Contents

Boss GT-PRO Owner’s Manual PDF

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Summary of Content for Boss GT-PRO Owner’s Manual PDF

Owners Manual

03899334 05-3-1N

Printing Conventions in This Manual Text or numerals enclosed in square brackets [ ] indicate bottons.

[WRITE] WRITE button [SYSTEM] SYSTEM button

EXP pedal is an abbreviation of Expression pedal.

Reference such as (p. **) indicate pages in this manual to which you can refer.

Thank you, and congratulations on your choice of the BOSS GT-PRO Guitar Effects Processor.

Before using this unit, carefully read the sections entitled:

IMPORTANT SAFETY INSTRUCTIONS (page 2)

USING THE UNIT SAFELY (page 34)

IMPORTANT NOTES (page 56)

These sections provide important information concerning the proper operation of the unit.

Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owners manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Copyright 2005 BOSS CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.

This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.

For EU Countries

For EU Countries

Apparatus containing Lithium batteries

ADVARSEL! Lithiumbatteri - Eksplosionsfare ved fejlagtig hndtering. Udskiftning m kun ske med batteri af samme fabrikat og type. Levr det brugte batteri tilbage til leverandren.

VARNING Explosionsfara vid felaktigt batteribyte. Anvnd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvnt batteri enligt fabrikantens instruktion.

CAUTION Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type recommended by the manufacturer. Discard used batteries according to the manufacturers instructions.

ADVARSEL Eksplosjonsfare ved feilaktig skifte av batteri. Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten. Brukte batterier kasseres i henhold til fabrikantens instruks joner.

VAROITUS Paristo voi rjht, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

Cet appareil numrique de la classe B respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.

NOTICE

AVIS

For the USA

FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation.

Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

For the USA

DECLARATION OF CONFORMITY Compliance Information Statement

Model Name : Type of Equipment : Responsible Party :

Address : Telephone :

GT-PRO Guitar Effects Processor Roland Corporation U.S. 5100 S.Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700

CAUTION RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS SAVE THESE INSTRUCTIONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any of the ventilation openings. Install in

accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators,

heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Unplug this apparatus during lightning storms or when unused for long periods of time.

13. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE: BROWN:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

NEUTRAL LIVE

For the U.K.

WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

2

USING THE UNIT SAFELY

001 Before using this unit, make sure to read the

instructions below, and the Owners Manual.

.......................................................................................................... 002a Do not open or perform any internal modifica-

tions on the unit.

.......................................................................................................... 003 Do not attempt to repair the unit, or replace parts

within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information sheet.

.......................................................................................................... 004 Never use or store the unit in places that are:

Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

Damp (e.g., baths, washrooms, on wet floors); or are

Humid; or are

Exposed to rain; or are

Dusty; or are

Subject to high levels of vibration. .......................................................................................................... 005 This unit should be used only with a rack or stand

that is recommended by Roland.

.......................................................................................................... 006 When using the unit with a rack or stand recom-

mended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

..........................................................................................................

008a The unit should be connected to a power supply

only of the type described in the operating instructions, or as marked on the rear side of unit.

.......................................................................................................... 009 Do not excessively twist or bend the power cord,

nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

.......................................................................................................... 010 This unit, either alone or in combination with an

amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

.......................................................................................................... 011 Do not allow any objects (e.g., flammable

material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

.......................................................................................................... 012a Immediately turn the power off, remove the

power cord from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information sheet when:

The power-supply cord, or the plug has been damaged; or

If smoke or unusual odor occurs

Objects have fallen into, or liquid has been spilled onto the unit; or

The unit has been exposed to rain (or otherwise has become wet); or

The unit does not appear to operate normally or exhibits a marked change in performance.

..........................................................................................................

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

The symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power- cord plug must be unplugged from the outlet.

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

3

013 In households with small children, an adult

should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

.......................................................................................................... 014 Protect the unit from strong impact.

(Do not drop it!)

.......................................................................................................... 015 Do not force the units power-supply cord to

share an outlet with an unreasonable number of other devices. Be especially careful when using extension cordsthe total power used by all devices you have connected to the extension cords outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

.......................................................................................................... 016 Before using the unit in a foreign country, consult

with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information sheet.

.......................................................................................................... 023 DO NOT play a CD-ROM disc on a conventional

audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

.......................................................................................................... 026 Do not put anything that contains water (e.g.,

flower vases) on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swiftly wipe away any liquid that spills on the unit using a dry, soft cloth.

..........................................................................................................

101a The unit should be located so that its location or

position does not interfere with its proper venti- lation.

.......................................................................................................... 102a Always grasp only the plug on the power-supply

cord when plugging into, or unplugging from an outlet.

.......................................................................................................... 103a At regular intervals, you should unplug the

power plug and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.

.......................................................................................................... 104 Try to prevent cords and cables from becoming

entangled. Also, all cords and cables should be placed so they are out of the reach of children.

.......................................................................................................... 106 Never climb on top of, nor place heavy objects on

the unit.

.......................................................................................................... 107a Never handle the power cord or its plug with wet

hands when plugging into, or unplugging from, an outlet.

.......................................................................................................... 108a Before moving the unit, disconnect the power

plug from the outlet, and pull out all cords from external devices.

.......................................................................................................... 109a Before cleaning the unit, turn off the power and

unplug the power cord from the outlet (p. **).

.......................................................................................................... 110a Whenever you suspect the possibility of lightning

in your area, pull the plug on the power cord out of the outlet.

..........................................................................................................

4

IMPORTANT NOTES

291b In addition to the items listed under IMPORTANT SAFETY

INSTRUCTIONS and USING THE UNIT SAFELY on pages

2 and 3, please read and observe the following:

Power Supply 301 Do not connect this unit to same electrical outlet that is

being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.

307 Before connecting this unit to other devices, turn off the

power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

308 Although the LCD and LEDs are switched off when the

POWER switch is switched off, this does not mean that the unit has been completely disconnected from the source of power. If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. For this reason, the outlet into which you choose to connect the power cords plug should be one that is within easy reach and readily acces- sible.

Placement 351 Using the unit near power amplifiers (or other equipment

containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of inter- ference.

352a This device may interfere with radio and television

reception. Do not use this device in the vicinity of such receivers.

352b Noise may be produced if wireless communications

devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initi- ating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.

354a Do not expose the unit to direct sunlight, place it near

devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

355b When moved from one location to another where the

temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

Maintenance 401a For everyday cleaning wipe the unit with a soft, dry cloth

or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402 Never use benzine, thinners, alcohol or solvents of any

kind, to avoid the possibility of discoloration and/or deformation.

Repairs and Data 452 Please be aware that all data contained in the units

memory may be lost when the unit is sent for repairs. Important data should always be backed up in another MIDI device (e.g., a sequencer), computer, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

Memory Backup 501b This unit contains a battery which powers the units

memory circuits while the main power is off. When this battery becomes weak, the message shown below will appear in the display. Once you see this message, have the battery replaced with a fresh one as soon as possible to avoid the loss of all data in memory. To have the battery replaced, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information sheet.

5

IMPORTANT NOTES

Additional Precautions 551 Please be aware that the contents of memory can be

irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the units memory in another MIDI device (e.g., a sequencer) or computer.

552 Unfortunately, it may be impossible to restore the contents

of data that was stored in the units memory once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553 Use a reasonable amount of care when using the units

buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

556 When connecting / disconnecting all cables, grasp the

connector itselfnever pull on the cable. This way you will avoid causing shorts, or damage to the cables internal elements.

557 A small amount of heat will radiate from the unit during

normal operation. 558a To avoid disturbing your neighbors, try to keep the units

volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

559a When you need to transport the unit, package it in the box

(including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

561 Use only the specified expression pedal (EV-5; sold

separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562 Use a cable from Roland to make the connection. If using

some other make of connection cable, please note the following precautions.

Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For infor- mation on cable specifications, contact the manufac- turer of the cable.

Handling CD-ROMs 801 Avoid touching or scratching the shiny underside

(encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.

Copyright 852a When exchanging audio signals through a digital

connection with an external instrument, this unit can perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own composi- tions) that do not infringe on the copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-protection feature.)

853 Do not use this unit for purposes that could infringe on a

copyright held by a third party. We assume no responsi- bility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

204 * Microsoft and Windows are registered trademarks of Microsoft Corporation. 206e * Screen shots in this documents are reprinted with permission from Microsoft Corporation. 206j * Windows is known officially as: Microsoft Windows operating system. 207 * Apple and Macintosh are registered trademark of Apple Computer, Inc. 209 * MacOS is a trademark of Apple Computer, Inc. 220 * All product names mentioned in this document are trademarks or registered trademarks of their respective owners. 231 * OMS is a registered trademark of Opcode Systems, Inc. 232 * FreeMIDI is a trademark of Mark of the Unicorn, Inc.

6

Contents

IMPORTANT SAFETY INSTRUCTIONS ....... 2

USING THE UNIT SAFELY ........................ 3

IMPORTANT NOTES................................ 5

Main Features ..................................... 10

Names of Things and What They Do .... 11 Front Panel....................................................................11 Rear panel .....................................................................13 Signal Flow ...................................................................14

Chapter 1 Playing Sounds ................................... 15

Making the Connections..............................................15 Turning on the Power ..................................................16 Adjusting the Input Level ............................................17 Adjusting the Output Level .........................................17

Adjusting the SUB OUT Output Level ............................. 17

Selecting the MAIN OUT Output Device (Amp) (Main Output Select)................17

Selecting the SUB OUT Output Device (Amp) (Sub Output Select) ...................... 18

Turning Off the Power..................................................18

Chapter 2 Creating Your Own Favorite Tones (Patches) .. 19

What is a Patch?...........................................................19 How to Switch Patches (Patch Change).....................19 Adjusting the Tones with the Knobs ..........................20 Turning the Effect On and Off .....................................20 Setting the Effects Simply (QUICK FX) ......................21 Calling Up Existing Patch Settings.............................21 Making More Precise Effect Settings .........................22 Changing the Connection Order of Effects (Effect Chain) ...............22 Naming Patches (Patch Name) ...................................23

Chapter 3 Saving the Tones You Have Created .... 24

Storing Patches (Patch Write).....................................24 Copying Patches (Patch Copy) ...................................24 Exchanging Patches (Patch Exchange) .....................25 Initializing Patches .......................................................25 Initializing Patches with a Tone Similar to What You Have in Mind .................................................................26 Storing Settings by Effect (User Quick Settings)......26 Copying the PREAMP/SPEAKER Settings to Another Channel ....27

