BOSSCO GT-X User manual

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Set-up….
Welcome!
This document will provide you with all the information Roland/Boss
forgot to tell you about in the official Owner’s manual, and much more
besides. This document isn’t just about the GT-3/5 Guitar Effects
Processors. We will also examine your entire guitar system to ensure that
you can get the most from it and your GT-3/5.
I hope you find this document both informative and useful,
Barry Pearce
Release: 0.2 draft, 04 Feb 2002
Author: Barry Pearce et al.
THIS IS NOT AN OFFICIAL BOSS/ROLAND MANUAL

Contents
© Copyright 2000-2002 Barry S. Pearce et al. 2
IMPORTANT NOTES..................................................... 7
REVISION HISTORY...................................................... 8
OUTSTANDING ISSUES.............................................. 11
How to use this document............................................... 12
Section 1
Introduction.................................. 15
Welcome to 'Set-up....'!................................................... 15
What Is the Aim? ............................................................ 15
Other Information ........................................................... 15
Stompbox City................................................................ 15
Thank You ...................................................................... 16
And Finally… ................................................................. 17
Section 2
Audio Terminology...................... 18
Audio Terms................................................................... 18
Signal..................................................................... 18
Mono Signal.......................................................... 18
Stereo Signal ......................................................... 18
Unbalanced Signal................................................. 18
Balanced Signal..................................................... 18
Signal Path............................................................. 18
Signal Level........................................................... 18
Signal-Noise Ratio ................................................ 18
Clipping................................................................. 19
Section 3
Guitar Set-up................................ 20
Preliminary Electrical ..................................................... 20
Strings I........................................................................... 20
Final Electrical................................................................ 20
Shielding................................................................ 20
Strings II ......................................................................... 21
Neck................................................................................ 21
Intonation........................................................................ 21
Action ............................................................................. 21
Pickups............................................................................ 21
Adjusting Pickup Height ....................................... 22
Section 4
Connections................................. 23
Understanding Connectors.............................................. 23
Standard Wiring Schemes............................................... 23
Unbalanced Mono 0.25” TS Jack.......................... 23
Unbalanced Stereo 0.25” & 3.5mm TRS Jack ...... 24
Balanced Mono XLR............................................. 24
Balanced Mono 0.25” TRS Jack ........................... 24
GT3/5 Audio Connections.............................................. 25
Amplifier Connections .......................................... 25
GT3/5 In Front (Mono/Stereo).............................. 26
Effects Return (Mono/Stereo) ............................... 26
Inside Amp/Other Effects Loop (Mono/Stereo).... 26
4 Cable Method (Mono)........................................27
5 Cable Method (Stereo) ....................................... 27
Power Amp Only and GT-3/5 External Effects Loop
...............................................................................27
GT-3/5 as Two-Loop System ................................27
PA/Mixing Desk (Recording/Sound Reinforcement)
...............................................................................28
Soundcards (Recording)........................................28
<Global>Your Setting? ......................................... 28
Bypass Mode.........................................................29
Headphones ........................................................... 29
External Footswitches.....................................................29
Extra Footswitches!......................................................... 30
The Sutton Mod..................................................... 30
External Expression Pedals.............................................31
MIDI Connections...........................................................32
Section 5
Basic Configuration..................... 33
Introduction..................................................................... 33
General Configuration..................................................... 33
Utility Function Settings .................................................33
<Global> ...............................................................33
<SYSTEM>........................................................... 34
<HARMONIST SCALE> ..................................... 34
<MIDI> .................................................................34
Tuner Settings................................................................. 34
Patches............................................................................34
Base Patches.......................................................... 34
Patch Organisation.................................................34
User (Quick) Settings......................................................35
Section 6
Effects Ordering........................... 36
General Advice ............................................................... 36
OD-PRE or PRE-OD Ordering? ..................................... 36
Section 7
Level Metering ............................. 37
The GT-3/5 Level Meters ...............................................37
Marking up the LCD.............................................. 37
Section 8
Level Matching............................. 39
Concepts..........................................................................39
Level Matching Definitions...................................39
Tuner/Bypass Mode...............................................39
Creating patch 'Clean'............................................ 39
Basic Level Matching Procedure ....................................40
How to Measure Levels......................................... 40
Set the Standard Master Level Setting...................40
Input Level Adjustment.........................................41
Determine Target FX Chain Level ........................42

Contents
© Copyright 2000-2002 Barry S. Pearce et al. 3
Effects Chain Level Matching............................... 42
Apparent Volume Adjustment............................... 43
Output Level Adjustment ...................................... 43
Level Matching Existing Patches.................................... 44
Preset Patch Level Matching Example.................. 44
Advanced Level Matching.............................................. 45
Summary......................................................................... 45
Section 9
Noise Elimination......................... 46
What Causes Noise? ....................................................... 46
Ground Loops........................................................ 46
Clipping................................................................. 47
Impedance Mismatch............................................. 47
Noise Elimination ........................................................... 47
Cables.................................................................... 47
Basics.................................................................... 48
Amp & Speakers ................................................... 49
Mr Guitar............................................................... 49
BOSS GT-3/5........................................................ 50
Samson Wireless ................................................... 51
Korg DTR-1 Tuner................................................ 52
Palmer PGA-05 Speaker Simulator....................... 52
Final Check ........................................................... 52
Removing Unwanted Distortion...................................... 53
Speakers/Headphones............................................ 54
Mixing Desk.......................................................... 55
In Sound Forge/Cakewalk:.................................... 55
Noise Elimination—Recording onto Computer.............. 56
Hi-Tech Noise Elimination............................................. 56
Section 9a
Noise Supressor.......................... 57
Using the Noise Suppressor............................................ 57
Noise Gating.......................................................... 57
Associated Problems ............................................. 57
The GT-3/5 Noise Suppressor............................... 58
Using the NS for problem solving:........................ 58
Using the NS as an effect ...................................... 58
Effects of GT-3/5 NS Parameters.......................... 59
Section 10
Speaker Simulator....................... 60
What is it?....................................................................... 60
When is it on? ................................................................. 60
Simulator Type................................................ 60
Mic Position.................................................................... 60
Mic Level and Direct Level ............................................ 60
Problems.......................................................... 61
Creating On/Off Functionality......................... 61
Section 11
Manual Mode................................ 62
A Pedal Assignment Template........................................ 62
Switching In/Out.............................................................62
Suggested Pedal Assignments.........................................63
Automatic Manual Mode ................................................63
Section 12
Patch Problems............................ 64
Why Don’t Patches Sound Right?...................................64
Tweaking the Patch.........................................................64
Sound.....................................................................64
Volume.................................................................. 64
Noise Suppression................................................. 65
Making Life Easier..........................................................65
Section 13
Compressor/Limiter..................... 66
Introduction to Dynamics................................................ 66
Dynamics Control ........................................................... 66
Limiting...........................................................................66
Compression.................................................................... 66
Section 14
Preamps ....................................... 67
General............................................................................67
External preamp + GT-x preamp: Breaking the Myth..... 67
Using the Preamps for Clean Sounds..............................68
AC.Guitar................................................ 68
JC-120 ...................................................................68
Clean TWIN..........................................................69
Problems................................................................70
Clean Sounds From Other Preamps....................... 70
Clean Preamp Presets ............................................70
Clean Preamp Summary ........................................ 72
Using the Preamps for Overdrive/Distortion................... 72
Dirty Preamp Presets.............................................74
Distorted Preamp Summary...................................74
Preamp Customisation.....................................74
Section 15
Overdrive/Distortion.................... 75
Distortion Problems ........................................................ 75
GT-3/5 OD/DS................................................................75
Noise...............................................................................76
Preset Patches..................................................................76
OD/DS Customisation ..................................... 77

