers.
4x12"
This is an optimal speaker cabinet
for a large enclosed amp with four
12-inch speakers.
8x12"
This is a double stack of two
cabinets, each with four 12-inch
speakers.
CUSTOM
Custom speaker You can customize
it however you like to match the
sound you want.
[2]
MIC.TYP
(MIC TYPE)
*1
This setting selects the simulated mic type.
DYN57
This is the sound of the SHURE SM-
57. General dynamic mic used for
instruments and vocals. Optimal
for use in miking guitar amps.
DYN421
Simulates the sound of the MD-
421. Dynamic mic with extended
low end.
CND451
Simulates the sound of the AKG
C451B. Small condenser mic for use
with instruments.
CND87
Simulates the sound of the
NEUMANN U87. Condenser mic
with at response.
FLAT
Simulates a mic with perfectly at
response. Produces a sonic image
close to that of listening to the
sound directly from the speakers
(on site).
[3]
MIC.DIS
(MIC DISTANCE)
*1
Simulates the distance between the mic and
speaker.
OFF MIC This setting points the mic away
from the speaker.
ON MIC
Provides conditions whereby the
mic is directed more towards the
speaker.
[4]
MIC.POS
(MIC POSITION)
*1
This simulates the mic position.
CENTER
Simulates the condition that the
mic is set in the middle of the
speaker cone.
1–10 cm
Simulates the condition that the
mic is moved away from the center
of the speaker cone.
Page 5
[1] MIC.LVL
(MIC LEVEL) *1 0–100 Adjusts the volume of the mic.
[2] DIR.MIX
(DIRECT MIX) *1 0–100 Adjusts the volume of the direct
sound.
*1 This is enabled when the OUTPUT SELECT parameter is set to LINE/PHONE.
PREAMP TYPE
This is a list of the amp types that can be selected for PREAMP.
Category Type Explanation
ADVANCED
NtrlCLN
(NATURAL CLEAN)
An unembellished, clean sound that
minimizes the amp’s idiosyncrasies,
such as its trebly character and
boomy low end.
FUL RNG
(FULL RANGE)
An amp with a broad frequency
range and an extremely at re-
sponse. Good for acoustic guitar.
CB CRNC
(COMBO CRUNCH)
Crunch sound that allows the
nuances of your picking to be
expressed even more faithfully than
on conventional combo amps.
ST CRNC
(STACK CRUNCH)
Great-feeling crunch sound that
responds well to picking dynamics
while retaining all the dening
characteristics of a 4 x 12” speaker
cabinet.
HiG STK
(HiGAIN STACK)
High-gain sound of a vintage
Marshall specially revamped in a
way that is possible only with COSM
modeling technology.
PwrDRV
(POWER DRIVE)
A straightforward drive sound
that is suitable for a wide range of
situations from backing to lead, and
which could not be obtained from
previous combo amps or stack amps.
XTRM LD
(EXTREME LEAD)
A new type of sound that smoothes
out the uneven frequency response
that is typical of existing large stack
amps.
COR MTL
(CORE METAL)
A large stack sound that has been
tweaked extensively in the pursuit of
the ultimate metal sound.

EFFECT
6
Category Type Explanation
VINTAGE
JC-120 This models the sound of the Roland
JC-120.
CLN TWN
(CLEAN TWIN) This models a Fender Twin Reverb.
PR CRNC
(PRO CRUNCH) This models a Fender Pro Reverb.
TWEED This models a Fender Bassman 4 x
10” Combo.
DxCRNC
(DELUXE CRUNCH) This models a Fender Deluxe Reverb.
VO DRIV
(VO DRIVE)
This models the drive sound of a VOX
AC-30TB.
This is a sound that it suited to
sixties-style British rock.
VO LEAD This models the lead sound of the
VOX AC-30TB.
MATCH
(MATCH DRIVE)
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.
BG LEAD
This models the lead sound of the
MESA/ Boogie combo amp.
The sound of a tube amp typical of
the late ’70s to ’80s.
BG DRIV
(BG DRIVE)
This models a MESA/Boogie with
TREBLE SHIFT SW on.
1959 I
(MS1959 I)
This models the sound input to Input
I on a Marshall 1959.
This is a trebly sound suited to hard
rock.
1959 I+II
(MS1959 I+II)
This models the sound of a Marshal
1959’s inputs I and II connected in
parallel. The sound emphasizes the
low end more than I.
RFR VIN
(R-FIER VINTAGE)
Models the sound of the Channel 2
VINTAGE Mode on the MESA/Boogie
DUAL Rectier.
RFR MDN
(R-FIER MODERN)
Models the sound of the Channel 2
MODERN Mode on the MESA/Boogie
DUAL Rectier.
T-AMP
(T-AMP LEAD)
This models a Hughes & Kettner
Triamp AMP3.
SLDN This models a Soldano SLO-100. This
is the typical sound of the eighties.
5150
(5150 DRIVE)
This models the lead channel of a
Peavey EVH 5150.
BGNR UB
(BGNR UB METAL)
This is a heavily distorted sound that
models the high gain channel of a
Bogner Uberschall.
ORNG RV
(ORNG ROCK REVERB)
This models the dirty channel of an
ORANGE ROCKERVERB.
CUSTOM
This is a custom preamp.
You can customize it however you
like to match the sound you want.
CUSTOM AMP SETTING
Knob Parameter Value Explanation
Page 6 (shown only if PREAMP TYPE is set to “CUSTOM”)
[1] TYPE
(CUSTOM TYPE)
JC CLEN
(JC CLEAN)
This models the sound of the
Roland JC-120.
TW CLEN
(TW CLEAN) This models a Fender Twin Reverb.
CRUNCH
This is a crunch sound that can
faithfully reproduce the nuances
of picking.
CMB DRV
(COMBO DRIVE)
This is a combo amp sound that it
suited to sixties-style British rock.
CMB LD
(COMBO LEAD)
This is a lead sound of a combo
tube amp typical of the late ’70s
to ’80s.
MS HiG
(MS HiGAIN)
This models the sound input to
Input I on a Marshall 1959.
This is a trebly sound suited to
hard rock.
MDN STK
(MODERN
STACK)
This original high-gain amp
delivers thick lows and intense
distortion while still preserving
the sound’s clear denition.
[2]
CHAR
(CUSTOM
CHARACTER)
-50–+50 +: For soloing
-: For backing
[3] BOTTOM
(CUSTOM BOTTOM) -50–+50
This controls the input sound’s
low-frequency range and adjusts
the amount of distortion in the
low-frequency range
[4] EDGE (CUSTOM
EDGE) -50–+50
This controls the input sound’s
high-frequency range and adjusts
the amount of distortion in the
high-frequency range.
Page 7 (shown only if PREAMP TYPE is set to “CUSTOM”)
[1]
LOW
(CUSTOM PREAMP
LOW)
-50–+50 Adjusts the preamp section’s
low-frequency tone.
[2]
HIGH
(CUSTOM PREAMP
HIGH)
-50–+50 Adjusts the preamp section’s
high-frequency tone.
CUSTOM SPEAKER SETTING
Knob Parameter Value Explanation
Page 8 (shown only if SPEAKER TYPE is set to “CUSTOM”)
[1] SP.SIZE
(CUSTOM SPEAKER SIZE) 5–15" Selects the size of speaker.
[2] SP.NUM
(CUSTOM SPEAKER NUMBER) x1, x2, x4, x8 Sets the number of
speakers.
[3] CABINET
(CUSTOM CABINET)
Selects the speaker cabinet type.
OPEN This is an open-backed
cabinet
CLOSE
This type of cabinet
features an enclosed rear
panel.
Page 9 (shown only if SPEAKER TYPE is set to “CUSTOM”)
[1] COLOR.L
(CUSTOM COLOR LOW) -10–+10
Adjusts the speaker
section’s low-frequency
tone.
[2] COLOR.H
(CUSTOM COLOR HIGH) -10–+10
Adjusts the speaker
section’s high-frequency
tone.