Chapter 4 Introduction to Effects and Parameters..28

PREAMP/SPEAKER (Preamp/Speaker Simulator) .... 28 OVERDRIVE/DISTORTION........................................... 31 DELAY ........................................................................... 32

Using the HOLD (Hold Delay) .......................................... 34

CHORUS........................................................................ 34 REVERB ........................................................................ 35 COMP (Compressor).................................................... 35 WAH...............................................................................36 FX-1/FX-2....................................................................... 36

ACS (Advanced Compressor) ............................................ 37 LM (Limiter).......................................................................... 37 TW (Touch Wah) .................................................................. 37 AW (Auto Wah).................................................................... 38 TM (Tone Modify)................................................................ 38 GS (Guitar Simulator).......................................................... 38 TR (Tremolo)......................................................................... 39 PH (Phaser) ........................................................................... 39 FL (Flanger)........................................................................... 40 PAN........................................................................................ 40 VB (Vibrato) .......................................................................... 40 UV (Uni-V) ............................................................................ 41 RM (Ring Modulator) .......................................................... 41 SG (Slow Gear) ..................................................................... 41 DF (Defretter)........................................................................ 41 STR (Sitar Simulator) ........................................................... 42 FB (Feedbacker) .................................................................... 42 AFB (Anti-feedback) ............................................................ 43 HU (Humanizer) .................................................................. 43 SL (Slicer)............................................................................... 43 WSY (Wave Synth)............................................................... 44 SEQ (Sub Equalizer)............................................................. 44

FX-2 ...............................................................................45 HR (Harmonist).................................................................... 45 Creating Harmonist Scales (User Scale)............................ 46 PS (Pitch Shifter)................................................................... 46 PB (Pedal Bend) .................................................................... 47 OC (Octave)........................................................................... 47 RT (Rotary)............................................................................ 47 2CE (2 x 2 Chorus)................................................................ 48 AR (Auto Riff)....................................................................... 48 Creating Original Phrases (User Phrase) .......................... 49 SYN (Guitar Synth) .............................................................. 49 AC (Acoustic Processor)...................................................... 50 SH (Sound Hold) .................................................................. 51 SDD (Sub Delay)................................................................... 51

EQ (Equalizer)............................................................... 51 LOOP (External Effects Loop) 1/2............................... 52 PRE LOOP..................................................................... 53 AMP CTL (Amp Control) 1/2 ........................................ 54 MASTER ........................................................................ 54

NS (Noise Suppressor) ........................................................ 54 Patch Level ............................................................................ 55 Output.................................................................................... 55 Master BPM........................................................................... 55 FV (Foot Volume)................................................................. 55

FX CHAIN (Effect Chain).............................................. 56

7

Contents

NAME (Patch Name).....................................................56 ASSIGN..........................................................................56

Chapter 5 Creating Original Effects Types (Customize).... 57

Customizing the COSM Preamps ...............................57 Customizing the Speakers ..........................................58 Customizing Overdrive/Distortion ..............................59 Customizing Pedal Wah...............................................60

Chapter 6 Using Pedals to Control the Effects ....... 61

Notes on Setting the Pedal Functions........................61 Use-Specific Guide.......................................................61 Setting the Operation of the External Foot Switch (CTL 1, 2, 3, 4 Function) ..........62 Setting the Operation of the External EXP Pedal (EXP1, 2 Function)......................63 Setting the Operation for an External MIDI Device (CC#7, CC#80, CC#1 Function) ...64 Setting the FV (Foot Volume) Operation for Individual Patches (EXP1/CC#7 Foot Volume) ....65 Setting External Controller Functions to Individual Patches (Assign) ....................................66

Quick Settings....................................................................... 66 Manual Settings.................................................................... 67 Internal Pedal System.......................................................... 70

Chapter 7 Using the GT-PRO with External MIDI Devices Connected ......... 72

What Can You Do with MIDI? ......................................72 Notes Regarding the MIDI Messages That Can Be Transmitted and Received ........................... 73

Making the Settings for MIDI Functions.....................73 Transmitting and Receiving MIDI Data.......................75

Transmitting Data to an External MIDI Device (Bulk Dump)........................ 75 Receiving Data from an External MIDI Device (Bulk Load) ..................... 76

Setting the Program Change Map...............................77 Enabling/Disabling the Program Change Map Settings (MIDI Map Select) ............. 78

Changing Patch Numbers on an External MIDI Device from the GT-PRO...........78 About MIDI ....................................................................79

How MIDI messages are transmitted and received........ 79 Main types of MIDI message used by the GT-PRO ........ 79 About the MIDI implementation ....................................... 80

Chapter 8 Using the GT-PRO Connected to the FC-200.....81

Setting the Functions Related to the FC-200............. 81 Switching Operation of the GT-PRO for Use with the FC-200 (FC-200 Mode) ........... 81 Setting the Operation of the FC-200s CTL Pedal (FC-200 CTL Pedal) .......................... 81 Limiting the Range of Banks Allowed in Switching (FC-200 Bank Limit) ..................... 81 Setting the Timing for Switching Patches (FC-200 Program Change Out) ......... 82 Switching Banks with the Number Pedals (FC-200 Bank Change)............. 82

Transmitting Settings for the GT-PRO to the FC-200 ..................................... 82

Connecting ............................................................................ 82 Transmitting Settings Data to the FC-200......................... 83

Controlling the GT-PRO with the FC-200 ................... 83 Connecting ............................................................................ 83 How to Switch Patches........................................................ 83 Using the FC-200s CTL and EXP Pedals.......................... 84

Switching the Effect On and Off with the FC-200s Pedals (Manual Mode)................... 85

Switching to Manual Mode ................................................ 85 Selecting the Effect to Be Switched On and Off With the Pedals .................... 85

Advanced Settings....................................................... 86 Automatically Setting the FC-200 with the Corresponding GT-PRO Settings When Turning On the GT-PRO ................... 87 Manual Mode........................................................................ 87 Connecting an External MIDI Device in FC-200 Mode............................. 87

Chapter 9 Using the GT-PRO Connected to a Computer Via USB ........88

Before Connecting with USB ...................................... 88 About the Included Software ............................................. 88 Driver Mode.......................................................................... 88 Switching the Driver Mode ................................................ 88

Setting USB-Related Functions .................................. 89 Setting the Digital Audio Signal Input/Output .............. 89 Direct Monitor Settings ....................................................... 89

Recording the GT-PROs Output with a Computer ... 90 Applying Effects with the GT-PRO to a Computers Audio Playback .. 90 Running the GT-PRO from a Computer ..................... 91

8

Contents

Chapter 10 Other Features .................................... 92

Controlling Various Parameters Through the Guitar Volume.........................................92

Switching Preamp Channels A and B Dynamically with the Guitar Volume ............... 92 Using the Guitar Volume to Change Selected Effect Parameters (Assign Source) ..................... 93

Adjusting the Overall Sound to Match the Usage Environment (Global).................94

Adjusting the overall sound ............................................... 94 Main Global EQ.................................................................... 94 Total NS ................................................................................. 94 Total REVERB....................................................................... 94 Sub Global EQ ...................................................................... 95 Setting the Output Destination .......................................... 95 Output Channel.................................................................... 95 USB/Digital Out................................................................... 95

Adjusting the Display Contrast (LCD Contrast) ........96 Switching the Sounds Input to the GT-PRO (Input Select)...............96 Adjusting the Tone of the Sounds Input to the GT-PRO (Input Level/Input Presence) .............97 Keeping Effect Sounds Playing After Patches Are Switched (Patch Change Mode)...........................97 Using the Identical Preamp Settings in All Patches (Preamp Mode) .......98

Setting the System Preamp ................................................. 98

Limiting the Patches That Can Be Switched (Patch Extent) ........................98 Changing the EXP Pedal Mode When Patches are Switched (Assign Hold) ...............99 Setting the Knob Functions (Knob Mode) .................99 Switching the Output/Input Level .............................100

MAIN OUT Level............................................................... 100 SUB OUT Level................................................................... 100 LOOP 1/2 SEND Level ..................................................... 100 LOOP 1/2 RETURN Level................................................ 100

Checking the Effect Level with the Level Meter ......100 Tuning the Guitar (Tuner/Bypass) ............................101

Turning the Tuner Function On....................................... 101 About the Display During Tuning .................................. 101 How to Tune ....................................................................... 101 Changing the Tuner Settings............................................ 101

Appendices ....................................... 103

Restoring the Factory Settings (Factory Reset)......103 List of Factory Settings ...................................................... 103

MIDI Implementation Chart........................................105 Specifications .............................................................106

GT-PRO Software System Requirements ....................... 108

Installing & Setup the USB Driver ......109

Driver installation and settings (Windows) ......................110

About the Driver Modes............................................. 110 Installing the Special Driver ...................................... 111

Windows XP users ............................................................. 111 Windows 2000 users .......................................................... 114 Windows Me/98 users ...................................................... 117

Installing the OS-standard Driver ............................. 118 Windows XP/2000 users................................................... 118 Windows Me users ............................................................ 119 Windows 98 users .............................................................. 120

Driver settings ............................................................ 123 About the input and output devices ............................... 123 Input/output device settings ........................................... 124 Software settings ................................................................ 125

Driver installation and settings (Macintosh).....................126

About the Driver Modes............................................. 126 Installing the Special Driver ...................................... 127

Mac OS X users................................................................... 127 Driver settings .................................................................... 128 Mac OS 9 users.................................................................... 129

Installing the OS-standard Driver ............................. 136 Mac OS X users................................................................... 136 Mac OS 9 users.................................................................... 138

Setting the Special Drivers Functions.....141

Adjusting the audio latency ...................................... 141 Using ASIO Direct Monitor ........................................ 141

Troubleshooting .................................143

Error Messages .......................................................... 143 Problems when using the GT-PRO........................... 143

Problems with the sound .................................................. 143 Other Problems................................................................... 144

Problems related to the USB Driver ......................... 145 Problems when using the USB Driver...................... 147 Deleting the Special Driver........................................ 151

Patch List............................................152

User Patch............................................................... 152 Preset Patch............................................................ 156

Index .................................................160

9

10

Main Features

Professional Guitar Effects System Everything that has gone into the GT-PRO, from the use of only the finest analog parts, to the quality AD/DA converter for superior wide dynamic range, to the balanced XLR and digital (coaxial) output connectors, is geared toward providing the absolute best in sound, offering the pro guitarist an effects processor of unprecedented quality that is worthy of the name PRO.