Contents
© Copyright 2000-2002 Barry S. Pearce et al. 4
Section 15a
Applied Principles of Distortion
Dynamics...................................... 78
Introduction..................................................................... 78
Frequency Control .......................................................... 78
Equalization Theory........................................................ 78
More Theory…............................................................... 78
The Example................................................................... 79
The Results ..................................................................... 80
Summary......................................................................... 81
Section 16
Digital Aliasing (YUK Noise) ....... 82
What is Digital Aliasing?................................................ 82
Increasing Digital Aliasing.............................................. 82
Clean Preamps: Patch 'YUK Noise 1'.................... 83
OD/DS: Patch 'YUK Noise 2'................................ 83
Dirty Preamps: Patch 'YUK Noise 3'..................... 83
Avoiding Audible Aliasing ............................................. 83
Clean Preamps....................................................... 83
OD/DS................................................................... 83
Dirty Preamps........................................................ 83
Summary......................................................................... 83
Section 17
Slow Gear..................................... 85
What is the Slow Gear?................................................... 85
Rise Time........................................................................ 85
Sensitivity ....................................................................... 85
Effects Chain Ordering ................................................... 85
Using the Slow Gear ....................................................... 85
Problems......................................................................... 86
Presets............................................................................. 86
Section 18
Tremolo/Pan................................. 87
What does the tremolo/pan do?....................................... 87
Wave Shape..................................................... 87
Modulation Wave............................................ 87
Rate................................................................................. 87
Depth............................................................................... 88
Balance............................................................ 88
Tremolo........................................................................... 88
Pan.................................................................................. 88
Presets............................................................................. 89
Section 19
Slicer............................................. 91
What is the Slicer?.......................................................... 91
Slicing Patterns ...............................................................91
Rate.................................................................................91
Problems .........................................................................92
Trigger Sensitivity...........................................................92
Using It For Effect ..........................................................92
Presets.............................................................................92
Section 20
Equalisation (EQ)......................... 93
Some Generalities ........................................................... 93
The GT-3/5's Parametric Equaliser................................. 93
How to Use It.................................................................. 94
EQ Tips...........................................................................94
EQ Update.......................................................................95
EQPlot Software .............................................................95
Summary.........................................................................95
Section 21
Foot Volume................................. 96
Construction....................................................................96
What is it?....................................................................... 96
Using it for Effect............................................................96
Placement in the chain...........................................96
Noise Suppression................................................. 96
Fade in................................................................... 96
Slow Gear/Attack Delay........................................ 96
Fade Out................................................................ 97
Decay Acceleration................................................97
Tremolo................................................................. 97
Swelling & Reverse Swelling................................ 97
Feedback Control ..................................................97
Modifying the Sweep Range........................................... 97
Summary.........................................................................97
Section 22
The Guitar’s Volume Control ...... 98
Effect on Tone.................................................................98
Effect When Using Distortion......................................... 98
Knob Effects!.................................................................. 98
Noise Suppression................................................. 98
Fade In...................................................................98
Slow Gear/Attack Delay........................................ 98
Fade Out................................................................ 98
Decay Acceleration................................................98
Tremolo................................................................. 98
Swelling and Reverse Swelling..............................98
Slicing....................................................................98
Feedback control ................................................... 98
Summary.........................................................................98
Section 23
Control Assigns......................... 100
Common Questions.......................................................100

Contents
© Copyright 2000-2002 Barry S. Pearce et al. 5
Unusual Targets &Sources............................................ 101
Targets................................................................. 101
Sources................................................................ 101
The Internal Pedal Source............................................. 101
Expression & Footswitch Triggers...................... 101
Using MIDI CC For Triggering........................... 101
Sweep Time......................................................... 102
The Wave Pedal Source................................................ 102
Rate ..................................................................... 102
Dynamic Volume Effects.............................................. 103
Control Assigns using the Internal Pedal............. 104
Control Assigns using the Wave Pedal................ 104
Tuner On Using The EXP Pedal................................... 105
Summary....................................................................... 105
GT-3 Quick Settings...................................... 106
EXP PEDAL ....................................................... 106
CTL PEDAL ....................................................... 106
Control Assigns................................................... 106
GT-5 Quick Settings...................................... 106
EXP PEDAL ....................................................... 106
CTL PEDAL ....................................................... 107
Control Assigns................................................... 107
Section 24
Getting Boost for your Solo...... 108
Increase the Amount of Distortion................................ 108
Increase Volume ........................................................... 108
Reduce Dynamics to Provide an Increase in Average
Volume.......................................................................... 109
Reduce the Volume of Everything Else ........................ 109
Section 25
Using Multiple Guitars............... 110
Differences in Guitar Tone ........................................... 110
Differences in Guitar Output Volume........................... 110
Section 26
Signal Delay & Polarity.............. 111
Signal Delay.................................................................. 111
Signal Polarity............................................................... 111
Section 27
Factory Reset/Commissioning . 112
GT-3 Factory Reset Mode............................. 112
GT-5 Factory Reset Mode............................. 112
Factory Commissioning Mode...................................... 112
GT-3 Factory Commissioning Mode ... 112
GT-5 Factory Commissioning Mode ... 114
Summary.............................................................. 117
Section 28
All About MIDI ............................ 118
What MIDI Can and Can’t Do for You......................... 118
MIDI Primer..................................................................118
Program Change Messages.................................. 118
Bank Change Messages.......................................119
Control Change Messages ................................... 119
Velocity Messages............................................... 120
Pitch Bend Messages...........................................120
SYSEX Messages................................................ 120
Connections................................................................... 121
MIDI In/Out ........................................................121
MIDI THRU or MIDI OUT/THRU ....................121
MIDI Routing......................................................121
Computer Hook-ups ............................................ 123
Configuration................................................................ 125
<MIDI> Utility Function Settings ....................... 125
<System> Utility Function Settings ..... 126
Control Assigns ................................................... 127
Common Connection & Configuration Problems .........128
Bulk Dump/Load........................................................... 130
Bulk Dump Procedure.........................................130
Bulk Load Procedure...........................................130
MIDI Applications........................................................ 131
Cloning Your GT-3/5!!........................................ 131
GT-3/5 Controlling Other MIDI Units ................ 131
MIDI Devices Controlling The GT-3/5............... 132
Sequencers Controlling The GT-3/5....................132
MIDI Foot Controllers......................................... 132
MIDI Switching/Loop Systems ........................... 133
Patch Editors................................................................. 134
Other MIDI Software....................................................134
MIDI Implementation ...................................................135
Section 29
External Effects Loop................ 136
The ‘External Effects Loop’.......................................... 136
Send Level Adjustment........................................ 136
Return Level Adjustment..................................... 136
Level Matching.................................................... 136
Noise....................................................................136
Creating Patch ‘Ext FX Loop’ ...................................... 136
Applications.................................................................. 137
External Effects................................................... 137
Preamp Connection ............................................. 137
Signal Tap ........................................................... 137
Jam Along............................................................ 137
Appendices ................................ 138
Appendix A Patch Reference Library ........................... 138
1-1/1U1-1-1 '<Empty>'........................................ 138
1-2/U1-1-2 ‘<BYPASS>'.....................................138