EFFECT
7
EQ
This adjusts the tone. A parametric type is adopted for the high-
middle and low-middle range.
Knob Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
Page 1
[1] LO.GAIN
(LOW GAIN) -20–+20 dB Adjusts the low frequency range
tone.
[2] HI.GAIN
(HIGH GAIN) -20–+20 dB Adjusts the high frequency range
tone.
[4] LEVEL -20–+20 dB Adjusts the overall volume level
of the equalizer.
Page 2
[1]
LM.FREQ
(LOW-MID
FREQUENCY)
20 Hz–10.0 kHz
Species the center of the
frequency range that will be
adjusted by the LOW-MID GAIN.
[2] LM.Q
(LOW-MID Q) 0.5–16
Adjusts the width of the area
aected by the EQ centered
at the LOW-MID FREQ. Higher
values will narrow the area.
[3] LM.GAIN
(LOW-MID GAIN) -20–+20 dB Adjusts the middle frequency
range tone.
Page 3
[1]
HM.FREQ
(HIGH-MID
FREQUENCY)
20 Hz–10.0 kHz
Species the center of the
frequency range that will be
adjusted by the HIGH-MID GAIN.
[2] HM.Q
(HIGH-MID Q) 0.5–16
Adjusts the width of the area
aected by the EQ centered
at the HIGH-MID FREQ. Higher
values will narrow the area.
[3] HM.GAIN
(HIGH-MID GAIN) -20–+20 dB Adjusts the low-middle
frequency range tone.
Page 4
[1] LO.CUT
(LOW CUT)
FLAT, 20
Hz–800 Hz
This sets the frequency at which
the low cut lter begins to take
eect. When “Flat” is selected, the
low cut lter will have no eect.
[4] HI.CUT
(HIGH CUT)
630 Hz–
12.5 kHz, FLAT
This sets the frequency at which
the high cut lter begins to take
eect. When “FLAT” is selected,
the high cut lter will have no
eect.
FX1/FX2
With FX1 and FX2, you can select the eect to be used from the
following. You can select the same eect for FX1 and FX2.
* Some eects can be selected only for FX2.
Parameter Value Explanation
ON/OFF OFF, ON Turns this eect on/o.
TYPE Refer to FX1/FX2 TYPE
Selecting the TYPE
1. Choose [EFFECT]"”FX1” or “FX2.”
2. Select the type using the knob [4].
FX1/FX2 TYPE
This is a list of the eects that can be selected for FX1/FX2.
Eect Name TYPE Explanation
T. WAH (Touch Wah)
You can produce a wah eect with the
lter changing in response to the guitar
level.
AUTO WAH (Auto Wah) This changes the ltering over a periodic
cycle, providing an automatic wah eect.
SUB WAH —
You can use an expression pedal
connected to the CTL/EXP jack to control
the wah eect in real time.
ADV. COMP (Advanced
Compressor)
This is an eect 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.
LIMITER —The limiter attenuates loud input levels to
prevent distortion.
SUB OD/DS —This eect distorts the sound to create
long sustain.
GRAPHIC EQ (Graphic
Equalizer)
This adjusts the tone. You can adjust the
sound quality in ten bands.
PARAMETRIC EQ (Parametric
Equalizer)
This adjusts the tone. You can adjust the
sound quality in four bands. You can
adjust the sound quality in four bands.
TONE MODIFY —This changes the tone of the connected
guitar.
GUITAR SIM (Guitar
Simulator)
Simulation of the characteristics of
particular guitar components such as
pickups and dierent guitar bodies
allows you to switch among a number
of dierent guitar types all while using a
single guitar.
AC.GUITAR SIM —This transforms the sound of an electric
guitar into the sound of an acoustic guitar.
SLOW GEAR —This produces a volume-swell eect
(“violin-like” sound).
DEFRETTER — This simulates a fretless guitar.
WAVE SYNTH —This is a synth sound that processes the
guitar input signal.
SITAR SIM (Sitar Simulator) This simulates the sound of the sitar.
OCTAVE —This adds a note one octave lower,
creating a richer sound.
PITCH SHIFTER —
This eect changes the pitch of the
original sound (up or down) within a
range of two octaves.

EFFECT
8
Eect Name TYPE Explanation
HARMONIST —
Harmonist is an eect where the amount
of shifting is adjusted according to an
analysis of the guitar input, allowing you
to create harmony based on diatonic
scales.
OVERTONE
* FX2 only —
This eect uses MDP technology to add
new harmonics to the sound, producing
resonance and richness that was not
present in the original sound.
SOUND HOLD —
You can have sound played on the guitar
be held continuously. This eect allows
you to perform the melody in the upper
registers while holding a note in the lower
registers.
AC. PROCESSOR (Acoustic
Processor)
This processor allows you to change the
sound produced by the pickup on an
acoustic electric guitar, creating a richer
sound similar to that obtained with a
microphone placed close to the guitar.
PHASER —
By adding varied-phase portions to the
direct sound, the phaser eect gives a
whooshing, swirling character to the
sound.
FLANGER —The anging eect gives a twisting,
jet-airplane-like character to the sound.
TREMOLO —Tremolo is an eect that creates a cyclic
change in volume.
ROTARY 1 —This produces an eect like the sound of a
rotary speaker.
ROTARY 2 —This provides rotation that has a dierent
feel than Rotary 1.
UNI-V —
This models a Uni-Vibe.
Although this resembles a phaser eect,
it also provides a unique undulation that
you can’t get with a regular phaser.
PAN —
With the volume level of the left and right
sides alternately changing, when playing
sound in stereo, you can get an eect that
makes the guitar sound appear to y back
and forth between the speakers.
SLICER —
This consecutively interrupts the sound
to create the impression that a rhythm
backing phrase is being played.
VIBRATO —This eect creates vibrato by slightly
modulating the pitch.
RING MOD —
This creates a bell-like sound by
ring-modulating the guitar sound with
the signal from the internal oscillator.
The sound can be unmusical and lack
distinctive pitches.
HUMANIZER — This can create human vowel-like sounds.
2X2 CHORUS —This allows you to achieve a more natural
chorus sound.
SUB DELAY —
This is a delay with the maximum delay
time of 1,000 ms. This eect is useful for
making the sound fatter.
TERA ECHO
* FX2 only —
This eect uses MDP technology to create
a unique ambience and a spaciousness
that changes according to your picking
dynamics.
T. WAH
You can produce a wah eect with the lter changing in response
to the guitar level.
Knob Parameter Value Explanation
Page 1
[1] MODE
Selects the wah mode.
LPF Low pass lter. This provides a wah eect
over a wide frequency range.
BPF Band pass lter. This provides a wah eect in
a narrow frequency range.
[2] POLAR
Selects the direction in which the lter will change in
response to the input.
DOWN The frequency of the lter will fall.
UP The frequency of the lter will rise.
[3] SENS 0–100
Species the sensitivity with which the lter
changes in the direction specied by the
POLAR setting.
Higher values will produce a stronger tone
which emphasizes the wah eect more. With
a setting of 0, the strength of picking will
have no eect.
[4] FREQ 0–100 Adjusts the center frequency of the Wah
eect.
Page 2
[1] PEAK 0–100
Adjusts the way in which the wah eect
applies to the area around the center
frequency.
Higher values will produce a stronger tone
which emphasizes the wah eect more. With
a value of 50 a standard wah sound will be
produced.
[3]
E.LEVEL
(EFFECT
LEVEL)
0–100 Adjusts the volume of the eect sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct sound.
AUTO WAH
This changes the ltering over a periodic cycle, providing an
automatic wah eect.
Knob Parameter Value Explanation
Page 1
[1] MODE
Selects the wah mode.
LPF Low pass lter. This provides a wah eect
over a wide frequency range.
BPF Band pass lter. This provides a wah eect in
a narrow frequency range.
[2] RATE
0–100,
BPM
–
Adjusts the frequency (speed) of the change.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied for
each patch. This makes it easier to achieve
eect 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.
[3] DEPTH 0–100 Adjusts the depth of the eect.
[4] FREQ 0–100 Adjusts the center frequency of the Wah
eect.
Page 2