Highly Evolved COSM Amp/Speakers The GT-PRO includes amp/speaker systems that can be used simultaneously, utilizing COSM amp/speakers featuring 46 different amp types, including newly modeled amps. You can combine amps flexibly in a variety of ways; for example, by mixing two amps together or setting them up in a stereo arrangement. Whats more, you can customize the amp and speaker combinations, giving you the freedom to create your own original amp types.

A Variety of COSM Effects You can actually combine and use up to an amazing fifteen different effects simultaneously, connecting them in any sequence you prefer to create an incredible spectrum of sound variations.

The GT-PRO features a wide variety of newly developed effects including stereo dual delay, spring & modulation reverb, sitar simulator, wave synth, and more. The GT-PRO includes Quick FX for rapid and efficient control of numerous different functions, EZ Tone, and an amazing array of other great features. Representing a culmination of all of BOSSs guitar effects technology, the GT-PRO truly is the ultimate guitar multi-effects device.

Solo Switch/Dynamic Sense/Internal Pedal System The COSM amps feature a Solo Switch for each channel, which instantly imparts a feeling of greater power the moment it is switched on. Additionally, Dynamic Sense provides seamless switching between two COSM amps in response to the nuances of your picking. You can even control the different effects with the guitar volume knob.

The Internal Pedal System, which allows you to operate the pedals automatically, and other features all work to help you increase the expressiveness of your performances.

External Loop & Amp Control The GT-PRO provides three external loop setups for connecting external effects processors. In addition to rearranging the order in which the GT-PROs effects are connected, if two sets of connectors are used in Stereo mode you can communicate powerfully using external spacial effects.

The GT-PRO is also equipped with two amp control jacks, allowing you to switch channels for a connected preamp and centralize control of foot-switch-operated external devices from the GT-PRO.

FC-200 Mode, Numerous Connectors The GT-PRO includes an FC-200 mode, which lets you integrate an FC-200 MIDI foot controller (sold separately), giving you true freedom in controlling your effectswith no rack size concernsfor functionality far surpassing that of floor type devices.

Whats more, the rear panel input and direct tune out jacks provide greater ease in connecting with rack systems.

The USB connector also enables you to connect the GT-PRO to a computer, and you can make detailed edits from the computer with the included GT-PRO Editor/Librarian software. The GT-PRO achieves the flexibility needed for use anywhere, whether it be on stage, in a studio, or even for home recording.

COSM (Composite Object Sound Modeling) Composite Object Sound Modeling (COSM) is BOSS/Rolands innovative and powerful sound modeling technology. COSM analyzes the many factors that make up the original sound, such as the electrical and physical characteristics of the original, and then produces a digital model that can reproduce the same sound.

Names of Things and What They Do

Front Panel fig.002-010

1. INPUT

INPUT Jack The guitar is connected here.

INPUT LEVEL Knob Adjusts the level of the signals input through the INPUT jacks (both front and rear).

PEAK Indicator Indicates the status of the input level. This indicator lights at 6 dB before the level at which distortion begins.

2. OUTPUT

PHONES Jack Connect headphones here.

* The output from the PHONES jack is a mix of the output from the MAIN OUT jacks and SUB OUT jacks.

MAIN Volume Knob Adjusts the volume level of the output from the MAIN OUT jacks.

SUB Volume Knob Adjusts the volume level of the output from the SUB OUT jacks (1/4 phone type).

* The output from the SUB OUT (XLR type) connector is set at a fixed level, regardless of the position of the SUB volume knob.

3. Display A variety of information about the GT-PRO appears here. The left display shows the bank number.

4. PATCH/VALUE Dial Use this when switching patches and changing the values of settings.

5. PREAMP/SPEAKER

TYPE Knob Selects the preamp type.

GAIN Knob Adjusts the degree of preamp distortion.

BASS Knob Adjusts the sound quality of the preamps low- frequency range.

MIDDLE Knob Adjusts the sound quality of the preamps midrange frequency.

TREBLE Knob Adjusts the sound quality of the preamps high- frequency range.

PRESENCE Knob Adjusts the sound quality of the preamps ultra high frequency range.

LEVEL Knob Adjusts the preamp volume level.

PREAMP/SPEAKER On/Off Button Press to change the settings.

TYPE VARIATION Button Switches the type variation.

CHANNEL Button This switches between preamp Channels A and B.

SOLO Button This switches the Solo switch (p. 29) on and off.

SPEAKER Button Selects the speaker type.

1 3

2 5 306

204 21 22 27 29

7 8 9 10 11 12

13 14 15 16 17 18 19

23 24 2825 26

11

Names of Things and What They Do

6. COMP On/Off Button Press to change the settings.

7. OS/DS On/Off Button Press to change the settings.

8. WAH On/Off Button Press to change the settings.

9. EQ On/Off Button Press to change the settings.

10. DELAY On/Off Button Press to change the settings.

11. CHORUS On/Off Button Press to change the settings.

12. REVERB On/Off Button Press to change the settings.

13. FX-1 On/Off Button Press to change the settings.

14. FX-2 On/Off Button Press to change the settings.

15. AMP CTL 1 On/Off Button This switches the Amp Control 1 on and off.

16. AMP CTL 2 On/Off Button This switches the Amp Control 2 on and off.

17. PRE LOOP On/Off Button This switches the Pre Loop on and off.

18. LOOP 1/2 On/Off Button Press to change the settings.

19. ASSIGN On/Off Button Press to change the settings.

20. PARAMETER Buttons Press to select parameters. To jump to the main parameters, hold down one of these buttons while you press the other. With items for which there arent that many parameters, the GT-PRO jumps to the last (or initial) parameter.

21. OUTPUT SELECT Button Allows you to select an output appropriate for the connected device. Be sure to make this selection before you start to perform.

22. SYSTEM Button Use for making settings for the GT-PROs overall operating environment. The indicator lights when the GT-PRO is connected to your computer.

23. EXIT Button Use this to undo operations.

24. WRITE Button Press to store settings.

25. SHIFT Button Switches the Shift function on and off. While Shift is activated, values change in units of ten when you turn the PATCH/VALUE dial. The function of certain buttons also changes if they are pressed while Shift is activated.

26. TUNER/BYPASS Button Press to use the tuner functions.

27. NAME/FX CHAIN Button Use for naming patches (p. 23), or setting the effect chain (p. 22).

28. MASTER Button Press to change the settings.

29. PATCH LEVEL Knob Adjusts the volume level of the currently selected patch.

30. POWER Switch Turns the power on and off.

12

Names of Things and What They Do

Rear panel fig.00-0220

1. AMP CTL 1 Jack/AMP CTL 2 Jack When using the AMP CONTROL function (p. 54), connect to the jack used for switching guitar amp channels.

2. CTL 3/4/EXP PEDAL 2 Jack Connect the optional foot switches (such as the FS-6/ FS-5U) or expression pedal (such as the EV-5) here.

* With the factory settings, no function is assigned.

3. CTL 1/2 Jack Connect the optional foot switches (such as the FS-6/ FS-5U) here.

4. EXP PEDAL 1 Jack Connect an optional expression pedal (such as the EV- 5) here.

* With the factory settings, this is automatically set for use as a foot volume (p. 55).

5. MIDI IN/OUT/THRU Connectors Connect an FC-200 (p. 81) or other external MIDI device here to transmit and receive MIDI information.

6. USB Connector Use a USB cable to connect this connector to your computer to exchange data between the GT-PRO and the computer.

7. DIGITAL OUT Connector Outputs digital audio signals.

8. LOOP 1/2 SEND/RETURN Jacks When using LOOP 1/2 (p. 52), connect these to external effects processors.

9. SUB OUT Jacks R/L (MONO) There are 1/4 phone jacks that output unbalanced signals. Connect to amps, mixers, or other devices.

10. SUB OUT Connectors R/L There are XLR type connectors that provide balanced output. Connect to amps, mixers, or other devices.

* The SUB OUT R/L connectors are unaffected by the SUB volume knob (p. 17) and SUB OUT Level (p. 100). Signals are always output at a fixed level (+4 dBu).

11. GND LIFT Switch This disconnects the 1: GND pin from the inputs ground. Switch this to ON if humming or other noise from ground loops becomes a problem. The GT-PRO is normally used with this set to OFF.

12. MAIN OUT Jacks R/L (MONO) There are 1/4 phone jacks that output unbalanced signals.

13. PRE LOOP SEND/RETURN Jacks When using PRE LOOP (p. 53), connect these to external effects processors.

14. DIRECT OUT/TUNER OUT Jack Signals input through the INPUT jacks (front and rear) are output as is without change. Use these jacks when connecting tuners and similar devices.

15. INPUT Jack The guitar is connected here. Additionally, when the GT-PRO is installed in a system rack, signals sent to the GT-PRO from other rack-type equipment are input here.

* This jack cannot be used simultaneously with the INPUT jack on the front panel. The front panel INPUT jack takes precedence.

1 2 3 4 8 11

5 6 7 14 1512 13

9 10

13

Names of Things and What They Do

Signal Flow

G U

IT A

R I

N

(R ea

r)

(F ro

nt )

B Y

P A

S S

SEND

SEND 1

RETURN 1

SEND 2

RETURN 2

RETURN

AMP CTL 1

AMP CTL 2

P re

L o

o p

U S

B

D ig

it al

O u

t

T u

n er

O u

tp u

t C

h an

n el

M A

IN

S U

B

(= U

S B

In )

(= G

ui ta

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)

ut S

el ec

t>

(from USB)

L o

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1 /2

U S

B M

ix C

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U S

B /D

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l O

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ev el

D IG

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C T

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A L

1, 2

C T

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A L

3, 4

/ E

X P

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GT-PRO OUT (Audio)

GT-PRO IN (Audio)

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tc .

C o

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ud io

s ig

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Control OUT (MIDI)

Control IN (MIDI)

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14

C

Chapter 1 Playing Sounds

hapter 1

Making the Connections fig.01-0010

Front Panel

Guitar Amp

Stereo Headphones

Guitar

Digital Recorder etc.

MIDI Foot Controller Roland FC-200

MIDI Sequencer etc.