Contents
© Copyright 2000-2002 Barry S. Pearce et al. 6
1-3/U1-1-3 'Clean'............................................... 138
1-4/U1-1-4 'Ext FX Loop'.................................... 138
2-1/U1-1-5 'Noise check'..................................... 139
2-2/U1-2-1 'YUK Noise 1'................................... 139
2-3/U1-2-2 'YUK Noise 2'................................... 139
2-4/U1-2-3 'YUK Noise 3'................................... 140
3-1/U1-2-4 'Metal Dist*'...................................... 140
3-2/U1-2-5 'Metal SG'......................................... 140
3-3/U1-3-1 ‘Metal Trem’ .................................... 140
3-4/U1-3-2 ‘Metal Pan’....................................... 141
4-1/U1-3-3 ‘JC-120 Trem’.................................. 141
4-2/U1-3-4 ‘C.TWIN Pan’.................................. 141
4-3 'Metal Chop'................................... 141
4-4 'Metal GibSL'................................. 142
Appendix B Level Settings Overview........................... 143
Appendix C Quick Settings Overview.......................... 144
Effect Group: SFX............................... 144
Effect Group: COMP/LM.................... 144
Effect Group: WAH............................. 144
Effect Group: OD/DS .......................... 144
Effect Group: PRE/SP SIM ................. 145
Effect Group: EQ................................. 145
Effect Group: MOD............................. 146
Effect Group: DELAY......................... 148
Effect Group: CHORUS...................... 148
Effect Group: REVERB ...................... 149
Effect Group: FB/SLOWGEAR .......... 149
Effect Group: COMP/LM.................... 149
Effect Group: WAH............................. 149
Effect Group: OD/DS .......................... 149
Effect group: PREAMP ....................... 150
Effect group: SP SIM........................... 150
Effect Group: EQ................................. 151
Effect Group: MOD............................. 151
Effect Group: DELAY......................... 153
Effect Group: CHORUS ...................... 153
Effect Group: TREM/PAN .................. 154
Effect Group: REVERB....................... 154
Appendix D Analysis Methods ..................................... 155
Equipment Set-up & Connections .......................155
GT-3 Patch used..................................................155
Spectrum Analysis...............................................155
Level Analysis..................................................... 156
Summary.............................................................. 156
Appendix E LCD Meter Overlay Templates................. 157
Appendix F Electrical Safety ........................................ 158
Use a LED/neon socket tester.............................. 158
Use an RCD permanently on your rig.................. 158
Avoid solder for electrical connections............... 158
Ground/EARTH Connections.............................. 158

IMPORTANT NOTES
© Copyright 2000-2002 Barry S. Pearce et al. 7
This document has been formatted a similar style as the GT-
3/5 Owners Manual to provide a consistent style of
presentation. It must be noted however, that the presentation
in no way represents any endorsement by the Roland
Corporation.
THIS IS NOT AN OFFICIAL BOSS/ROLAND MANUAL.
© Copyright 2000-2002 Barry S. Pearce
EQ Portions © Copyright 2000 Philippe Martin
MIDI Section © Copyright 2001 PLANK, Ron Worley &
Barry Pearce
LCD Meter Templates © Copyright 2001 Manuel "Jed"
Saldaña
Cabling & Connector Images in sections 2 & 4 © Copyright
Behringer International GmbH
Section 15a Applied Principles of Distortion Dynamics,
© Copyright 2001 Vince Baim. All Rights Reserved.
(Version 1.3) This text may not be copied, edited, or
publicly printed, in part or in whole, without prior
written consent from the author.
Email: [email protected]
Boss is a registered trademark of the Roland Corporation.
GT-3/5 Owner’s manual information (used in the MIDI
section) was added with the kind permission of Roland
Corporation.
GT-3 and 5 editor information used with the kind
permission of their respective authors.
Some of the computer MIDI hook-up info was “borrowed”
from Shawn Deveau’s web site, who in turn got it from an
article in Roland's User Group Magazine, by Peter Swiadon.
Hope nobody minds!
Permission to distribute this material is hereby granted
ONLY under the following conditions:
1. It must remain intact with no edits, additions or
deletions either to content or the structure.
2. It must be offered freely and without cost of any
kind.
3. It may not be republished, or altered from its
original state without the expression permission of
Barry S. Pearce.
Permission is also granted for the publication, duplication
or replication of small extracts from the text. This
permission does NOT apply to section 15a. Permission
should be sought separately from the author specified
above.
The authors of, or the contributors to, this document may
not be held liable for any damage that occurs as a result of
using the information presented in this document. Any
action based on this information is performed entirely at
your own risk.