EFFECT
9
Knob Parameter Value Explanation
[1] PEAK 0–100
Adjusts the way in which the wah eect
applies to the area around the center
frequency.
Higher values will produce a stronger tone
which emphasizes the wah eect more. With
a value of 50 a standard wah sound will be
produced.
[3]
E.LEVEL
(EFFECT
LEVEL)
0–100 Adjusts the volume of the eect sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct sound.
SUB WAH
You can control the wah eect in real time by adjusting the
expression pedal connected to the CTL/EXP jack.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the wah mode.
CRY
(CRY WAH)
This models the sound of the
CRY BABY wah pedal popular
in the ’70s.
VO
(VO WAH)
This models the sound of the
VOX V846.
FAT (FAT WAH) This is a wah sound featuring
a bold tone.
LIGHT
(LIGHT WAH)
This wah has a rened
sound with no unusual
characteristics.
7STRING
(7STRING WAH)
This expanded wah features
a variable range compat-
ible with seven-string and
baritone guitars.
RESO
(RESO WAH)
This completely original eect
oers enhancements on the
characteristic resonances
produced by analog synth
lters.
[2] PD.POS
(PEDAL POSITION) 0–100
Adjusts the position of the
wah pedal.
* This parameter is used after
it’s been assigned to an EXP
Pedal or similar controller.
[3] PD.MIN
(PEDAL MIN) 0–100
Selects the tone produced
when the heel of the EXP
Pedal is depressed.
[4] PD.MAX
(PEDAL MAX) 0–100
Selects the tone produced
when the toe of the EXP Pedal
is depressed.
Page 2
[1] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the
eect sound.
[2] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the
direct sound.
ADV. COMP
This is an eect 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.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the compressor type.
BOSS
(BOSS COMP) This models a BOSS CS-3.
HI-BAND
This is a compressor that adds an
even stronger eect in the high
end.
LIGHT This is a compressor with a light
eect.
D-COMP This models a MXR DynaComp.
ORANGE
This is modeled on the sound
of the Dan Armstrong ORANGE
SQUEEZER.
FAT
When applied heavily, this compres-
sor eect provides a fat tone with a
boosted midrange.
MILD
When applied heavily, this
compressor eect produces a sweet
tone with the high end cut.
STEREO
(STEREO COMP) This selects a stereo compressor.
[2] SUSTAIN 0–100
Adjusts the range (time) over which
low-level signals are boosted. Larger
values will result in longer sustain.
[3] ATTACK 0–100 Adjusts the attack time.
[4] LEVEL 0–100 Adjusts the volume.
Page 2
[1] TONE -50–+50 This adjusts the tone.
LIMITER
The limiter attenuates loud input levels to prevent distortion.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the limiter type.
BOSS
(BOSS LIMITER) This selects a stereo limiter.
160D
(RACK 160D) This models a dbx 160X.
RACK U
(VINAGE RACK U) This models a UREI 1178.
[2] THRESH
(THRESHOLD) 0–100
Adjust this as appropriate for
the input signal from your
guitar. When the input signal
level exceeds this threshold
level, limiting will be applied.
[3] RATIO 1:1–INF:1
This selects the compression
ratio used with signals in
excess of the threshold level.
[4] LEVEL 0–100 Adjusts the volume.
Page 2
[1] ATTACK 0–100
Adjusts the strength of the
picking attack when the
strings are played. Higher
values result in s sharper
attack, creating a more clearly
dened sound.
[2] RELEASE 0–100 Adjusts the release time.

EFFECT
10
SUB OD/DS
This eect distorts the sound to create long sustain.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Refer to “OD/DS TYPE” (p. 3).
* “CUSTOM” is not available.
* “A-DIST” can be used only with FX2.
[2] DRIVE 0–120 Adjusts the depth of distortion.
[3] TONE -50–+50 Adjusts the tone.
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the eect
sound.
Page 2
[1] BOTTOM -50–+50
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.
[2] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
[3] SOL.SW
(SOLO SW) OFF, ON The tone to one suitable for solos.
[4] SOL.LV
(SOLO LEVEL) 0–100 Adjusts the volume level when the
Solo Sw is ON.
GRAPHIC EQ
This adjusts the tone. You can adjust the sound quality in ten bands.
Knob Parameter Value
Page 1
[1] 31 Hz
-20–+20 dB
[2] 62 Hz
[3] 125 Hz
[4] 250 Hz
Page 2
[1] 500 Hz
[2] 1 kHz
[3] 2 kHz
[4] 4 kHz
Page 3
[1] 8 kHz
[2] 16 kHz
[4] LEVEL -20–+20 dB
PARAMETRIC EQ
This adjusts the tone. You can adjust the sound quality in four
bands.
Knob Parameter Value Explanation
Page 1
[1] LO.GAIN
(LOW GAIN) -20–+20 dB Adjusts the low frequency
range tone.
[2] HI.GAIN
(HIGH GAIN) -20–+20 dB Adjusts the high frequency
range tone.
[4] LEVEL -20–+20 dB Adjusts the overall volume
level of the equalizer.
Page 2
Knob Parameter Value Explanation
[1]
LM.FREQ
(LOW-MID FRE-
QUENCY)
20 Hz–10.0 kHz
Species the center of
the frequency range that
will be adjusted by the
LOW-MID GAIN.
[2] LM.Q (LOW-MID Q) 0.5–16
Adjusts the width of the
area aected by the EQ
centered at the LOW-MID
FREQ. Higher values will
narrow the area.
[3] LM.GAIN
(LOW-MID GAIN) -20–+20 dB Adjusts the low-middle
frequency range tone.
Page 3
[1]
HM.FREQ
(HIGH-MID FRE-
QUENCY)
20 Hz–10.0 kHz
Species the center of
the frequency range that
will be adjusted by the
HIGH-MID GAIN.
[2] HM.Q
(HIGH-MID Q) 0.5–16
Adjusts the width of the
area aected by the EQ
centered at the HIGH-MID
FREQ. Higher values will
narrow the area.
[3] HM.GAIN
(HIGH-MID GAIN) -20–+20 dB Adjusts the high-middle
frequency range tone.
Page 4
[1] LO.CUT
(LOW CUT) FLAT, 20 Hz–800 Hz
This sets the frequency
at which the low cut lter
begins to take eect. When
“Flat” is selected, the low
cut lter will have no
eect.
[4] HI.CUT
(HIGH CUT)
630 Hz–
12.5 kHz, FLAT
This sets the frequency at
which the high cut lter
begins to take eect. When
“FLAT” is selected, the
high cut lter will have no
eect.
TONE MODIFY
This changes the tone of the connected guitar.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the type of tone modication.
FAT Fat tone with boosted mid
range.
PRES (PRESENCE) Bright tone with boosted
high-mid range.
MILD Mild tone with the high end
cut back.
TIGHT Tone with the low frequencies
cut.
ENHANC (ENHANCE) Tone with the high frequencies
boosted.
RESO1 – 3
(RESONATOR1–3)
This produces a tone with
greater power and punch
by adding resonance in the
low-frequency range and
midrange.
[2] LOW -50–+50 Adjusts the tone for the low
frequency range.
[3] HIGH -50–+50 Adjusts the tone for the high
frequency range.
[4] LEVEL 0–100 Adjusts the volume of the
eect sound.
Page 2
[1] RESO 0–100
This adjusts the strength of
the low-end and midrange
resonance when TYPE is set to
RESO 1, 2, or 3.