External Effects Processor External Effects Processor

INPUT INPUTOUTPUT OUTPUT

INPUTOUTPUT

CENTCENT -50

0

Tuner etc.

Mixer

EXP Pedal (Roland EV-5 etc.)

EXP Pedal (Roland EV-5 etc.)

Foot Switch (FS-6 etc.)

External Effects Processor

Computer

MIDI OUTMIDI IN

15

Chapter 1 Playing Sounds

* To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

* Raise the amp volume only after turning on the power to all connected devices.

* When outputting in mono, connect the cable to the MAIN OUT L (MONO) jack.

* Use only the specified expression pedal (Roland EV-5 or Roland FV-300L; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

* This instrument is equipped with balanced (XLR) type connectors. Wiring diagrams for these connectors are shown below. Make connections after first checking the wiring diagrams of other equipment you intend to connect.

fig.XLRJack

* When using the unit with an expression pedal connected to the EXP PEDAL 1 and EXP PEDAL 2 jack, set Minimum Volume to the MIN position.

* When using the unit with a foot switch (the optional FS-6) connected to the CTL 1/2 jack and CTL 3/4 jack, set the MODE switch and POLARITY switch as shown below.

fig.01-0020

* When using the unit with a foot switch (the optional FS-5U) connected to the SUB EXP PEDAL/SUB CTL 1,2 jack, set the polarity switch as shown below.

fig.01-0030

* You can use the special (optional Roland) PCS-31 connector cord to connect two foot switches.

fig.01-0040

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

When using the unit with the EXP pedals connected to the EXP PEDAL 1 jack and EXP PEDAL 2 jack, make the settings given on p. 63 and p. 65.

When using the unit with the foot switches connected to the CTL 1/2 jack and CTL 3/4 jack, make the settings given on p. 62.

For more on using the AMP CTL 1 jack and AMP CTL 2 jack, refer to p. 54.

For more on using the LOOP 1/2 SEND/RETURN jacks, refer to p. 52.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Turning on the Power Once the connections have been completed (p. 15), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

1. Before turning on the power, confirm the following.

Are all external devices properly connected?

Is the volume on the GT-PRO, your amp, and all other connected devices turned down to the minimum level?

2. Switch ON the POWER switch on the GT-PROs front panel.

The display changes, showing the following. A few seconds later, the unit enters the ordinary performance mode.

The screen that appears at this point is called the Play screen.

fig.01-0050d

* Upon power-up, the patch most recently selected when the power was last turned off is selected.

* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

3. Next, turn on the power to any external effects processors, then to the guitar amp (power amp).

Polarity Switch

PCS-31

White Red

16

Chapter 1 Playing Sounds

Chapter 1

Adjusting the Input Level Use the INPUT LEVEL knob to adjust the input level to suit your guitar. fig.01-0060

1. Play your guitar at the maximum loudness that you will produce in normal playing.

2. Adjust the INPUT LEVEL knob until the PEAK indicator lights briefly.

* The PEAK indicator will light 6 dB before clipping level (the level where distortion begins).

* If the input level is too high, the GT-PRO will not produce the desired effects.

When using the GT-PRO with different guitars, you can conveniently adjust the input levels for each patch with the INPUT LEVEL knob and adjust for the volume differences between each guitar with SYS: Input Level.

Refer to Adjusting the Tone of the Sounds Input to the GT-PRO (Input Level/Input Presence) (p. 97)

Adjusting the Output Level Adjust the GT-PROs output level. fig.01-0070

The level of the output from the MAIN OUT jacks is adjusted with the MAIN volume knob.

Adjusting the SUB OUT Output Level The level of the output from the SUB OUT jacks (1/4

phone type) is adjusted with the SUB volume knob.

* The output from the SUB OUT (XLR type) connector is set at a fixed level, regardless of the position of the SUB volume knob.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The output from the PHONES jack is a mix of the output from the MAIN OUT and SUB OUT. When using headphones, use both the MAIN and SUB knobs as required to adjust the volume level.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Selecting the MAIN OUT Output Device (Amp) (Main Output Select) Select the type of device connected to the MAIN OUT jack. fig.01-0080

1. Press [OUTPUT SELECT].

The Main Output Select settings screen appears. fig.01-0090d

2. Turn the PATCH/VALUE dial to select the type of device connected to the MAIN OUT jack.

3. Press [EXIT] to return to the Play screen.

Value Explanation

JC-120 Use this setting when connecting to Ro- lands JC-120 guitar amp.

SMALL AMP Use this setting when connecting to small guitar amp.

COMBO AMP

Use this setting when connecting to the guitar input of a combo amp other than the JC-120 guitar amp (where the amp and speaker or speakers are combined in a single unit).

* Depending on you guitar amp, you may be able to obtain good results with the JC-120 setting.

STACK AMP

Use this setting when connecting to the guitar input of a stack-type guitar amp (where the amp and speaker or speakers are separated).

JC-120 Return Use this setting when connecting to RE- TURN of a JC-120.

COMBO Return Use this setting when connecting to RE- TURN with a combo amp.

STACK Return

Use this setting when connecting to RE- TURN of a stack amp or rack mounted power amp. Set to STACK Return also when using a guitar power amp and speaker cabinet combination.

LINE/PHONES Use this setting when using headphones or when connecting to a multi-track re- corder for recording.

* When using the speaker simulator, set this to LINE/PHONES.

12

3

17

Chapter 1 Playing Sounds

Selecting the SUB OUT Output Device (Amp) (Sub Output Select) Select the type of device connected to the SUB OUT jack/ connector. fig.01-0081

1. Press [OUTPUT SELECT].

2. Press PARAMETER [ ] [ ] so that SUB: Output Sel. is displayed.

fig.01-0100d

3. Turn the PATCH/VALUE dial to select the type of device connected to the SUB OUT jack/connector.

* The types of devices that can be selected are the same as those in Main Output Select.

4. Press [EXIT] to return to the Play screen.

Turning Off the Power 1. Before turning off the power, confirm the following.

Is the volume on the GT-PRO, your amp, and all other connected devices turned down to the minimum level?

2. Turn off the power to any external effects processors, then to the guitar amp (power amp) and other devices.

3. Turn the GT-PROs power off.

* If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. Refer to Power Supply (p. 5).

13 2

4

To derive the maximum performance from the GT-PRO, be sure to make the correct setting for Main Output Select and Sub output Select, the one thats most suitable for your setup.

* The speaker simulator (p. 28) is enabled only when Main Output Select/Sub Output Select is set to LINE/ PHONES.

* You cannot change the tone with Main Output Select/ Sub Output Select when PREAMP/SPEAKER On/Off (p. 28) is set to Off.

Guitar Tuning You can use the GT-PROs built-in tuner function to tune your guitar.

For instructions on using this function, refer to Tuning the Guitar (Tuner/Bypass) (p. 101).

18

Chapter 2 Creating Your Own Favorite Tones (Patches)

Chapter 2

What is a Patch? The GT-PRO can store 400 combinations (or sets) of effects and parameter settings.

Each of these sets is called a Patch, with patches organized by Bank (140) and Number (110) as shown below. fig.02-0010

User Banks (120) Newly created effects settings are saved in the User banks. Patches in these banks are called User patches.

A U appears in the right display when a User patch is being used. fig.02-0020d

Preset Banks (2140) The Preset banks contain effect settings that really help bring out the special characteristics of the GT-PRO. The patches in these banks are called Preset patches. Although you cannot overwrite the Preset patches with your own settings, you can change (edit) a Preset patchs settings, then save the result as a User patch.

A P appears in the right display when a Preset patch is being used. fig.02-0030d

* When the GT-PRO is set to FC-200 mode (p. 81), the banks are indicated by numbers one less than the normal numbers (User: 019; Preset: 2039).

How to Switch Patches (Patch Change) Whenever youre at the Play screen, you can turn the PATCH/VALUE dial to change patches. fig.02-0040d

To switch banks at a time, press [SHIFT] so its indicator is lighted (Shift: ON), then rotate the PATCH/VALUE dial.

* Use the setting on p. 98 when you want to set the upper limit for patches that can be selected with the PATCH/VALUE dial.

* Unconfirmed changes in settings are cleared when patches are switched. If you want to save changed settings, carry out the Write procedure (p. 24).

You can also set the unit so certain effects continue to be used with a following patch after you switch patches. For details, refer to Keeping Effect Sounds Playing After Patches Are Switched (Patch Change Mode) (p. 97).

If the Patch Does Not Switch On the GT-PRO, you cannot switch patches in any screen other than the Play screen. Press [EXIT] to return to the Play screen (p. 16).

Bank 40

2 3 4 5

7 8 9 10

1

6

2 3 4 5

7 8 9 10

1

6

2 3 4 5

7 8 9 10

1

6

2 3 4 5

7 8 9 10

1

6

Bank 21

2 3 4 5

7 8 9 10

1

6Bank 20

2 3 4 5

7 8 9 10

1

6

2 3 4 5

7 8 9 10

1

6

2 3 4 5

7 8 9 10

1

6

2 3 4 5

7 8 9 10

1

6

Bank 1

2 3 4 5

7 8 9 10

1

6 Number

Bank Bank - Number

19

Chapter 2 Creating Your Own Favorite Tones (Patches)

Adjusting the Tones with the Knobs The GT-PRO panel features eight knob controls. These knobs let you make adjustments or changes to the selected patchs tone quickly and easily. fig.02-0050

When you want to save a tone created with the knob controls, proceed as described in Storing Patches (Patch Write) (p. 24). If the power is turned off, or if the tone is switched (Patch Change; p. 19) before youve carried out the Write procedure, the newly created tone will be discarded.

* If you want to name the patch or edit the name, proceed to Naming Patches (Patch Name) (p. 23) before you save.

Turning the Effect On and Off The GT-PROs internal effects are switched on and off with button controls. The indicator for an effects ON/OFF button lights up when the effect is enabled.

* [AMP CTL1], [AMP CTL2], and [PRE LOOP] are switched on and off when pressed once.

fig.02-0060

1. Press the ON/OFF button for the effect you want to be able to switch on and off.

The settings for the selected effect appear in the display.

* With FX-1 and FX-2, the settings for the currently selected effect are shown.

fig.02-0070d

2. Press the ON/OFF button again to switch the effect on or off.

The effect name flashes in the display when that effect is disabled.

3. To select another effect to be switched on and off, repeat Steps 1 and 2.

4. Press [EXIT] to return to the Play screen.

5. If you want to save a tone with the settings youve made, proceed as described in Storing Patches (Patch Write) (p. 24).