REVISION HISTORY
© Copyright 2000-2002 Barry S. Pearce et al. 8
Version Status Date Name Description of Changes
0.1a Draft 27 Sept 2000 Barry Pearce Initial release.
NOTE: Section 4 on noise elimination is not yet
complete.
0.1b Draft 17 Oct 2000 Barry Pearce Revision History given its own section due to column
width constraints being too tight.
Minor font/text formatting changes in section 3.
Minor spelling corrections to section 3.
Section 1 had some minor updates to increase the list of
thank you’s!
Section 2 updated with how to shield a guitar guide.
Section 4 edited and revised. Section is now complete.
Section 17 was updated the fact that the EQPlot
program had been written and is now available.
Section 21 was updated with more methods on boosts
for solos, after a discussion with Kent Andersen and
Sutton Reid.
Section 24 was written!
Appendix B was updated to reflect the changes in my
set-up.
0.1c Draft 16 Jan 2001 Barry Pearce Corrected reference on page 66 from the EXT OD/DS,
to refer to section 23 on Signal Delay.
0.1d Draft 17 Jan 2001 Barry Pearce Margins modified to allow better conversion to PDF.
Minor re-formatting following margin changes.
Copyright dates updated.
Minor spelling omission in section 12 corrected.
0.1e Draft 26 Jan 2001 Barry Pearce Outstanding Issues section added.
How to use this document updated to overview new
Section 8 EV5 contents.
Section 8 updated for my current set-up. Added
additional sub-section on configuring and using a
Roland EV5 expression pedal.
Sections 22,23,24 updated for corrected spelling &
rewording of confusing sentences.
Appendix A updated for corrected spelling &
rewording of confusing sentences.
Appendix C updated with minor reformatted changes.
Global replacement of ‘hum bucker’ to humbucker’ to
ensure consistency.
Made grammar and spelling corrections throughout,
after proof reading by Dave Stewart.
Section 1 modified to include thanks to Dave Stewart
for proofreading this document.
Section 4 Added sub-section on Noise Suppressor;
Effect of Parameters.
Section 2; added additional paragraph warning about
overloading pickups caused by the pickup set too
high.
0.1f Draft 22 Jan 2002 Barry Pearce,
Ron Worley New Connections, Audio Terminology and Level Metering sections added resulting in a complete re-
number of ALL sections in the document.
During the re-numbering process a number of sections
were moved around to provide a more logical order.
Added Section 15a added – Distortion Dynamics.
Added Section 28 All About MIDI.
Removed Appendix B. Other Appendices renumbered.
Added Appendix D to provide background on the
methods and settings used to analyse the GT-3/5.
Added Appendix E – Jed’s LCD Meter templates.
Completed Section 13 Compressor/Limiter.
Globally replaced ‘ – ‘ with em’s.
Links & text changed from Yahoo Groups to Yahoo
Groups.

Contents
© Copyright 2000-2002 Barry S. Pearce et al. 9
Version Status Date Name Description of Changes
Document renamed from ‘GT3 Set-up Series’ to ‘Boss
GT-x Set-up’.
Added GT-5 information.
GT-3/GT-5 specifics highlighted with use of graphics.
GT-3 references changed to GT-3/5 where both units
are applicable.
Important Notes changed to include newly required
copyright recognition.
Section 16 changed from YUK Noise to Digital
Aliasing to describe what is really happening.
Supporting spectrum analysis files revised – all
spectrum analysis has been re-done and is now
saved as even smaller gif files at 1024x768 for
clearer viewing.
Patch ‘1-4 Flat Amp’ removed to avoid perpetuating a
Roland LIE about the AC.Guitar preamp.
Section 27, recommendations about acceptable internal
battery voltages added.
…..and a huge number of other minor changes
throughout the ENTIRE document way too many to
mention…sorry.
v0.2 Draft 04 Feb 2002 Barry Pearce This document is now 100% GT-5 compatible (it was
originally based on the GT-3).
Section 1 – Credit given to Simonen Sampo for writing
the ‘Sutton Mod’ description presented in section 4.
Section 4 – corrected statement about GT-5 being able
to calibrate external exp pedals – it cannot. Included
results from spectrum analysis revealing that the
global setting ‘your setting?’ only affects the preamp
sims. Added reference to section 14 regarding the
use of external preamps & the GT-x preamp sim.
Also corrected the credit about the ‘Sutton Mod’
description, and added 1 missing paragraph to it as
well.
Section 7 – meters fully calibrated; description
included & diagram added.
Section 8 Level Matching – completely rewritten. Since
it was presented in the series it has had a 60% re-
write and now it’s received a HUGE revision in
order to further improve clarity and hopefully make
it less confusing.
Section 9 now includes a reference to Appendix F on
electrical safety. Also corrected references to ‘Metal
Chop’ to make it GT-3 only.
Noise Suppressor from section 9 given its own section
– Section 9a.
Section 14 – was modified to make it 100% GT-5
compatible. Now mentions the GT-5 customisations.
Also added in comments amount driving the input of
the preamp sim for added gain. Added a sub-section
called ‘External preamp + GT-x preamp: Breaking
the Myth’ to dispel misinformation about not being
able to use BOTH at the same time.
Section 15 – was modified to make them 100% GT-5
compatible. Now mentions the GT-5 customisations.
Section 16 – new information regarding aliasing across
the whole unit added, and revised my rather scornful
attitude to the preamps – this is a personal choice &
should be worded to suggest so.
Sections 23 - minor corrections from Ron Worley’s
proof reading, including GT-3 only blocks added for
BPM references and use of NS threshold & release
as control assign targets.

Revision History
© Copyright 2000-2002 Barry S. Pearce et al. 10
Version Status Date Name Description of Changes
Section 26 – added some words explaining why signal
delay & signal polarity are important and how they
can affect the signal. Also added some additional
measurements regarding delay caused by effect
processing, and corrected the GT-3 bias of the text.
Section 28 – MIDI connection/configuration problems
– corrected the bullet points back to bullet points!
For some bizarre reason they become numbered
points…damn MS Word!
Added Section 29 External Effects Loop – the [GT-
3]EXT OD/DS and [GT-5]Loop really deserved
their own section. Added details that spectrum
analysis of the SEND jack reveals a full range
signal.
Appendix A – Patches shuffled round and completely
renumbered. ‘Metal Chop’ made GT-3 only.
Appendix D – Corrected subsequent page header –
thanks to federaik_2001 of the GT-3 Yahoo
Group.
Added Appendix F Electrical Safety.
Sections 9, 10, 11, 12, 14, 15, 15a, 16, 18, 19 & 24 -
minor corrections from Ron Worley’s proof reading.
All references to patch numbers in the patch reference
library have been removed from the text to make the
text more applicable to both the GT-3 and the GT-5.
All references to ‘Flat Amp’ have at last been removed.
Patch ‘Extern Only’ renamed ‘Ext FX Loop’.
Both GT-3 & GT-5 .SYX patch reference library files
revised to fit in line with the new patch numbering
as defined in the revised Appendix A, and released
as v0.2.