EFFECT
11
GUITAR SIM
Simulation of the characteristics of particular guitar components
such as pickups and dierent guitar bodies allows you to switch
among a number of dierent guitar types all while using a single
guitar.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the type of the guitar simulator.
S"HChanges from a single-coil pickup
tone to a humbucking pickup tone.
H"SChanges from a humbucking pickup
tone to a single-coil pickup tone.
H"HF
(HALF TONE)
Changes from a humbucking pickup
tone to a single-coil pickup half tone.
S"HLW
(HOLLOW)
Changes a single-coil pickup tone to
a hollow body tone with the body
resonance added.
H"HLW
Changes a humbucking pickup tone
to a hollow body tone with the body
resonance added.
S"AC
(ACOUSTIC)
Changes a single-coil pickup tone to
an acoustic guitar tone.
H"AC
(ACOUSTIC)
Changes a humbucking pickup tone
to an acoustic guitar tone.
P"AC
(PIEZO
"ACOUSTIC)
Changes a piezo pickup tone to an
acoustic guitar tone.
[2] LOW -50–+50 Adjusts the low frequency range tone.
[3] HIGH -50–+50 Adjusts the high frequency range
tone.
[4] LEVEL 0–100 Adjusts the volume of the eect
sound.
Page 2
[1] BODY 0–100
Adjusts the way the body sounds
when TYPE is set to SHLW, HHLW, SAC,
HAC or PAC.
The body sound increases as the value
is raised; reducing the value produces
a tone similar to that from a piezo
pickup.
AC. GUITAR SIM
This eect simulates the tonal character of an acoustic guitar.
Knob Parameter Value Explanation
[1] BODY 0–100 Adjusts the body resonance.
[2] LOW -50–+50 Species the sense of volume for the
low-frequency range.
[3] HIGH -50–+50 Species the sense of volume for the
high-frequency range.
[4] LEVEL 0–100 Species the volume of the eect.
SLOW GEAR
This produces a volume-swell eect (“violin-like” sound).
Knob Parameter Value Explanation
[1] SENS 0–100
Adjusts the sensitivity of the slow gear. When
it is set to a lower value, the eect of the slow
gear can be obtained only with a stronger
picking, while no eect is obtained with a
weaker picking. When the value is set higher,
the eect is obtained even with a weak
picking.
[2] RISE.TM
(RISE TIME) 0–100
Adjusts the time needed for the volume to
reach its maximum from the moment you
begin picking.
[4] LEVEL 0–100 Adjusts the volume of the eect sound.
DEFRETTER
This simulates a fretless guitar.
Knob Parameter Value Explanation
Page 1
[1] SENS 0–100 This controls the input sensitivity of
the defretter.
[2] DEPTH 0–100 This controls the rate of the
harmonics.
[3] TONE -50–+50 Adjusts the amount of blurring
between the notes.
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the eect
sound.
Page 2
[1] ATTACK 0–100 Adjusts the attack of the picking
sound.
[2] RESO 0–100 Adds a characteristically resonant
quality to the sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
WAVE SYNTH
This is a synth sound that processes the guitar input signal.
* When you use a wave synthesizer, observe the following points.
• 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.
• If the unit cannot detect the attack, it may not sound correctly. 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.
Knob Parameter Value Explanation
Page 1
[1] WAVE
Selects a wave type which the synth sound is based.
SAW Creates a synth sound with a saw
waveform ( ).
SQUARE Creates a synth sound with the
square waveform ( ).
[2] CUTOFF 0–100
Adjusts the frequency where the
harmonics contents of the sound are
cut o.

EFFECT
12
Knob Parameter Value Explanation
[3] RESO 0–100
This adjusts the amount of resonance
(and the tone coloration) in the synth
sound. The higher the value, the
more the synth tone coloration is
emphasized.
[4] SENS
(FILTER SENS) 0–100 This adjusts the amount of ltering
applied in response to the input.
Page 2
[1] DECAY
(FILTER DECAY) 0–100 This sets the time needed for the lter
to nish its sweep.
[2] DEPTH
(FILTER DEPTH) 0–100
Adjusts the depth of the lter. When
the value is higher, the lter will change
more drastically.
[3] SYN.LVL
(SYNTH LEVEL) 0–100 Adjusts the volume of the synth sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct sound.
SITAR SIM.
This simulates the sound of the sitar.
Knob Parameter Value Explanation
Page 1
[1] SENS 0–100
Adjusts the sensitivity of the sitar.
When it is set to a lower value, no
eect of the sitar is obtained with
weaker picking, while stronger
picking produces the eect. When it
is set to a higher value, the eect of
the sitar can be obtained whether the
picking is weak or strong.
[2] DEPTH 0–100 This adjusts the amount of eect
applied.
[3] TONE -50–+50 This adjusts the tone. The high end is
boosted as the value increases.
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjust the volume of the sitar sound.
Page 2
[1] RESO 0–100 This adjusts the undulation of the
resonance.
[2] BUZZ 0–100
Adjusts the amount of characteristic
buzz produced by the “buzz bridge”
when the strings make contact with it.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
OCTAVE
This adds a note one octave lower, creating a richer sound.
Knob Parameter Value Explanation
[1] RANGE
This selects the register to which the eect is
applied.
RANGE 1 (B1–E6)
B1 (corresponds to the sound
of an open 7th string) to E6
(corresponds to the 1st string
played at the 24th fret)
RANGE 2 (B1–E5)
B1 (corresponds to the sound
of an open 7th string) to E5
(corresponds to the 1st string
played at the 12th fret)
RANGE 3 (B1–E4)
B1 (corresponds to the sound
of an open 7th string) to E4
(corresponds to the sound of
an open 1st string)
RANGE 4 (B1–E3)
B1 (corresponds to the sound
of an open 7th string) to E3
(corresponds to the 4th string
played at the 2nd fret)
Knob Parameter Value Explanation
[3] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the
sound one octave below.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the
direct sound.
PITCH SHIFTER
This eect changes the pitch of the original sound (up or down)
within a range of two octaves.
Knob Parameter Value Explanation
Page 1
[1] VOICE
Selects the number of voices for the pitch shift sound.
1VOICE One-voice pitch-shifted sound
output in monaural.
2MONO Two-voice pitch-shifted sound
(PS1, PS2) output in monaural.
2STEREO
Two-voice pitch-shifted sound
(PS1, PS2) output through left and
right channels.
[2]
[3]
1:PITCH
2:PITCH -24–+24
Adjusts the amount of pitch
shift (the amount of interval) in
semitone steps.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
Page 2/Page 3 (if VOICE is set to “1VOICE”: page 2 only)
[1] 1:MODE
2:MODE
Selection for the pitch shifter mode.
FAST,
MEDIUM,
SLOW
The response is slower in the
order of FAST, MEDIUM and SLOW,
but the modulation is lessened in
the same order.
MONO
MONO is used for inputting single
notes.
* You may be unable to produce
the intended eect when
playing chords (two or more
notes played simultaneously).
[2] 1:FINE
2:FINE -50–+50
Make ne adjustments to
the interval. The amount of
the change in the Fine 100 is
equivalent to that of the Pitch 1.
[3]
1:P-DLY
(1:PRE DELAY)
2:P-DLY
(2:PRE DELAY)
0 ms–300 ms,
BPM –
Adjusts the time from when the
direct sound is heard until the
pitch shifted sounds are heard.
Normally you can leave this set
at 0 ms.
* When set to BPM, the value
of each parameter will be set
according to the value of the
“MASTER BPM” specied for
each patch. This makes it easier
to achieve eect 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.
[4] 1:LEVEL
2:LEVEL 0–100 Adjusts the volume of the pitch
shifter.
Page 4 (if VOICE is set to “1VOICE”: page 3)
[1] 1:F-BAK
(1:FEEDBACK) 0–100 Adjusts the feedback amount of
the pitch shift sound.