* If you want to name the patch or edit the name, proceed to Naming Patches (Patch Name) (p. 23) before you save.

The [ASSIGN] indicator lights when any of the Assigns 112 (p. 66) is on.

Knob Explanation PREAMP/SPEAKER TYPE Selects the preamp type. * After pressing [TYPE VARIATION], you can select variations by

turning the knob to the type you want.

GAIN Adjusts the degree of preamp distortion. The distortion gets stronger as the knob is turned to the right.

BASS Adjusts the sound quality of the preamps low-frequency range. The low frequencies are boosted as the knob is turned to the right.

MIDDLE Adjusts the sound quality of the preamps midrange. The midrange frequencies are boosted as the knob is turned to the right.

TREBLE Adjusts the sound quality of the preamps high-frequency range. The high frequencies are boosted as the knob is turned to the right.

PRESENCE

Adjusts the sound quality of the preamps Ultra-high-frequency range. The high fre- quencies are boosted as the knob is turned to the right.

LEVEL Adjusts the preamp volume level. The volume increases as the knob is turned to the right.

PATCH LEVEL Adjusts the overall volume level. The volume increases as the knob is turned to the right.

20

Chapter 2 Creating Your Own Favorite Tones (Patches)

Chapter 2

Setting the Effects Simply (QUICK FX) Each effect includes prepared sample settings called Quick Settings.

You can easily create new effect sounds just by selecting and combining these Quick Settings. fig.02-0080

1. Press the on/off button for the effect with the settings you want to change.

The parameters for the selected effect appear in the display.

During editing, the most recently edited parameter appears (except PPEAMP/SPEAKER).

2. Press PARAMETER [ ] so that the Quick Setting select screen appears in the display.

fig.02-0090d

3. Rotate the PATCH/VALUE dial to select the Quick Setting you want.

U**: User Quick Setting (p. 26)

P**: Preset Quick Setting

* ---: User Setting indicates that the effect indicated in the upper row of the display is set to be saved to the currently selected patch, or that the settings are currently being modified.

* When FX-1 or FX-2 has been selected in Step 1, the settings for the effect selected by means of the FX1/FX2 Select parameter (p. 36, p. 45) are switched.

* When Preamp/Speaker has been selected in Step 1, you can choose different type of settings for channel A and B.

4. Press [EXIT] to return to the Play screen.

5. If you want to save a tone with the settings youve made, proceed as described in Storing Patches (Patch Write) (p. 24).

* If you want to name the patch or edit the name, proceed to Naming Patches (Patch Name) (p. 23) before you save.

Calling Up Existing Patch Settings Just as with the Quick Settings, you can call up and use only the specific effect settings you need from the User and Preset patches.

When there is a Preset patch you want to use as material, this allows you to create patches simply and easily without any need to make detailed settings. fig.02-0100

1. Press the on/off button for the effect with the settings you want to change.

The parameters for the selected effect appear in the display.

2. Press PARAMETER [ ] so that the Quick Setting select screen appears in the display.

fig.02-0110d

3. Use the PATCH/VALUE dial to select the patch with the settings you want to call up.

* Patches are displayed following the Quick Settings. fig.02-0120d

4. Press [EXIT] to return to the Play screen.

5. If you want to save a tone with the settings youve made, proceed as described in Storing Patches (Patch Write) (p. 24).

* If you want to name the patch or edit the name, proceed to Naming Patches (Patch Name) (p. 23) before you save.

23

1 14

23

1 14

21

Chapter 2 Creating Your Own Favorite Tones (Patches)

Making More Precise Effect Settings Each effect comprises several different kinds of parameters. You can more precisely create the sounds you want by editing each of these parameters individually.

* For more detail of the each effect parameters, refer to Chapter 4 Introduction to Effects and Parameters (p. 28).

fig.02-0130

1. Press the on/off button for the effect with the settings you want to change.

The parameters for the selected effect appear in the display.

2. Press PARAMETER [ ] [ ] to select the parameter whose settings are to be changed.

When more than one parameter is shown in the display, press PARAMETER [ ] [ ] to move the cursor to the parameter to be set.

You can jump to the core parameters by pressing

PARAMETER [ ] (or [ ]) while holding down

PARAMETER [ ] (or [ ]). With items for which there arent that many parameters, the GT-PRO jumps to the last (or first) parameter.

3. Rotate the VALUE dial to change the value of a setting.

4. Repeat Steps 2 and 3 for any other parameter settings you want to change.

5. If you further want to change parameter settings in any other effects, repeat Steps 1 through 4.

6. Press [EXIT] to return to the Play screen.

7. If you want to save a tone with the settings youve made, proceed as described in Storing Patches (Patch Write) (p. 24).

* If you want to name the patch or edit the name, proceed to Naming Patches (Patch Name) (p. 23) before you save.

Changing the Connection Order of Effects (Effect Chain) Heres how you can change the order in which the effects are connected. fig.02-0140

1. Press [NAME/FX CHAIN] twice.

The effect chain screen appears. fig.02-0150d

* Effects are shown in lowercase letters when turned off.

2. Use the PATCH/VALUE dial or PARAMETER [ ] [ ] to move the cursor to the point where you want to have an effect inserted.

* DGT indicates output to the DIGITAL OUT connector/ USB connector.

3. Press the ON/OFF button for the effect you want to insert.

The selected effect is inserted at the cursor position.

* Use [MASTER] to set the Noise Suppressor, use [ASSIGN] to set the Foot Volume, and use [OUTPUT SELECT] to set the Digital Out.

4. If you want to change the sequence further, repeat Steps 2 and 3.

* Effects can be switched on and off even while making the settings for the connection order. With effects appearing to the left and right of the cursor, the ON/OFF button corresponding to the effect can be pressed to turn them on/off.

5. Press [EXIT] to return to the Play screen.

6. If you want to save the sequence youve set up, proceed as described in Storing Patches (Patch Write) (p. 24).

* If you want to name the patch or edit the name, proceed to Naming Patches (Patch Name) (p. 23) before you save.

3

1 16

2

2 13

3 35

2

22

Chapter 2 Creating Your Own Favorite Tones (Patches)

Chapter 2

Naming Patches (Patch Name) Each patch can be given a name (Patch Name) consisting of up to sixteen characters. Youll probably want to take advantage of this feature by assigning names that suggest the sound youll obtain, or the song in which itll be used. fig.02-0160

1. Press [NAME/FX CHAIN].

The patch name setting screen appears. fig.02-0170d

2. Press PARAMETER [ ] [ ] to move the cursor to the text area you want to edit.

3. Rotate the PATCH/VALUE dial to change the characters.

You can use the following functions when changing text characters.

4. If you want to edit names further, repeat Steps 2 and 3.

5. Press [EXIT] to return to the Play screen.

6. If you want to save a patch name, proceed as described in Storing Patches (Patch Write) (p. 24).

Button Function

INS Inserts a blank space at the cursor posi- tion.

DEL Deletes the character at the cursor posi- tion and shifts the characters following it to the left.

CAPS Switches the character at the cursor posi- tion between upper and lower case.

3 1

5

2

Cursor

23

24

Chapter 3 Saving the Tones You Have Created

Storing Patches (Patch Write) When you want to keep a tone created with the Quick Settings or a tone with altered parameter values, use the Write procedure to save it to a User patch. fig.03-0010

1. Press [WRITE].

The screen for specifying the save-destination User patch appears in the display.

fig.03-0020d

2. Rotate the PATCH/VALUE dial to select the save- destination User patch.

* This step is unnecessary if the current User patch is acceptable.

* To cancel the Write procedure, press [EXIT]. The Play screen returns to the display.

* You can also use the procedure described in How to Switch Patches (Patch Change) (p. 19) to select the save destination.

3. Press [WRITE].

The GT-PRO switches to the write-destination patch, and youre returned to the Play screen.

* The sound of the patch previously stored at the write destination will be lost once the write is executed.

Copying Patches (Patch Copy) You can copy a Preset or User patch to another User patch. fig.03-0030

1. Select the copy-source patch.

Refer to How to Switch Patches (Patch Change) (p. 19).

2. Press [WRITE].

The screen for specifying the copy-destination patch number appears in the display.

fig.03-0040d

3. Rotate the PATCH/VALUE dial to select the copy- destination User patch.

* To cancel the copy, press [EXIT]. The Play screen returns to the display.

* You can also use the procedure described in How to Switch Patches (Patch Change) (p. 19) to select the copy destination.

4. Press [WRITE].

The GT-PRO switches to the copy-destination patch, and youre returned to the Play screen.

* The sound of the patch previously stored at the copy destination will be lost once the copy is executed.

2

1,3

Destination user Patch

3

2,4

Destination User Patch

Chapter 3 Saving the Tones You Have Created

Chapter 3

Exchanging Patches (Patch Exchange) On the GT-PRO, you can swap or exchange the positions of two User patches. The following explains how this is done. fig.03-0050

1. Select the exchange source patch.

Refer to How to Switch Patches (Patch Change) (p. 19).

2. Press [WRITE].

3. Press PARAMETER [ ].

The content of the display changes, and the GT-PRO is ready for the exchange destination User patch to be specified.

fig.03-0060d

4. Rotate the PATCH/VALUE dial to select the exchange destination User patch.

* To cancel the exchange, press [EXIT]. The Play screen returns to the display.

* You can also use the procedure described in How to Switch Patches (Patch Change) (p. 19) to select the exchange destination.

5. Press [WRITE].

The patch stored in the exchange source memory location and the patch stored in the exchange destination memory location are exchanged, and youre returned to the Play screen.

Initializing Patches You can return (initialize) the User patches to their original standard settings.

This is convenient when you want to create a new patch from scratch. fig.03-0070

1. Select the User patch you want to initialize.

Refer to How to Switch Patches (Patch Change) (p. 19).

2. Press [WRITE].

3. Press PARAMETER [ ] twice.

The screen for specifying the initialize-destination patch number appears in the display.

fig.03-0080d

* You can use the PATCH/VALUE dial to change the selection of the User patch to be initialized.

* To cancel the initialization, press [EXIT]. The Play screen returns to the display.

4. Press [WRITE].

The GT-PRO switches to the initialized patch, and the Play screen returns to the display.

* The tones stored in patches are lost once the initialization is executed.