OUSTANDING ISSUES
© Copyright 2000-2002 Barry S. Pearce et al. 11
Issue
Number Date Raised By Description
0001 Ongoing Barry Pearce Section 13 – Compressor/limiter - to be completed

How to use this document
© Copyright 2000-2002 Barry S. Pearce et al. 12
This document covers a number of topics regarding general
guitar system set-up, operation and maintenance, and
operation of the Boss GT-3/5 Guitar Effects Processors. It
is divided into twenty-five sections and four appendices.
I recommend reading sections 1-8 in order. Having read
these sections I then recommend diving into the rest of the
document as necessary.
Section 1
Introduction
This section examines why this document exists, provides
links to the most important GT-3/5 web sites, suggests other
documents to read and I also get a chance to thank the
people that have contributed to ‘Set-up….’.
Section 2
Audio Terminology
This section describes some basic audio terms that are
heavily used throughout this document.
Section 3
Guitar Set-up
This section examines how your guitar could be preventing
you from sounding good. Consider this a health check for
your guitar!
Section 4
Connections
There are a number of methods to connect up your GT-3/5.
This section shows you what can be done and what the
relative pros and cons of each method are. We also examine
the different connector types, balanced/unbalanced signals
and setting up external CTL & expression pedals, including
a walkthrough of connecting a Roland EV5 Expression
Pedal.
Section 5
Basic Configuration
This section presents a suggestion for setting up your GT-
3/5. The patch ‘ <Empty> ‘ is presented to help you keep a
track of free patch slots and we examine how you might
wish to organise your patches. Finally I mention quick
settings; what they are and how they can help you.
Section 6
Effects Ordering
This section examines a recommend effects order, including
a comparison of OD-PRE or PRE-OD orderings to see if
one way works better than the other.
Section 7
Level Metering
Understanding the GT-3/5’s meters is critical to
successfully matching levels, and avoiding problems such as
clipping. In this section we look at what the meters can do
for you.
Section 8
Level Matching
This section explains my GT-3/5 volume set-up philosophy.
It examines how to measure the input/output levels, and
how to balance/tweak them.
Section 9
Noise Elimination
This section takes a look at removing noise, hum and
unwanted distortion from your guitar system. It takes a look
at impedance, signal-noise ratio, ground loops and clipping.
A small departure is made into some tips for eliminating
noise when recording onto computer.
Section 9a
Noise Suppressor
The differences between suppression, gating and filtering
are examined. We will look at what a Noise Gate does, and
how to use it to solve noise problems, and discover how to
use the NS as an effect!!!!
Section 10
Speaker Simulation
This section examines the speaker simulator, when it is on,
when it is off and its characteristics as well as tips for use.
Section 11
Manual Mode
Manual mode seems to have caused some confusion. We
take a look at what it can and can't do and examine how we
can be more sophisticated with it, using it to open up a
patch.

How to use this document
© Copyright 2000-2002 Barry S. Pearce et al. 13
Section 12
Patch Problems
We examine why patches we obtain from other people and
the internet just don't cut it when we use them on our own
GT-3/5s, and find out what steps we can take to help fix
these Patches and help ensure that others can benefit more
from Those that we have created.
Section 13
Compressor/Limiter
This section examines what compressors and limiters do,
what is available on the GT-3/5 and how we can apply
them.
Section 14 Preamps
We examine the preamps to obtain both clean and distorted
sounds.
Section 15
Overdrive/Distortion
We take a look at the OD/DS.
Section 15a
Applied Principles of Distortion
Dynamics
In this section Vince Baim takes us through getting that
killer distortion that we all strive for.
Section 16
Digital Aliasing (YUK Noise)
In this section I explain what Digital Aliasing is why it was
called ‘YUK Noise’, how to induce it and how to avoid it.
Section 17
Slow Gear
In this section we take an in depth look at the Slow Gear
effect; what it is, what it does and how to apply it.
Section 18
Tremolo/Pan
This section examines the Tremolo and Pan effects. We
make a detail examination of them to see what they are all
about and what they can do for us.
Section 19
Slicer
We examine what the Slicer does and how to apply it.
Section 20
Equalisation (EQ)
In this section Phillippe Martin provides an introduction
into EQ, and I supply some information about the Low
EQ/High EQ parameters.
Section 21
Foot Volume
This section takes a close look at getting the most from the
foot volume pedal.
Section 22
The Guitar’s Volume Control
It may not be on the GT-3/5 but this section takes a look at
using it for effect, and examines what affect it has on the
sound from the GT-3/5.
Section 23
Control Assigns
This section examines control assigns and I give you the
information that Roland forgot to put in their manual. We
take a look at the technical aspects of the Internal and Wave
pedals. Finally we put together what we have just learnt to
create a range of real-time changing volume effects.
Section 24
Getting Boost for your Solo
This section examines a number of ways to give you a boost
when you start getting hot!
Section 25
Using Multiple Guitars
This section examines what problems are associated with
using multiple guitars and looks at how these problems can
be resolved.
Section 26
Signal Delay & Polarity
Sutton Reid prompted a look at signal delay and signal
polarity. This section describes what they are and how they
affect the GT-3/5.

How to use this document
© Copyright 2000-2002 Barry S. Pearce et al. 14
Section 27
Factory Reset/Commissioning
This section takes a quick look at the two factory modes,
how to get into them and what to watch out for!
Section 28
All About MIDI
In this section we take a look at the power that MIDI can
unleash. It examines the use of MIDI for controlling the
GT-3/5 and using the GT-3/5 to control other MIDI devices
and even non-MIDI devices.
Section 29
External Effects Loop
In this section we take a look at the use of external devices
in the GT-3/5’s effects loop via the GT-3’s EXT OD/DS
and the GT-5’s Loop. We also answer the question - which
is best; placing an external pedal in the external effects loop
or before the GT-3/5? And we even look at some novel
ways to use the effects loop.
Appendix A
Patch Reference Library
This section describes what the patch reference library is,
where to find it and provides text versions of all of the
patches presented as part of the ‘Set-up….’ series.
Appendix B
Level Settings Overview
There are an awful lot of level settings on the GT-3/5. I
describe what each does, so you have a quick reference to
altering your sound.
Appendix C
Quick Settings Overview
This section takes a peek at all the preset effect Quick
settings on offer—all 211 of them!!! This makes up for the
fact the GT-3/5 manual doesn't!!
Appendix D
Analysis Methods
This section will provide information about the methods
and settings used during the spectrum and level analysis of
the GT-3/5, which has revealed so much technical
information about the Boss GT3/5.
Appendix E
LCD Meter Overlay Templates
Kindly provided by Jed, this section provides a single page
that maybe printed out on a transparency that may be used
for more accurate metering measurements.