EFFECT
13
HARMONIST
Harmonist is an eect 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.
* If the unit cannot detect the attack, it may not sound correctly. 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.
* For the USB SECONDARY audio routing (p. 34), the harmonist
eect cannot be used on audio from USB IN.
Knob Parameter Value Explanation
Page 1
[1] VOICE
Selects the number of voices for the pitch shift sound.
1VOICE One pitch-shifted voice is output in
monaural.
2MONO Two pitch-shifted voices are output in
monaural.
2STEREO Two pitch-shifted voices are output
to the L-channel and the R-channel
respectively.
[2]
[3]
1:HARM
2:HARM
-2 oct–+2
oct, USER
This determines the pitch of the sound
added to the input sound, when you
are making a harmony.
It allows you to set it by up to 2 octaves
higher or lower than the input sound.
When the scale is set to USER, this
parameter sets the user scale number
to be used.
[4] KEY
(MASTER KEY)
C (Am)–B
(G#m)
The key setting corresponds to the key
of the song (#, b) as follows.
Major
Major
Minor
Minor
Page 2/Page 3 (if VOICE is set to “1VOICE”: page 2 only)
[1]
1:P-DLY
(1:PRE DELAY)
2:P-DLY
(2:PRE DELAY)
0 ms–300
ms,
BPM –
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.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This makes
it easier to achieve eect 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.
[2] 1:F-BAK
(1:FEEDBACK) 0–100 Adjusts the feedback amount of the
harmonist sound.
[3] 1:LEVEL
2:LEVEL 0–100 Adjusts the volume of the harmony
sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
Knob Parameter Value Explanation
For 1VOICE: pages 3–5
For 2MONO or 2STEREO: pages 4–6 (1:HARM), 7–9 (2:HARM)
[1]
USER SCALE
*1 *2
C-24 C–+24 C
You can specify a
pitch in the range
two octaves
above or below
the direct sound.
[2] Db -24 D²–+24 D²
[3] D -24 D–+24 D
[4] Eb -24 E²–+24 E²
[1] E -24 E–+24 E
[2] F -24 F–+24 F
[3] F# -24 F¾–+24 F¾
[4] G -24 G–+24 G
[1] Ab -24 A²–+24 A²
[2] A -24 A–+24 A
[3] Bb -24 B²–+24– B²
[4] B -24 B–+24 B
*1 This can be specied if 1:HARM or 2:HARM is “USER.”
*2 The correspondence between the note names and the knobs diers depending
on the specied KEY. Knob [1] of the rst page is the tonic (root note) of the
specied KEY. The table shows the example of when KEY is set to C (Am).
OVERTONE (FX2 Only)
This eect uses MDP technology to add new harmonics to the
sound, producing resonance and richness that was not present in
the original sound.
Knob Parameter Value Explanation
Page 1
[1] LWR.LVL
(LOWER LEVEL) 0–100 Adjusts the volume of the harmonic
one octave below.
[2] UPR.LVL
(UPPER LEVEL) 0–100 Adjusts the volume of the harmonic
one octave above.
[3] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct sound.
[4] DETUNE 0–100 Adjusts the amount of the detune
eect that adds depth to the sound.
Page 2
[1] TONE -50–+50 This adjusts the tone.
SOUND HOLD
You can have sound played on the guitar be held continuously.
This eect allows you to perform the melody in the upper registers
while holding a note in the lower registers.
* This function will not work properly when two or more notes are
played simultaneously.
Knob Parameter Value Explanation
[1] HOLD OFF, ON
Switches the hold sound on and o.
Normally, this is controlled with the
CTL pedals.
• It is assumed that this parameter will
be assigned to the footswitch.
• Patches are written with the HOLD
parameter set to O.
[2] RISE.TM
(RISE TIME) 0–100 Adjusts how rapidly the Sound Hold
sound is produced.
[4] E.LEVEL
(EFFECT LEVEL) 0–120 Adjusts the volume of the hold sound.

EFFECT
14
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.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the modeling type.
SMALL This is the sound of a small-bodied
acoustic guitar.
MEDIUM This is a standard, unadorned acoustic
guitar sound.
BRIGHT This is a bright acoustic guitar sound.
POWER This is a powerful acoustic guitar sound.
[2] BASS -50–+50 Adjusts the tone for the low frequency
range.
[3] MIDDLE -50–+50 Adjusts the midrange balance.
[4] M.FREQ
(MIDDLE FREQ)
20.0 Hz–10.0
kHz
Species the frequency range to be
adjusted with Middle.
Page 2
[1] TREBLE -50–+50 Adjusts the tone for the high frequency
range.
[2] PRES
(PRESENCE) -50–+50 Adjusts the balance in the extended
upper range.
[4] LEVEL 0–100 Adjusts the volume.
PHASER
By adding varied-phase portions to the direct sound, the phaser
eect gives a whooshing, swirling character to the sound.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the number of stages that the phaser eect
will use.
4 STAGE This is a four-phase eect. A light
phaser eect is obtained.
8 STAGE This is a eight-phase eect. It is a
popular phaser eect.
12 STAGE This is a twelve-phase eect. A deep
phase eect is obtained.
BiPHASE This is the phaser with two phase shift
circuits connected in series.
[2] RATE 0–100,
BPM –
This sets the rate of the phaser eect.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This makes
it easier to achieve eect 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.
[3] DEPTH 0–100 Determines the depth of the phaser
eect.
[4] RESO
(RESONANCE) 0–100
Determines the amount of resonance
(feedback). Increasing the value will
emphasize the eect, creating a more
unusual sound.
Knob Parameter Value Explanation
Page 2
[1] MANUAL 0–100 Adjusts the center frequency of the
phaser eect.
[2] STEP.RT
(STEP RATE)
OFF, 0–100,
BPM –
This sets the cycle of the step function
that changes the rate and depth.
When it is set to a higher value, the
change will be ner. Set this to “O”
when not using the Step function.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This makes
it easier to achieve eect 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.
[3] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the phaser.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
FLANGER
The anging eect gives a twisting, jet-airplane-like character to
the sound.
Knob Parameter Value Explanation
Page 1
[1] RATE 0–100,
BPM –
This sets the rate of the anging
eect.
* When set to BPM, the value of
each parameter will be set accord-
ing to the value of the “MASTER
BPM” specied for each patch. This
makes it easier to achieve eect
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.
[2] DEPTH 0–100 Determines the depth of the
anging eect.
[3] RESO
(RESONANCE) 0–100
Determines the amount of
resonance (feedback). Increasing
the value will emphasize the eect,
creating a more unusual sound.
[4] MANUAL 0–100 Adjusts the center frequency at
which to apply the eect.
Page 2
[1] SEPARAT
(SEPARATION) 0–100 Adjusts the diusion. The diusion
increases as the value increases.
[2] LO.CUT
(LOW CUT)
FLAT,
55 Hz–800 Hz
This sets the frequency at which the
low cut lter begins to take eect.
When “Flat” is selected, the low cut
lter will have no eect.
[3] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the anger.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.