4 3

2,5

Destination User Patch

3

2,4

Destination User Patch

25

Chapter 3 Saving the Tones You Have Created

Initializing Patches with a Tone Similar to What You Have in Mind If you already have a clear idea about the kind of sound you want to create, you can save yourself a lot of trouble by starting out with a patch that is relatively similar to what you have in mind, then tweak its settings until you arrive at what you want. In addition to the patches actually used in performances, the GT-PRO also offers a collection of sample settings that are a great help in creating new patches. These are called EZ Tones.

You can use the EZ Tone function to quickly find and call up settings that are close to the sound you want to create. fig.03-0090

1. Select the User patch you want to initialize.

Refer to How to Switch Patches (Patch Change) (p. 19).

2. Press [WRITE].

3. Press PARAMETER [ ] three times.

The screen in which you specify the EZ Tone you want to use appears.

fig.03-0100d

4. Rotate the PATCH/VALUE dial to select the EZ tone.

5. Press PARAMETER [ ].

The cursor moves to the patch number for the patch to be initialized.

fig.03-0110d

6. Rotate the PATCH/VALUE dial to select the initialization destination User patch.

* To cancel the initialization, press [EXIT]. The Play screen returns to the display.

7. Press [WRITE].

The GT-PRO switches to the initialized patch, and the Play screen returns to the display.

* The tones stored in patches are lost once the initialization is executed.

Storing Settings by Effect (User Quick Settings) In addition to storing settings in the form of patches, you can also store settings in terms of their effect.

Since you can use such stored settings in other patches, just like with the Preset Quick Settings (p. 21), storing the settings you like ahead of time as effects is a convenient way to create new patches.

fig.03-0120

1. Press [WRITE].

2. Press the ON/OFF button for the effect whose settings you want to save.

The screen for specifying the destination to which to save the settings appears.

fig.03-0130d

In case of Assign 112 (p. 66) Press [ASSIGN] several times in order to select the save- source assign number.

* For PREAMP/SPEAKER, the setting in currently chosen channel set by Channel Select (p. 28) will be saved.

* For FX-1/FX-2, the settings in currently chosen effects set by FX1/FX2 Select (p. 36, p. 45) will be saved.

3. Use the PATCH/VALUE dial to select the destination for the settings.

3,54,6

2,7

EZ Tone

Destination User Patch

Effects That Can Be Stored PREAMP for each channels EQ

OVERDRIVE/DISTORTION WAH

DELAY LOOP 1/2

CHORUS FX-1/FX-2 Effects

REVERB ASSIGN

COMP

3,4 1,5

2 2

4

Destination Effect

26

Chapter 3 Saving the Tones You Have Created

Chapter 3

4. When you want to change the User Quick Setting name (12 characters), use PARAMETER [ ] [ ] to move the cursor, and use the PATCH/VALUE dial to change the characters.

fig.03-0140d

You can use the following functions when changing text characters.

5. Press [WRITE].

The settings are saved, and the Play screen returns to the display.

Copying the PREAMP/SPEAKER Settings to Another Channel You can take the PREAMP/SPEAKER settings for one channel and copy them to another channel. fig.03-0150

1. Press [CHANNEL A] or [CHANNEL B] to select the copy-source channel.

2. Press [WRITE].

3. Press [CHANNEL A] or [CHANNEL B] to select the copy-destination channel.

The channel copy screen appears in the display.

You can alternatively rotate the PATCH/VALUE dial to change the copy-destination channel.

* If you press the button for the same channel as the copy source, a channel other than the copy-source channel is selected for the copy destination.

fig.03-0160d

* To cancel the copy, press [EXIT]. The Play screen returns to the display.

4. Press [WRITE].

The settings are copied, and the Play screen returns to the display.

5. If you want to keep a tone for which you have made settings, use the Write procedure (p. 24) to save it to a User patch.

Button Function

INS Inserts a blank space at the cursor posi- tion.

DEL Deletes the character at the cursor posi- tion and shifts the characters following it to the left.

CAPS Switches the character at the cursor posi- tion between upper and lower case.

2,41,3

Copy-source channel Copy-destination channel

27

28

Chapter 4 Introduction to Effects and Parameters

In this chapter you will find detailed descriptions for each of the GT-PROs onboard effects, and the parameters used to control them.

The sound being input to each effect is called the direct

sound, and the sound modified by the effect is called the effect sound.

PREAMP/SPEAKER (Preamp/ Speaker Simulator) COSM technology plays an indispensable role in simulating the distinguishing characteristics of various guitar amps in the Preamp section, and is also used to simulate various speaker sizes and cabinet constructions in the Speaker Simulator.

The trademarks listed in this document are trademarks of their respective owners, which are separate companies from BOSS. Those companies are not affiliated with BOSS and have not licensed or authorized BOSSs GT-PRO. Their marks are used solely to identify the equipment whose sound is simulated by BOSSs GT-PRO.

Parameter/ Range

Explanation

On/Off

Off, On Turns the PREAMP/SPEAKER effect on/ off.

Channel Mode Single, Dual Mono, Dual L/R, Dynamic

Selects how the two channels are to be used.

Single Only the channel selected with Channel Select is used. fig.04-0010

Dual Mono The output of Channels A and B is mixed. fig.04-0020

Dual L/R Channel A is output from the left and Channel B is output from the right. fig.04-0030

Dynamic Channels A and B are switched according to the guitar input volume level. This produces dynamic tonal changes in response to the pick- ing dynamics.

* For more information, refer to Controlling Various Parameters Through the Guitar Volume (p. 92).

fig.04-0040

Channel Select

A, B Selects the preamp channel whose settings are to be changed.

Channel Delay Time

050ms The output from Channel B is slightly de- layed.

Adjusting this increases the sense of depth and breadth in the sound.

* This parameter is enabled when Channel mode is set to Dual Mono or Dual L/R.

A

B

A

B

A

B

L

R

A

B Input Level

Chapter 4 Introduction to Effects and Parameters

Chapter 4

*1 You can make separate settings for Channel A and Channel B.

Dynamic Sens

0100

Effective with Dynamic selected for Chan- nel Mode. Adjusting the sensitivity in re- sponse to the input level changes the timing of the channel switches.

Type *1 refer to Type List This sets the type of the guitar preamp.

Gain *1 0120 Adjusts the distortion of the amp.

Bass *1

0100 Adjusts the tone for the low frequency range.

Middle *1

0100 Adjusts the tone for the middle frequency range.

Treble *1

0100 Adjusts the tone for the high frequency range.

Presence *1

0100 Adjusts the tone for the ultra high frequency range.

Level *1 0100 Adjusts the volume of the entire preamp.

* Be careful not to raise the Level setting too high.

Bright *1 Off, On Turns the bright setting on/off.

Off Bright is not used.

On Bright is switched on to create a lighter and crisper tone.

* Depending on the Type setting, this may not be displayed.

Gain SW *1

Low, Middle, High

Provides for selection from three levels of distortion: Low, Middle, and High. Distor- tion will successively increase for settings of Low, Middle and High.

* The sound of each Type is created on the basis that the Gain is set to Middle. So, normally set it to Middle.

Solo Sw *1

Off, On Pressing [SOLO] switches the tone to one suitable for solos.

Solo Level *1

0100 Adjusts the volume level when the Solo switch is ON.

SP Type (Speaker Type) *1 see below Select the speaker type.

* The speaker simulator effect is not applied to the sound output from MAIN OUT when Main Output Select (p. 17) is set to anything other than LINE/PHONES.

* The speaker simulator effect is not applied to the sound output from SUB OUT when Sub Output Select (p. 18) is set to anything other than LINE/PHONES.

Parameter/ Range

Explanation

Off This turns off the speaker simulator.

Original This is the built-in speaker of the amp you selected with Type.

1x8 This is a compact open-back speaker cabinet with one 8-inch speaker.

1x10 This is a compact open-back speaker cabinet with one 10-inch speaker.

1X12 This is a compact open-back speaker cabinet with one 12-inch speaker.

2X12 This is a general open-back speaker cabinet with two 12-inch speakers.

4X10 This is an optimal speaker cabinet for a large enclosed amp with four 10-inch speakers.

4X12 This is an optimal speaker cabinet for a large enclosed amp with four 12-inch speakers.

8X12 This is a double stack of two cabinets, each with four 12-inch speakers.

Custom1 Custom speaker 1

Custom2 Custom speaker 2

Mic Type *1 see below This setting selects the simulated mic type.

DYN57 General dynamic mic used for instruments and vocals. Optimal for use in miking guitar amps.

DYN421 Dynamic mic with extended low end.

CND451 Small condenser mic for use with instru- ments.

CND87 Condenser mic with flat response.

FLAT

Simulates a mic with perfectly flat response. Produces a sonic image close to that of lis- tening to the sound directly from the speak- ers (on site).

Mic Dis. (Mic Distance) *1

Off Mic, On Mic Simulates the distance between the mic and speaker.

Off Mic This setting points the mic away from the speaker.

On Mic Provides conditions whereby the mic is directed more towards the speaker.

Mic Pos. (Mic Position) *1 Center, 110 This simulates the microphone position.

Center Simulates the condition that the microphone is set in the middle of the speaker cone.

110 Simulates the condition that the microphone is moved away from the center of the speaker cone.

Mic Level *1 0100 Adjusts the volume of the microphone.

Direct Level *1 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

29

Chapter 4 Introduction to Effects and Parameters

Type List

Type Explanation

JC CLEAN JC-120 This is the sound of the Roland JC-120.

Warm Clean This gives a mellow, clean sound.

Jazz Combo This is a sound suited to jazz.

Full Range This is a sound with flat response. Good for acoustic guitar

BrightClean A bright, clean tone.

TW CLEAN Clean TWIN This models a Fender Twin Reverb.

Pro Crunch This models a Fender Pro Reverb.

Tweed This models a Fender Bassman 4 x 10 Com- bo.

Warm Crunch This gives a mellow, crunch sound.

CRUNCH

Crunch This is a crunch sound that can produce nat- ural distortion.

Blues This is a sound suited to blues.

Wild Crunch This is a crunch sound with wild distortion.

StackCrunch This is a crunch sound with high gain.

COMBO

VO Drive This models the drive sound of a VOX AC- 30TB.

VO Lead This models the lead sound of the VOX AC- 30TB.

VO Clean This models the clean sound of the VOX AC-30TB.

MATCH Drive This models the sound input to left input on a Matchless D/C-30.