Section 1 Introduction
© Copyright 2000-2002 Barry S. Pearce et al. 15
Welcome to 'Set-up....'!
‘Set-up….’ started off as a series of six postings on the GT-
3 Yahoo Group. This document represents the entire work
of the series, bundled up, in a single handy reference. I
started the series to answer some of the large number of
requests on the group regarding set-up or volume related
matters. Answering some of these questions involves a bit
of investigation and you will be pleased to know that I'm
going to be doing a lot of legwork for you!
Although this document was originally developed using a
GT-3, many subjects cover any guitar system, and a lot of
the GT-3 information is applicable to the GT-5 with little or
no translation. Since the original release the document has
been made 100% compatible with the GT-5. Where
differences between the GT-3 & GT-5 exist, the following
graphics have been used to show that a particular piece of
text is GT-3 or GT-5 specific. If something is applicable to
both units then these symbols will NOT be shown.
GT-3 specific items
GT-5 specific items
If there is a minor difference the text may talk about ‘on the
GT-3 something and on the GT-5 something else’,
alternatively the difference may be prefixed by ‘[GT-3]’ for
GT-3 specific items and ‘[GT-5]’ for GT-5 specific ones. I
hope this helps highlight the differences between the two
units.
I haven't considered doing other effects stuff; only those
that are volume related. Perhaps someone else would like to
volunteer to do some 'Effects Set-up....' specials???? Any
offers....?
What Is the Aim?
The aim is quite straight forward:
To help Boss GT-3/5 users (including myself) have a
better understanding of the unit, be more confident
with it, be able to set it up more efficiently and most of
all—to make better sounds from it.
Other Information
Before embarking on reading this document I do
recommend that you read through the GT-3/5 owners
manual supplied by Roland. I do assume that you have read
this.
The GT-3 Yahoo Group has two further documents that I
would also recommend reading; the GT-3 FAQ and the
Unofficial GT-3 Owners Manual Supplement both of which
can be found at
http://groups.yahoo.com/group/gt-3/files
The GT-3, GT-5 and GT-6 Yahoo Groups are forums with a
combined membership of over 1000 existing or potential
GT-3/5 users. The group HQs are at
http:/groups.yahoo.com/group/GT-3
http:/groups.yahoo.com/group/GT-5
http:/groups.yahoo.com/group/GT-6
My band is called  . All of the files and
materials referenced in this document are available from the
band’s website:
http://www.breakingtaboo.com
Or may be accessed directly at:
http://www.breakingtaboo.com/gear/boss_gt-x
The GT-3 Yahoo Group also serves as a mirror for all the
files mentioned by the set-up series and this document.
These files can be found at:
http://groups.yahoo.com/group/gt-3/files/Set-up..../
If you have more general set-up guitar related queries rather
than GT-3/5 related queries then try the GuiTech or The-
Guitar-Cafe Yahoo Groups which can be found at:
http://groups.yahoo.com/group/GuiTech
http://groups.yahoo.com/group/The-Guitar-Cafe
And finally some links to Roland:
http://www.roland.co.uk
http://www.rolandus.com
Stompbox City
One GT-5 group member called PLANK (from Manchester
in the UK) summed up what I have been trying to get at all
along:
‘The best way to work with the unit is NOT to think of
it as a big blue box with loads of effects, or as a multi
effects unit. Think of it as a load of stompboxes...you
know, like the small Boss pedals.’
This is why I level match as I do, so manual mode can be
used to treat the GT-3/5 just as a set of stompboxes. The
level matching ideas are exactly what you would do if you
had a set of stompboxes in front of you.

Section 1 Introduction
© Copyright 2000-2002 Barry S. Pearce et al. 16
Cheers PLANK for putting into words that which I had
assumed everyone understood already!
Thank You
There are one or two people that must be thanked for their
hard work and effort in the creation of the series and more
recently this document, as well as the other truly great
reference materials such as the FAQ and the Unofficial
Owners Manual Supplement….
Ron Worley
Fort Worth, TX USA
[e-mail]
[email protected]
I cannot thank Ron enough – He has not only been the main
driving force behind the creation of the MIDI section.
(Which Ron initially developed using Plank’s original MIDI
document – to which I and Ron added more information,
diagrams and technical detail on MIDI connections and
control, turning it into what you see in the MIDI section
today), but he has also helped me immensely in preparing
the GT-5 compatibility of the document; which has included
a complete and thorough proof-read of the document AND
if that wasn’t enough he wrote the GT-5 side of the factory
reset/commissioning section, AND prepared the GT-5
version of the .syx file for me. Ron – You are a true star.
Vince Baim
For kindly allowing me to include his own work on
‘Applied Principles of Distortion Dynamics’ as section 15a.
It’s a cracking piece of work and should help a great many
people obtain the sound they want and the killer distortion
that they wish for.
Philippe Martin
For authoring the section on EQ. I am indebted to him for
covering this!
Stephen Soukup
For all his helpful comments, and discussions during the
series and also for the mammoth task of proof-reading this
document! The series would have been much smaller and
much poorer without him.
PLANK
Manchester, UK.
[e-mail]
[e-mail]
http://users.tinyonline.co.uk/plank/home.html
For saying what I haven’t said but assumed about treating
the GT3/5 as stompboxes. Additionally the MIDI section in
this document was based on the MIDI Tutorial written by
PLANK, and posted on the GT-5 Users Group Site.
Manuel "Jed" Saldaña
For his effort producing the LCD Meter Templates in
Appendix E, and allowing me to include them here.
Simonen Sampo
For his description of the ‘Sutton Mod’ to install additional
external footswitches freeing up the CTL pedal and external
footswitches.
Sutton Reid
For his idea of a ‘mod’ to install additional external
footswitches freeing up the CTL pedal and external
footswitches (documented by Simonen Sampo). And also
for his helpful comments and also for his questions on
signal delay/polarity and volume boosts for solos and more
besides.
Ed Lauwerens
For the idea of using MIDI to control non-MIDI devices.
Kleber A. Gonçalves
For his suggestions for GT-3 speaker simulator on/off
functionality.
Kent Anderson
For his suggestions for his suggests about volume boosts for
solos.
Kaido (Draconic) Haavandi
For bringing the GT-3 factory commissioning mode into the
limelight!
Suzanne Archibald
For advice on the compressor and opening my eyes and
memory to the fact that the compressor may not be a
downwards but an upwards compressor.
Russ Poncher
For his effort producing the GT-3 FAQ. Its an invaluable
reference and great companion to this document. I only
wish more people read it…
Stephen M. Golden
For his effort producing the Unofficial GT-3 Owners
Manual Supplement. Like the FAQ this is another great
reference – great work.
Dave Stewart (GT-3 Yahoo Group Moderator)
For proofreading what is, a rather large document.
Mark Meyer
For bringing Vince Baim’s work to my attention and
negotiating its inclusion in this document.
Thank you all very much
indeed.