EFFECT
15
TREMOLO
Tremolo is an eect that creates a cyclic change in volume.
Knob Parameter Value Explanation
[1] WAVE
(WAVE SHAPE) 0–100
Adjusts changes in volume level.
A higher value will steepen wave’s
shape.
[2] RATE 0–100,
BPM –
Adjusts the frequency (speed) of the
change.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This
makes it easier to achieve eect
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.
[3] DEPTH 0–100 Adjusts the depth of the eect.
[4] LEVEL 0–100 Adjusts the volume.
ROTARY 1/ROTARY 2
This produces an eect like the sound of a rotary speaker.
ROTARY 1 and ROTARY 2 provide a dierent-feeling sense of
rotation.
Knob Parameter Value Explanation
Page 1
[1] SPEED SLOW, FAST
This parameter changes the
simulated speaker’s rotating
speed (SLOW or FAST).
[2] RATE.S
(RATE-SLOW)
0–100,
BPM –
This parameter adjusts the SPEED
SELECT of rotation when set to
“SLOW.”
[3] RATE.F
(RATE-FAST)
0–100,
BPM –
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” specied for
each patch. This makes it easier
to achieve eect 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.
[4] DEPTH 0–100
This parameter adjusts the
amount of depth in the rotary
eect.
Page 2
[1] RISE.TM
(RISE TIME) 0–100
This parameter adjusts the time
it takes for the rotation SPEED
SELECT to change when switched
from “SLOW” to “FAST.”
[2] FALL.TM
(FALL TIME) 0–100
This parameter adjusts the time
it takes for the rotation SPEED
SELECT to change when switched
from “FAST” to “SLOW.”
[3]
B/H.BAL
(BASS/HORN
BALANCE) *1
100:0–0:100
Adjusts the volume balance
between the BASS rotor and the
HORN rotor.
[4] LEVEL 0–100 Adjusts the volume.
Page 3
[1] DIR.MIX
(DIRECT MIX*1 0–100 Adjusts the volume of the direct
sound.
1 ROTARY 2 only.
UNI-V
This models a Uni-Vibe.
Although this resembles a phaser eect, it also provides a unique
undulation that you can’t get with a regular phaser.
Knob Parameter Value Explanation
[1] RATE 0–100,
BPM –
Adjusts the rate of the UNI-V eect.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied
for each patch. This makes it easier
to achieve eect 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.
[2] DEPTH 0–100 Adjusts the depth of the UNI-V eect.
[4] LEVEL 0–100 Adjusts the volume.
PAN
With the volume level of the left and right sides alternately
changing, when playing sound in stereo, you can get an eect that
makes the guitar sound appear to y back and forth between the
speakers.
Knob Parameter Value Explanation
Page 1
[1] TYPE
AUTO
This varies the volume level on
the left and right according to
the settings for WAVE SHAPE,
RATE, and DEPTH.
MANUAL Output uses the volume balance
set with POS.
[2] WAVE
(WAVE SHAPE) *1 0–100
Adjusts changes in volume level.
A higher value will steepen
wave’s shape.
[3] RATE *1 0–100,
BPM –
Adjusts the frequency (speed) of
the change.
* When set to BPM, the value
of each parameter will be
set according to the value of
the “MASTER BPM” specied
for each patch. This makes it
easier to achieve eect 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.
[4] DEPTH *1 0–100 Adjusts the depth of the eect.
[2] POS
(POSITION) *2
L 100–CENTER–
R 100
This adjusts the volume balance
between the left and right
channels.
Page 2
[4] LEVEL *3 0–100 Adjusts the volume.
*1 Setting available when TYPE is set to AUTO
*2 Setting available when TYPE is set to MANUAL.
*3 If TYPE is set to MANUAL, this is shown in page 1.

EFFECT
16
SLICER
This consecutively interrupts the sound to create the impression
that a rhythm backing phrase is being played.
Knob Parameter Value Explanation
Page 1
[1] PATTERN P1–P20 Select the slice pattern that will be
used to cut the sound.
[2] RATE 0–100,
BPM –
Adjust the rate at which the sound
will be cut.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This
makes it easier to achieve eect
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.
[3] SENS
(TRIGGER SENS) 0–100
Adjust the sensitivity of triggering.
With low settings of this parameter,
softly picked notes will not retrigger
the phrase (i.e., the phrase will
continue playing), but strongly
picked notes will retrigger the
phrase so that it will playback from
the beginning. With high settings
of this parameter, the phrase will be
retriggered even by softly picked
notes.
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the eect
sound.
Page 2
[1] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
VIBRATO
This eect creates vibrato by slightly modulating the pitch.
Knob Parameter Value Explanation
Page 1
[1] RATE 0–100,
BPM –
Adjusts the rate of the vibrato.
* When set to BPM, the value of each
parameter will be set according to the
value of the “MASTER BPM” specied
for each patch. This makes it easier
to achieve eect 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.
[2] DEPTH 0–100 Adjusts the depth of the vibrato.
[3] TRIGGER OFF, ON
This selects on/o of the vibrato.
* It is assumed that this parameter will be
assigned to the footswitch.
[4] RISE.TM
(RISE TIME) 0–100
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
called up, the eect obtained is identical
to what happens when TRIGGER is
switched from O to On. If you want
the vibrato eect to be produced
immediately after the patches are
switched, set RISE TIME to 0.
Page 2
[1] LEVEL 0–100 Adjusts the volume.
RING MOD
The sound can be unmusical and lack distinctive pitches.
Knob Parameter Value Explanation
[1] MODE
This selects the mode for the ring modulator.
NORMAL This is a normal ring modulator.
INTELLI
(INTELLIGENT)
By ring-modulating the
input signal, a bell like sound
is created. The intelligent
ring modulator changes the
oscillation frequency according
to the pitch of the input sound
and therefore produces a sound
with the sense of pitch, which
is quite dierent from NORMAL.
This eect 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.
[2] FREQ
(FREQUENCY) 0–100 Adjusts the frequency of the internal oscillator.
[3] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the eect sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct sound.
HUMANIZER
This can create human vowel-like sounds.
Knob Parameter Value Explanation
Page 1
[1] MODE
This sets the mode that switches the vowels.
PICKING
It changes from VOWEL 1 to VOWEL 2
along with the picking. The time spent
for the change is adjusted with the rate.
AUTO
By adjusting the rate and depth, two
vowels (VOWEL 1 and VOWEL 2) can be
switched automatically.
[2] VOWEL 1 a, e, i, o, u Selects the rst vowel.
[3] VOWEL 2 a, e, i, o, u Selects the second vowel.
[4] SENS *1 0–100
Adjusts the sensitivity of the
humanizer.
When it is set to a lower value, no
eect of the humanizer is obtained
with weaker picking, while stronger
picking produces the eect. When it is
set to a higher value, the eect of the
humanizer can be obtained whether
the picking is weak or strong.
Page 2
[1] RATE 0–100,
BPM –
Adjusts the cycle for changing the two
vowels.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This makes
it easier to achieve eect 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.
[2] DEPTH 0–100 Adjusts the depth of the eect.
[3] MANUAL *2 0–100
Adjusts the cycle for changing the two
vowels. 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.
[4] LEVEL 0–100 Adjusts the volume.
*1 Setting available when MODE is set to PICKING.
*2 Setting available when MODE is set to AUTO.