Fat MATCH This models the sound of a Matchless with a modified high gain.

MATCH Lead This models the sound input to right input on a Matchless D/C-30.

BG LEAD

BG Lead This models the lead sound of the MESA/ Boogie combo amp.

BG Drive This models a MESA/Boogie with TREBLE SHIFT SW on.

BG Rhythm This models the rhythm channel of a MESA/Boogie.

SmoothDrive This is a smooth drive sound.

Mild Drive This is a mellow drive sound.

MS STACK

MS1959 (I) This models the sound input to Input I on a Marshall 1959.

MS1959 (II) This models the sound input to Input II on a Marshall 1959.

MS1959 (I+II) This models the sound of a Marshall 1959 with Inputs I and II connected in parallel.

MS HiGain This models the sound of a Marshall with a modified midrange boost.

Power Stack This provides the sound of a stack amp with active type tone circuitry.

R-FIER

R-FIER Cln Models the sound of the Channel 1 CLEAN Mode on the MESA/Boogie DUAL Rectifi- er.

R-FIER Raw Models the sound of the Channel 2 RAW Mode on the MESA/Boogie DUAL Rectifi- er.

R-FIER Vnt1 Models the sound of the Channel 2 VIN- TAGE Mode on the MESA/Boogie DUAL Rectifier.

R-FIER Mdn1 Models the sound of the Channel 2 MOD- ERN Mode on the MESA/Boogie DUAL Rectifier.

R-FIER Vnt2 Models the sound of the Channel 3 VIN- TAGE Mode on the MESA/Boogie DUAL Rectifier.

R-FIER Mdn2 Models the sound of the Channel 3 MOD- ERN Mode on the MESA/Boogie DUAL Rectifier.

T-AMP

T-AMP Clean This models a Hughes & Kettner Triamp AMP1.

T-AMP Crunch This models a Hughes & Kettner Triamp AMP2.

T-AMP Lead This models a Hughes & Kettner Triamp AMP3.

Edge Lead A sharp lead sound.

HiGAIN SLDN This models a Soldano SLO-100.

Drive Stack This is a drive sound with high gain.

Lead Stack This is a lead sound with high gain.

Heavy Lead A powerful lead sound featuring extreme distortion.

METAL

5150 Drive This models the lead channel of a Peavey EVH 5150.

Metal Stack This is a drive sound suited to metal.

Metal Lead This is a lead sound suited to metal.

CUSTOM Custom1 Custom amp 1

Custom2 Custom amp 2

Custom3 Custom amp 3

Type Explanation

30

Chapter 4 Introduction to Effects and Parameters

Chapter 4

OVERDRIVE/DISTORTION This effect distorts the sound to create long sustain.

It provides 30 types of distortion and three different custom settings.

Type List

Parameter/ Range

Explanation

On/Off Off, On Turns the OD/DS effect on/off.

Type refer to Type List Selects the type of distortion.

Drive 0120 Adjusts the depth of distortion.

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.

Tone -50+50 Adjusts the tone.

Turning this to the left produces a mild tone, while turning it to the right creates a sharper tone.

Effect Level

0100 Adjusts the volume of the overdrive/distor- tion sound.

Direct Level 0100 Adjusts the volume of the direct sound.

Type Explanation

Booster This is a booster that works very well with COSM amps.

Blues OD This is a crunch sound of the BOSS BD-2.

Crunch A lustrous crunch sound with an added ele- ment of amp distortion.

Natural OD This is an overdrive sound that provides distortion with a natural feeling.

Turbo OD This is the high-gain overdrive sound of the BOSS OD-2.

Fat OD This is a mellow overdrive sound.

OD-1 This is the sound of the BOSS OD-1.

T-Scream This models an Ibanez TS-808.

Warm OD Overdrive with special mid range tone.

Distortion This gives a basic, traditional distortion sound.

Mild DS This is a distortion sound that provides a mild distortion.

Drive DS This is a powerful distortion sound.

RAT This models a Proco RAT.

GUV DS This models an Marshall GUV NOR.

DST+ This models an MXR DISTORTION+.

Solid DS This is a distortion sound featuring an edge effect.

Mid DS This distortion sound features a boosted midrange.

Stack A fat sound with an added element of a stack amps distortion.

Modern DS Sound of a large high gain amp.

Power DS Sound of Overdrive through a stack amp.

R-MAN This models a ROCKMAN.

Metal Zone This is the sound of the BOSS MT-2.

Heavy Metal This creates a heavier distortion sound.

Lead Produces a distortion sound with both the smoothness of an overdrive along with a deep distortion.

Loud This is a distortion sound with a boosted low end.

Sharp This is a distortion sound with a boosted high end.

Mechanical This distortion sound boosts the low and high ends, yielding a mechanical-sounding distortion.

60s FUZZ This models a FUZZFACE.

Oct FUZZ This models an ACETONE FUZZ.

MUFF FUZZ This models an Electro-Harmonix Big Muff .

Custom1 Custom OD/DS 1

Custom2 Custom OD/DS 2

Custom3 Custom OD/DS 3

31

Chapter 4 Introduction to Effects and Parameters

DELAY This effect adds delayed sound to the direct sound, giving more body to the sound or creating special effects.

Parameter/ Range

Explanation

On/Off Off, On Turns the DELAY Effect on/off.

Type see below This selects which type of delay.

Single Delay sound of 0 to 1800 ms delay time.

Pan This delay is specifically for stereo output. This allows you to obtain the tap delay effect that divides the delay time, then deliver them to L and R channels. fig.04-0050

Stereo The direct sound is output from the left channel, and the effect sound is output from the right channel.

Dual Series This is a delay comprising two different delays connected in series. Each delay time can be set in a range from 0 ms to 900 ms. fig.04-0060

Dual Parallel This is a delay comprising two delays connected in parallel. Each de- lay time can be set in a range from 0 ms to 900 ms. fig.04-0070

Dual L/R This is a delay with individual settings available for the left and right channels. Delay 1 goes to the left channel, Delay 2 to the right. fig04-0080

Reverse This produces an effect where the sound is played back in reverse.

Analog This gives a mild analog delay sound. The delay time can be set with- in the range of 0 to 1800 ms

Tape This setting provides the characteristic wavering sound of the tape echo. The delay time can be set within the range of 0 to 1800 ms.

Warp This simultaneously controls the delay sounds feedback level and volume to produce a totally unreal delay.

Modulate This delay adds a pleasant wavering effect to the sound.

INPUT

OUTPUT L

OUTPUT R

Feedback

Delay Time Effect Level

DELAY

Tap Time

D1 D2 D1: Delay 1 D2: Delay 2

D1

D2

D1

D2

L

R

Hold Up to 2.8 seconds of performance content is recorded, then played back repeatedly. You can also layer this as you perform something else, then record these together (overdub), allowing you to produce what is called sound-on-sound.

* For more detail the operation, refer toUsing the HOLD (Hold Delay) (p. 34).

* If you switch patches with the Type set to either Dual Series, Dual Parallel, or Dual L/R and then begin to play immediately after the patches change, you may be unable to attain the intended effect in the first portion of what you perform.

* When the Type is switched from Modulate to Hold (or Hold to Modulate), the following settings are switched to OFF and the held sound is cleared.

When FX (1 or 2) with FB (Feedbacker: p. 42) (OSC) selected is ON

When AR (Auto Riff: p. 48) Hold is ON When SH (Sound Hold: p. 51) Hold is ON

Delay Time 0 ms1800 ms,

BPM BPM This determines the delay time.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased). When setting to BPM, press PARAMETER

[ ] several times to display the Master BPM settings screen.

Tap Time

0%100% (Type = Pan)

Adjusts the delay time of the left channel de- lay. This setting adjusts the L channel delay time relative to the R channel delay time (considered as 100%).

Feedback 0100 Adjusts the amount of feedback.

Feedback is returning a delay signal to the input. A higher value will increase the number of the delay repeats.

High Cut (High Cut Filter)

700 Hz11.0 kHz, Flat This sets the frequency at which the high cut filter begins to take effect.

This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When it is set to Flat, the high cut filter is off or has no effect.

Delay1 Time *1 0 ms900 ms,

BPM BPM This determines the delay time of the Delay1.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased). When setting to BPM, press PARAMETER

[ ] several times to display the Master BPM settings screen.

Delay1 Feedback *1 0100 Adjusts the amount of feedback of the Delay1.

A higher value will increase the number of the delay repeats.

Parameter/ Range

Explanation

32

Chapter 4 Introduction to Effects and Parameters

Chapter 4

*1 Setting available when Type is set to Dual Series, Dual Parallel, or Dual L/R.

*2 Setting available when Type is set to Warp.

*3 Setting available when Type is set to Modulate.

You can change the value in increments of ten by pressing [SHIFT] so its indicator is lighted before you rotate the PATCH/VALUE dial.

You can use [DELAY] as a tap input button (but only while changing settings) if you first press [SHIFT] so its indicator is lit (Shift: ON).

After [DELAY] is pressed several times, the interval between presses of the button is then used as the delay time setting.

* When Type is set to Dual Series or Dual Parallel, the delay time for Delay 2 is changed; when set to Dual L/R, both delay times are changed.

You can change the Master BPM by setting the delay time to the BPM and pressing [DELAY] several times.

* When the Type is set to Dual Series, Dual Parallel, or Dual L/R, the delay time for Delay 2 is set to the BPM.

Delay1 HiCut (Delay 1 High Cut Filter) *1

700 Hz11.0 kHz, Flat This sets the frequency at which the high cut filter of the Delay1 begins to take effect.

When it is set to Flat, the high cut filter is off or has no effect.

Delay1 Level *1 0120 Adjusts the volume of the Delay1.

Delay2 Time *1 0 ms900 ms,

BPM BPM This determines the delay time of the Delay2.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Delay2 Feedback *1

0100 Adjusts the amount of feedback of the Delay2.

Delay2 Hicut (Delay 2 High Cut Filter) *1

700 Hz11.0 kHz, Flat This sets the frequency at which the high cut filter of the Delay2 begins to take effect.

When it is set to Flat, the high cut filter is off or has no effect.

Delay2 Level *1 0120 Adjusts the volume of the Delay2.

Warp SW *2 Off, On Turns the Warp on/off.

This parameter is assigned to the CTL pedal.