Section 1 Introduction
© Copyright 2000-2002 Barry S. Pearce et al. 17
I would also like to thank everyone who has made
comments, given words of encouragement, or thanks. These
have helped me understand that there was a need for this
document and it wasn’t just me who needed the
information!
And Finally…
I hope this document helps you understand your GT-3/5
better. If you take away from this just one new piece of
information then it has all been worthwhile. Hopefully this
document will provide a useful reference for the future.
Although at the time of this final update the GT-6 has been
released, I have no plans to update the document to
accommodate the GT-6. Firstly I do not feel that such a
close similarity exists between the GT-3/5 and the GT-6, as
does between the GT-3 and the GT-5. Secondly, and more
importantly, I’m afraid I really don’t have the time. This
document so far has taken a lot of time, and whilst I hope it
helps at least a few people it is now time for me to move on
and get on with writing some songs (not to mention one or
two other things in life).
I hope this document is at least everything I ever promised
it would be. It has certainly grown to something far bigger
than I first imagined.
If you have a problem or subject area you would like to see
addressed here then send me an e-mail or post a message to
the either the GT-3 or GT-5 Yahoo group.
If anyone has any comments, corrections, suggestions they
would like to make please please please make them! All
comments will be taken into consideration, and all
comments help everyone (including me!) understand their
GT-3/5 better. Please make all comments public via the GT-
3 and GT-5 Yahoo Groups.
To those of you who are American I would like to point out
that I am not atrocious at spelling; I’m English! I will
however apologise for any differences in language that
make this document harder for others to understand,
particularly one or two references and phrases that may be
turn out to be rather quaint English.
Barry Pearce
E-Mail: [email protected]

Section 2 Audio Terminology
© Copyright 2000-2002 Barry S. Pearce et al. 18
Audio Terms
Before we get going, I feel that I should explain some
common terms. A good understanding of what these terms
mean, their implications and their relevance to us, will
certainly make the descriptions in the rest of this document
much more meaningful. It is possible that many of you have
come across these terms before. Maybe others haven’t so
please bear with me for a little while, while I explain these
terms.
Signal
An audio signal is an analogue or digital representation of
the sound that we hear. The analogue representation is a
voltage. For instance, when your strings vibrate on your
guitar the pickups convert the vibration to a voltage. This
voltage is the audio signal. An Analogue to Digital
Converter (ADC) changes an analogue signal (voltage) into
a digital one. To move the other direction you use a Digital
to Analogue Converter (DAC). Both these may be
integrated into a single chip known as an ADAC.
Mono Signal
A mono signal is a single audio signal. As there is only one
channel, it is not possible to have different sounds for left
and right. To do this you need 2 signals, which leads me
nicely on to...
Stereo Signal
This signal is in fact two mono signals; one for left, and one
for right. It is fairly normal to group the two together and
talk about a single stereo signal. The left and right channels
must differ. If they do not they what you have is ‘2 Channel
Mono’. Two Channel Mono is often misinterpreted as
Stereo, but this is not so.
Unbalanced Signal
This term is used with regard to wiring. An unbalanced
signal will use a single wire to transmit a signal. Typically,
a guitar outputs an unbalanced signal. The GT-3/5 inputs
and outputs are all unbalanced as well. To change between
unbalanced, balanced and vice versa you need a special
converter, although that said, some equipment have
converters built in.
Balanced Signal
A balanced signal uses two wires to transmit the SAME
audio signal. Do NOT confuse balanced with stereo.
Although two wires are need and the two signals differ a
balanced signal is still MONO. The point of using balanced
signals is primarily one of noise reduction. Typically there
are two signal wires called ‘hot’ and ‘cold’ respectively.
The ‘hot’ signal is our normal unbalanced signal, and the
‘cold’ signal is the hot one phase inverted. The theory is
that when external noise affects the cable it will affect both
signals equally. So on the ‘hot’ wire we have +signal+noise
and on the cold wire we have –signal+noise. When the
signal arrives at its destination the cold signal is inverted
giving us +signal–noise. The two wires have their signal
mixed to return us to a single signal (which is effectively
addition) and this gives us +signal+noise+signal-noise.
Simple maths gives us the answer as 2 x signal and NO
noise!!! Here is a good diagram (courtesy of Behringer
International GmbH) that shows this visually.
Signal Path
The route the audio signal takes through the various cables
and pieces of equipment is know as the signal path.
Signal Level
This is the amplitude of the voltage. It can be measured in
two ways – peak levels and RMS (Root Mean Square)
levels. RMS is a way of taking an oscillating signal (AC
electricity) and resolving it into an equivalent non-
oscillating signal (DC voltage). This is a way of
determining the total power of a signal. Signal-Noise ratios
(explained below) are measured in RMS.
Signal-Noise Ratio
This is sometimes called ‘Dynamic Range’. All electronic
and electrical devices generate noise. Signal-Noise Ratio is
basically how much louder the audio signal is, compared
with the noise. Many electronic devices such as stompboxes
and mixers etc are marked with their S/N ratio. Basically
the lower the better—i.e. (quoting from 'Guitar gadgets') A -
60dB S/N ratio means noise you can clearly hear but is
probably not overly objectionable. A ratio of -70dB S/N
means the noise is still there but is considerably less
objectionable. If the S/N ratio is -80dB then the device will
be quiet enough for everyone and at -90dB and greater you
are going to have to really look for the noise.
My mixer comes in at about–97dB, my Alesis RA100 is at -
100dB, the Samson wireless is better than -100dB.—you
get the idea. The GT-3 is -100dB or better., and the GT-5 is
marginally quieter at –105dB or better. (Although not
labelled SNR the GT-3/5 manuals use the term ‘Dynamic
Range’ to define the SNRs).
However, there are some general principles we can observe
here. Let us say I have a signal of level 100 and this goes
through a device that will generate 10 units of noise. If I
now amplify this signal by 10 then I get 1000 units audio