EFFECT
17
2X2 CHORUS
This allows you to achieve a more natural chorus sound.
Knob Parameter Value Explanation
Page 1
[1] LO.RATE
(LOW RATE)
0–100,
BPM –
Adjust the speed of the chorus
eect for the low frequency range.
* When set to BPM, the value
of each parameter will be set
according to the value of the
“MASTER BPM” specied for
each patch. This makes it easier
to achieve eect 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.
[2] LO.DPT
(LOW DEPTH) 0–100
Adjust the depth of the chorus
eect for the low frequency
range. If you wish to use this as a
doubling eect, use a setting of 0.
[3] HI.RATE
(HIGH RATE)
0–100,
BPM –
Adjust the speed of the chorus
eect for the high frequency
range.
* When set to BPM, the value
of each parameter will be set
according to the value of the
“MASTER BPM” specied for
each patch. This makes it easier
to achieve eect 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.
[4] HI.DPT
(HIGH DEPTH) 0–100
Adjust the depth of the chorus
eect for the high frequency
range. If you wish to use this as a
doubling eect, use a setting of 0.
Page 2
[1] LO.PDLY
(LOW PRE DELAY)
0.0 ms–40.0
ms
Adjusts the delay of the eect
sound in the low-frequency range.
Extending the pre-delay will
produce the sensation of multiple
sounds (doubling eect).
[2] LO.LVL
(LOW LEVEL) 0–100 Adjusts the volume of the eect
sound in the low-frequency range.
[3] HI.PDLY
(HIGH PRE DELAY)
0.0 ms–40.0
ms
Adjusts the delay of the eect
sound in the high-frequency
range. Extending the pre-delay
will produce the sensation of
multiple sounds (doubling eect).
[4] HI.LVL
(HIGH LEVEL) 0–100
Adjusts the volume of the eect
sound in the high-frequency
range.
Page 3
[1] XOVER (CROSSOVER
FREQUENCY)
100 Hz–4.00
kHz
This sets the frequency dividing
the low- and high-frequency
ranges.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
SUB DELAY
This is a delay with the maximum delay time of 1,000 ms. This eect
is useful for making the sound fatter.
Knob Parameter Value Explanation
Page 1
[1] TYPE
Use this to choose the type of delay.
MONO Use this to choose the type of
delay.
PAN
Provides a tap delay eect that
divides the delay time between
the left and right channels.
[2] DLY.TIM
(DELAY TIME)
1 ms–1000 ms,
BPM –
Adjusts the delay time.
* When set to BPM, the value
of each parameter will be
set according to the value of
the “MASTER BPM” specied
for each patch. This makes it
easier to achieve eect 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.
[3] FEEDBAK
(FEEDBACK) 0–100
Adjusts the volume that is
returned to the input. Higher
settings will result in more delay
repeats.
[4] E.LEVEL
(EFFECT LEVEL) 0–120 Adjusts the volume of the delay
sound.
Page 2
[1] HI.CUT
(HIGH CUT)
630 Hz–
12.5 kHz, FLAT
This sets the frequency at which
the high cut lter begins to take
eect. When “FLAT” is selected,
the high cut lter will have no
eect.
[2] TAP TIME *1 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%).
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
*1 Setting available when TYPE is set to PAN.
TERA ECHO (FX2 Only)
This uses MDP technology to create spaciousness and distinctive
ambience that varies according to your picking dynamics.
Knob Parameter Value Explanation
Page 1
[1] MODE
Selects the mode of the eect sound.
MONO The L and R channels will both
output the same sound.
STEREO1 The eect is applied separately to
the L and R channels.
STEREO2
The L channel outputs the direct
sound, and the R channel outputs
the eect sound.
[2] S.TIME 0–100 Adjusts the length of the eect
sound.
[3] FEEDBAK
(FEEDBACK) 0–100 Adjusts the decay of the eect
sound.

EFFECT
18
Knob Parameter Value Explanation
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the eect
sound.
Page 2
[1] TONE -50–+50 This adjusts the tone.
[2] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
[4] HOLD OFF, ON The eect sound is held when you
turn this on.
DELAY
This eect adds delayed sound to the direct sound, giving more
body to the sound or creating special eects.
Knob Parameter Value Explanation
DELAY
ON/OFF OFF, ON Turns this eect on/o.
Page 1
[1] TYPE
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 eect in the rst portion
of what you perform.
* The stereo eect is cancelled if a monaural eect or
COSM amp is connected after a stereo delay eect.*
SINGLE This is a simple monaural delay.
PAN
This delay is specically for stereo
output. This allows you to obtain the tap
delay eect that divides the delay time,
then deliver them to L and R channels.
INPUT
OUTPUT L
OUTPUT R
FEEDBACK
DELAY TIME
EFFECT LEVEL
DELAY
TAP TIME
STEREO The direct sound is output from the left
channel, and the eect sound is output
from the right channel.
DUAL-S
This is a delay comprising two dierent
delays connected in series. Each delay
time can be set in a range from 1 ms to
1000 ms.
D1 D2 D1: DELAY 1
D2: DELAY 2
DUAL-P
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.
D1
D2
DUAL-L/R
This is a delay with individual settings
available for the left and right channels.
Delay 1 goes to the left channel, Delay 2
to the right.
D1
D2
L
R
REVERSE This produces an eect where the sound
is played back in reverse.
ANALOG This gives a mild analog delay sound. The
delay time can be set within the range of
1 to 2000 ms.
TAPE
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.
MOD
(MODULATE)
This delay adds a pleasant wavering
eect to the sound.