Section 2 Audio Terminology
© Copyright 2000-2002 Barry S. Pearce et al. 19
signal level but 100 units noise. If I put a louder signal
through the unit initially—for instance 200 units and
amplify it by 10 the audio is 2000, however the noise is still
only 100; Instead of 10% its now only 5%. Indeed If I now
reduce the amplification—to say 5 times, I get 1000 units of
audio and ONLY a mere 50 units of noise. We have the
same audio level but a significant reduction in noise. This is
clearly an improvement over our initial case.
The problem is once noise has been introduced it is a
bugger to get rid of—moral of the story is to try to reduce
noise at its source, especially from noisy units. This is why
so many pages are devoted to this subject in section 9.
It can be seen that if a louder signal can be fed into a fixed-
noise level unit, then we actually end up better off at the
end. Thus it is better to feed a loud signal rather than a quiet
one. However, the receiving device MUST be able to cope
with this loud signal. If it can't, clipping will occur…
Clipping
I originally presented this is part of noise elimination.
However, it is so fundamentally important to the GT-3/5.
Some people would perhaps consider clipping as noise but
it isn't really.
Let’s use an analogy here. We are going to drive a double-
decker bus underneath a bridge designed to accommodate a
single-decker. No, I'm not into violence. There are no
passengers and the driver is a stunt driver who knows what
he is doing! DO NOT TRY THIS AT HOME! OK. Here we
go, 30mph. 50mph. 70mph (its a good bus!). BANG. The
Bus has comes out the other side. Hang on a mo. Half the
upper deck is missing! The top is now rather ragged and
mangled. Other than that the bottom half of the bus is OK.
If you take a loud signal and pump it into a 'space' designed
for a not so loud signal the top will be lopped off! Clipping
is the audio term for such an event.
Clipping alters the sound you hear, manifesting itself as
speaker rumble, harsh clicks or even distortion. In fact the
principle of clipping is behind every distortion or fuzz we
have today. However, there are times when this clipping is
undesired—this is unwanted distortion. For instance we
want a nice clean warm sound. Any clipping that occurs will
cause distortion and will ruin our clean sound.

Section 3 Guitar Set-up
© Copyright 2000-2002 Barry S. Pearce et al. 20
OK. I know you are going to get all shirty (yes shirty—it's a
quaint English thing) and whilst prodding me in the ribs say
'What has this got to do with my GT-3/5?'. Well, its has and
it hasn't. Let’s face it, if your guitar is not set-up correctly
there is no way on this planet the GT-3/5 is going to make it
sound good—and that, after all is one of the aims of this
series. What we are going to do is give your guitar a quick
check-up and make sure that it won't inhibit you in your
playing. Anyway, please bear with me on this one—we will
be looking at your guitars electrics briefly as a precursor to
noise elimination. So...
Preliminary Electrical
Before we start let’s do a quick check on the old
tone/volume pots and switches on your guitar. Plug into
your amp (using only the good cables determined above)
and turn the volume up full. Ignore any amp-generated
noise for the moment. Now without playing anything rotate
the volume pots one by one. Do each one backwards fully
and forwards fully a couple of times. If there is any sign of
noise—which will typically be a scratchy sound then the pot
needs attention. Once you have done the volume pots, leave
the volumes at full and then try the same with each of the
tone pots.
OK, same again this time with the pickup selector switch.
You will get some switching noise here but this should be
acceptably low. Give the switch a waggle around as well—
this showed up a dodgy switch on my Strat. My Jackson
was deathly silent.
Finally waggle the cable at the point where it goes into the
guitar. If this produces any noise attention is required.
If any faults need to be rectified I suggest either seeking out
the services of a professional luthier or buying a book on
guitar maintenance; recommendations are ‘How to make
your electric guitar PLAY GREAT!’ by Dan Erlewine and
Guitar Player Magazine’s ‘Guitar Player Repair Guide’
which is also by Dan Erlewine. Whatever you do, solve
them before continuing.
Strings I
Now let’s check the simple stuff. You have changed your
stings in the last year right? Ah. Well, go do it now!! Old
strings that are fully stretched have lost a lot of tone
compared with new strings. The harmonic overtones that
are also produced have diminished. The sound will be dull
and your guitar will be harder to tune. Nothing will sound
good on old strings. Nuff said. One more thing though;
always wipe your strings after playing. This helps avoid a
build up of crud that attaches itself to your strings and helps
to corrode them!
Final Electrical
Actually, while you have the strings off – let’s do a quick
electronics check. I take no credit for what comes next—
this is direct from the Jackson website:
Check the wiring in the control cavity and make
sure the pickup is wired correctly. No loose wires
or strange animals crawling around inside? If not
then it's time to check out the grounding system.
You'll need a multimeter to check for continuity
between each solder joint.
Check for any broken continuity between joints
and the cavity ground (ground wires that should
be connected to the body of the guitar) if all check
out be sure to look for the ground that leads to the
bridge and double check it out be sure. The
ground wire for the bridge should be secured to
the spring claw or the baseplate depending on the
model and type. This will ground the strings and
keep many outside interference from taking over
your guitar.
NOTE: Many active pickup systems such as those from
EMG recommend that the strings ARE NOT connected to
the cavity grounding, or the electronics. At ALL times make
sure your guitar adheres to recommendations such as these
from the manufacturers. These instructions are normally
issued for your safety.
Shielding
While you’ve got the strings off you may wish to shield the
cavities of your guitar. This may not be necessary in some
case but certainly won’t hurt matters if you are experiencing
noise difficulties. After shielding three of my own guitars, I
have certainly noticed a complete removal of the noise you
get when you haven’t got your pinkies on the strings (which
then disappears as soon as you touch them). I think this is
down to bad grounding, and certainly found that shielding
the guitar helped.
So what do you need and how do you do it?
Its actually quite simple...first be prepared to take
everything off your guitar...and I mean everything!
Buy some 25mm EMI/RF copper shielding foil. Its quite
expensive at 25 UKP for 25m (well I suppose its about the
same as guitar cables really...) but you can get about 4-5
guitars out of this depending on the type of the guitar—
strats with their large cover plates take a bit more maybe 5-
7m of the stuff. I got mine in the UK from RS Components
(http://rswww.com). In the US, Stewart MacDonald (http://
www.stewmac.com) sells a complete cavity shielding kit, as
well as shielding paint and other items. Incidentally, this is
the company that Dan Erlewine either runs or works for.