EFFECT
19
COMMON
Knob Parameter Value Explanation
Page 1 (if TYPE is set to other than DUAL-S, DUAL-P, or DUAL-L/R)
[2] DLY.TIM
(DELAY TIME)
1 ms–2000 ms,
BPM –
Adjusts the delay time.
* When set to BPM, the value
of each parameter will be
set according to the value of
the “MASTER BPM” specied
for each patch. This makes
it easier to achieve eect
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.
[3] FEEDBAK
(FEEDBACK) 0–100
Adjusts the volume that is
returned to the input. A higher
value will increase the number
of the delay repeats.
[4] E.LEVE
(EFFECT LEVEL) 0–120 Adjusts the volume of the
delay sound.
Page 2 (if TYPE is set to other than DUAL-S, DUAL-P, or DUAL-L/R)
[1] HI.CUT
(HIGH CUT)
630 Hz–
12.5 kHz, FLAT
This sets the frequency at
which the high cut lter begins
to take eect. When “FLAT” is
selected, the high cut lter will
have no eect.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the
direct sound.
PAN
Knob Parameter Value Explanation
Page 2
[2] 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%).
DUAL-S, DUAL-P, DUAL-L/R
Knob Parameter Value Explanation
Page 2, 3 (if TYPE is set to DUAL-S, DUAL-P, or DUAL-L/R)
[1] 1:TIME
2:TIME
1 ms–1000 ms,
BPM –
Adjusts the delay time.
* When set to BPM, the value
of each parameter will be set
according to the value of the
“MASTER BPM” specied for
each patch. This makes it easier
to achieve eect 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.
[2]
1:F.BAK
(FEEDBACK)
2:F.BAK
(FEEDBACK)
0–100
Adjusts the amount of feedback of
the DELAY 1 (or DELAY 2). A higher
value will increase the number of
the delay repeats.
[3]
1:HiCUT
(HIGH CUT)
2:HiCUT
(HIGH CUT)
630 Hz–
12.5 kHz, FLAT
This sets the frequency at which
the high cut lter begins to take
eect. When “FLAT” is selected, the
high cut lter will have no eect.
[4] 1:LEVEL
2:LEVEL 0–120 Adjusts the volume of the DELAY 1
(or DELAY 2).
MODULATE
Knob Parameter Value Explanation
Page 3
[1] MOD.RT
(MODULATION RATE) 0–100 Adjusts the modulation rate of
the delay sound.
[2] MOD.DPT (MODULATION
DEPTH) 0–100 Adjusts the modulation depth of the delay sound.
CHORUS
In this eect, a slightly detuned sound is added to the original
sound to add depth and breadth.
Knob Parameter Value Explanation
CHORUS
ON/OFF OFF, ON Turns this eect on/o.
Page 1
[1] MODE
Selection for the chorus mode.
MONO This chorus eect outputs the same
sound from both L channel and R
channel.
STEREO1 This is a stereo chorus eect that
adds dierent 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
eect sound output in the R channel.
[2] RATE 0–100,
BPM –
Adjust the speed of the chorus eect
for the high frequency range.
* When set to BPM, the value of each
parameter will be set according
to the value of the “MASTER BPM”
specied for each patch. This
makes it easier to achieve eect
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.
[3] DEPTH 0–100
Adjusts the depth of the chorus
eect.
* To use it for doubling eect, set the
value to 0.
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the eect
sound.
Page 2
[1] PRE.DLY
(PRE DELAY)
0.0 ms–40.0
ms
Adjusts the time needed for the
eect sound to be output after the
direct sound has been output. By
setting a longer pre delay time, you
can obtain an eect that sounds like
more than one sound is being played
at the same time (doubling eect).
[2] LO.CUT
(LOW CUT)
FLAT,
20 Hz–800 Hz
This sets the frequency at which the
low cut lter begins to take eect.
When “Flat” is selected, the low cut
lter will have no eect.
[3] HI.CUT
(HIGH CUT)
630 Hz–
12.5 kHz,
FLAT
This sets the frequency at which the
high cut lter begins to take eect.
When “FLAT” is selected, the high cut
lter will have no eect.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.

EFFECT
20
REVERB
This eect adds reverberation to the sound.
Knob Parameter Value Explanation
REVERB ON/OFF OFF, ON Turns this eect on/o.
Page 1
[1] TYPE
This selects the reverb type. Various dierent
simulations of space are oered.
AMBIENC
(AMBIENCE)
Simulates an ambience mic
(o-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.
ROOM
Simulates the reverberation in
a small room. Provides warm
reverberations.
HALL 1
Simulates the reverberation in a
concert hall. Provides clear and
spacious reverberations.
HALL 2
Simulates the reverberation in
a concert hall. Provides mild
reverberations.
PLATE
Simulates plate reverberation
(a reverb unit that uses the
vibration of a metallic plate).
Provides a metallic sound with a
distinct upper range.
SPRING
This simulates the sound of
a guitar amp’s built-in spring
reverb.
MOD (MODU-
LATE)
This reverb adds the wavering
sound found in hall reverb to
provide an extremely pleasant
reverb sound.
[2] TIME
(REVERB TIME) 0.1 s–10.0 s Adjusts the length (time) of
reverberation.
[3] PRE.DLY
(PRE DELAY) 0 ms–500 ms Adjusts the time until the reverb
sound appears.
[4] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the reverb
sound.
Page 2
[1] LO.CUT
(LOW CUT)
FLAT,
20 Hz–800 Hz
This sets the frequency at which
the low cut lter begins to take
eect. When “Flat” is selected, the
low cut lter will have no eect.
[2] HI.CUT
(HIGH CUT)
630 Hz–
12.5 kHz, FLAT
This sets the frequency at which
the high cut lter begins to take
eect. When “FLAT” is selected,
the high cut lter will have no
eect.
[3] DENSITY 0–10 Adjusts the density of the reverb
sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
Page 3
SPRING
(SPRING SENS)
(TYPE = SPRING
only)
0–100
Adjusts the sensitivity of the
spring eect. When the value is
set higher, the eect is obtained
even with a weak picking.
PEDAL FX
PEDAL FX is an eect that lets you use an expression pedal
connected to the CTL/EXP jack to control WAH or PEDAL BEND. For
details on how to edit the eect that’s assigned to the expression
pedal, refer to ”CTL/EXP” (p. 25).
PEDAL BEND
This lets you use the pedal to get a pitch bend eect.
* Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
* To use PEDAL BEND, set EXP PEDAL’s FUNC to PB (PEDAL BEND)
or PB/FV (PEDAL BEND/FOOT VOLUME).
Knob Parameter Value Explanation
[1] PITCH -24–+24
This sets the pitch at the point
where the EXP Pedal is all the way
down.
[2] PD.POS
(PEDAL POSITION) 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.
[3] E.LEVEL
(EFFECT LEVEL) 0–100 Adjusts the volume of the pitch
bend sound.
[4] DIR.MIX
(DIRECT MIX) 0–100 Adjusts the volume of the direct
sound.
WAH
The expression pedal connected to the CTL/EXP jack controls the
wah eect in real time.
* To use WAH, set EXP PEDAL’s FUNC to WAH or WAH/FV (WAH/
FOOT VOLUME).
Knob Parameter Value Explanation
Page 1
[1] TYPE
Selects the type of wah.
CRY (CRY WAH)
This models the sound of the
CRY BABY wah pedal popular
in the ’70s.
VO (VO WAH) This models the sound of the
VOX V846.
FAT (FAT WAH) This is a wah sound featuring
a bold tone.
LIGHT
(LIGHT WAH)
This wah has a rened
sound with no unusual
characteristics.
7STRING
(7STRING WAH)
This expanded wah features
a variable range compat-
ible with seven-string and
baritone guitars.
RESO
(RESONANCE WAH)
This completely original eect
oers enhancements on the
characteristic resonances
produced by analog synth
lters.
[2] PD.POS
(PEDAL POS) 0–100
Adjusts the position of the
wah pedal.
* This parameter is used after
it’s been assigned to an EXP
Pedal or similar controller.
[3] PD.MIN
(PEDAL MIN) 0–100
Selects the tone produced
when the heel of the EXP
Pedal is depressed.
[4] PD.MAX
(PEDAL MAX) 0–100
Selects the tone produced
when the toe of the EXP Pedal
is depressed.