Warp Rise Time *2

0100 Adjusts how rapidly the warped delay sound rises.

Warp Feedback Depth *2

0100 Adjusts the feedback level of the warped de- lay sound.

Warp E.Level Depth *2

0100 Adjusts the volume of the warped delay sound.

Mod. Rate (Modulation Rate) *3

0100 Adjusts the modulation rate of the delay sound.

Mod. Depth (Modulation Depth) *3

0100 Adjusts the modulation depth of the delay sound.

Effect Level 0120 Adjusts the volume of the delay sound.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

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Chapter 4 Introduction to Effects and Parameters

Using the HOLD (Hold Delay) * Recording and playback of performances and other operations

are carried out with pedals while Hold is in effect. Connect external pedals (foot switches) or an FC-200.

1. Referring to p. 62p. 67 of Chapter 6 Using Pedals to Control the Effects, assign the following functions to the connected external pedal (or foot switch) or FC-200 pedals.

Target: Hold Dly Rec/Dub Source Mode: Normal

Target: Hold Dly Stop Source Mode: Normal

2. Press [DELAY], then press PARAMETER [ ] [ ] so that Type is displayed.

* If the delay is off, pressing [DELAY] once switches the delay on.

3. Rotate the PATCH/VALUE dial to select Hold.

* After switching to HOLD, you cannot perform any operation during the 2.8-second period before the unit switches to recording standby. Wait for at least 2.8 seconds before moving on to the next step.

4. Press [EXIT] to return to the Play screen.

5. Press the pedal to which Hold Dly Rec/Dub is assigned.

Recording starts when you press the pedal.

The bank indicated in the left part of the display flashes while recording is in progress.

6. Press the pedal to which Hold Dly Rec/Dub is assigned again to stop recording.

Playback of the recorded content begins simultaneously (and the bank indicated in the left part of the display lights).

* The maximum recording time is 2.8 seconds. If the recording time exceeds 2.8 seconds, the recording stops automatically, and the recorded content is then played back.

* An oscillating sound may be audible with extremely short recording times.

7. When layering recordings, repeat Steps 5 and 6.

* The recorded content is cleared when the Type or patch is switched to a different setting or when the power is turned off.

8. To return to recording standby, press the pedal to which Hold Dly Stop is assigned.

The unit returns to recording standby, and the bank indicated in the left part of the display goes blank for a set interval and then flashes.

* When playback is stopped, the recorded content is erased.

* To start recording again, wait 2.8 seconds, then carry out step 5.

CHORUS In this effect, a slightly detuned sound is added to the original sound to add depth and breadth.

Parameter/ Range

Explanation

On/Off Off, On Turns the CHORUS effect on/off.

Mode Mono, Stereo1, Stereo2 Selection for the chorus mode.

Mono This chorus effect outputs the same sound from both L and R.

Stereo1 This is a stereo chorus effect that adds different chorus sounds to L and R.

Stereo2 This is a stereo chorus effect produced by synthesizing the spatial characteristics of the direct sound and the effect sound.

Rate 0100,

BPM BPM Adjusts the rate of the chorus effect.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Adjusts the depth of the chorus effect.

To use it for doubling effect, set the value to 0.

Pre Delay

0.0 msec40.0 msec Adjusts the time needed for the effect sound to be output after the direct sound has been output.

By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is being played at the same time (doubling effect).

Low Cut (Low Cut Filter)

Flat, 55 Hz800 Hz This sets the frequency at which the low cut filter begins to take effect.

This lets you cut the low-end component below the set frequency to create a clear, distinct low end, thereby bringing out the high end of the effect. When Flat is selected, the low cut filter will have no ef- fect.

High Cut (High Cut Filter)

700 Hz11.0 kHz, Flat This sets the frequency at which the high cut filter begins to take effect.

This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When Flat is selected, the high cut filter will have no effect.

Effect Level 0100 Adjusts the volume of the effect sound.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

REVERB This effect adds reverberation to the sound.

COMP (Compressor) This is an effect that produces a long sustain by evening out the volume level of the input signal. You can switch it to a limiter to suppress only the sound peaks and prevent distortion.

Parameter/ Range

Explanation

On/Off Off, On Turns the REVERB effect on/off.

Type

see below This selects the reverb type. Various differ- ent simulations of space are offered.

Ambience Simulates an ambience mic (off-mic, placed at a distance from the sound source) used in recording and other applications. Rather than emphasizing the reverberation, this reverb is used to produce a sense of openness and depth.

Room Simulates the reverberation in a small room. Provides warm rever- berations.

Hall1 Simulates the reverberation in a concert hall. Provides clear and spa- cious reverberations.

Hall2 Simulates the reverberation in a concert hall. Provides warm rever- berations.

Plate Simulates plate reverberation (a reverb unit that uses the vibration of a metallic plate). Provides a metallic sound with a distinct upper range.

Spring This simulates the sound of a guitar amp's built-in spring reverb.

Modulate This reverb adds the wavering sound found in hall reverb to provide an extremely pleasant reverb sound.

Reverb Time 0.1 sec10.0 sec Adjusts the length (time) of reverberation.

Pre Delay

0 msec100 msec Adjusts the time until the reverb sound ap- pears.

Low Cut (Low Cut Filter)

Flat, 55 Hz800 Hz This sets the frequency at which the low cut filter begins to take effect.

This lets you cut the low-end component below the set frequency to create a clear, distinct low end, thereby bringing out the high end of the effect. When Flat is selected, the low cut filter will have no ef- fect.

High Cut (High Cut Filter)

700 Hz11.0 kHz, Flat This sets the frequency at which the high cut filter begins to take effect.

This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When Flat is selected, the high cut filter will have no effect.

Density 010 Adjusts the density of the reverb sound.

Effect Level 0100 Adjusts the volume of the reverb sound.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

On/Off Off, On Turns the COMP effect on/off.

Type

Compressor, Limiter This selects whether the compressor or lim- iter is used.

Sustain (Type= Compressor)

0100 Adjusts the range (time) over which low- level signals are boosted. Larger values will result in longer sustain.

Attack (Type= Compressor)

0100 Adjusts the strength of the picking attack when the strings are played.

Higher values result in s sharper attack, creating a more clearly de- fined sound.

Threshold (Type= Limiter)

0100 Adjust this as appropriate for the input sig- nal from your guitar.

When the input signal level exceeds this threshold level, limiting will be applied.

Release (Type= Limiter)

0100 Adjusts the time from when the signal level drops below the threshold until when limit- ing is removed.

Tone -50+50 Adjusts the tone.

Level 0100 Adjusts the volume.

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Chapter 4 Introduction to Effects and Parameters

WAH You can control the wah effect in real time by adjusting the EXP pedal connected to the EXP PEDAL 1 or 2 jack or FC-200 EXP pedal.

When you have an EXP pedal connected to the EXP PEDAL 1 jack or FC-200 EXP pedal, you can set the pedal so that it automatically begins functioning as a wah pedal when this effect is switched on (p. 63, p. 64).

FX-1/FX-2 With FX-1 and FX-2, you can select the effect to be used from the following.

You can select the same effect for FX-1 and FX-2.

Parameter/ Range

Explanation

On/Off Off, On Turns the WAH effect on/off.

Type see below This selects the wah type.

CRY WAH This models the sound of the CRY BABY wah pedal popular in the `70s.

VO WAH This models the sound of the VOX V846.

Fat WAH This a wah sound featuring a bold tone.

Light WAH This wah has a refined sound with no un- usual characteristics.

7String WAH Wah featuring a broader range of variations for the seven-string guitar.

Reso WAH This completely original effect offers en- hancements on the characteristic resonances produced by analog synth filters.

Custom1 Custom wah 1

Custom2 Custom wah 2

Custom3 Custom wah 3

Pdl Position (Pedal Position) 0100 Adjusts the position of the wah pedal.

Level 0100 Adjusts the volume.

Effect

FX-1 FX-2 Common

ACS Advanced Compressor p. 37

LM Limiter p. 37

TW Touch Wah p. 37

AW Auto Wah p. 38

TM Tone Modify p. 38

GS Guitar Simulator p. 38

TR Tremolo p. 39

PH Phaser p. 39

FL Flanger p. 40

PAN Pan p. 40

VB Vibrato p. 40

UV Uni-V p. 41

RM Ring Modulator p. 41

SG Slow Gear p. 41

DF Defretter p. 41

STR Sitar Simulator p. 42

FB Feedbacker p. 42

AFB Anti-Feedback p. 43

HU Humanizer p. 43

SL Slicer p. 43

WSY Wave Synth p. 44

SEQ Sub Equalizer p. 44

FX-2 Only

HR Harmonist p. 45

PS Pitch Shifter p. 46

PB Pedal Bend p. 47

OC Octave p. 47

RT Rotary p. 47

2CE 2x2 Chorus p. 48

AR Auto Riff p. 48

SYN Guitar Synth p. 49

AC Acoustic Processor p. 50

SH Sound Hold p. 51

SDD Sub Delay p. 51

Parameter/ Range

Explanation

On/Off Off, On Switches the FX-1 (FX-2) effect on/off.

FX1/FX2 Select see above Selects the effect to be used.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

ACS (Advanced Compressor) This is an effect that produces a long sustain by evening out the volume level of the input signal. You can also use it as a limiter to suppress only the sound peaks and prevent distortion.

LM (Limiter) The limiter attenuates loud input levels to prevent distortion.

TW (Touch Wah) You can produce a wah effect with the filter changing in response to the guitar level.

Parameter/ Range

Explanation

Type see below Selects the compressor type.

BOSS Comp This models a BOSS CS-3.

Hi-BAND This is a compressor that adds an even stronger effect in the high end.

Light This is a compressor with a light effect.

D-Comp This models a MXR DynaComp.

ORANGE This is modeled on the sound of the Dan Armstrong ORANGE SQUEEZER.

Fat When applied heavily, this compressor ef- fect provides a fat tone with a boosted midrange.

Mild When applied heavily, this compressor ef- fect produces a sweet tone with the high end cut.

Stereo Comp This selects a stereo compressor.

Sustain

0100 Adjusts the range (time) over which low- level signals are boosted. Larger values will result in longer sustain.

Attack

0100 Adjusts the strength of the picking attack. Larger values will result in a sharper attack, creating a more clearly defined sound.

Tone -50+50 Adjusts the tone.

Level 0100 Adjusts the volume.

Parameter/ Range

Explanation

Type see below Selects the limiter type.

BOSS Limitr This selects a stereo limiter.

Rack 160D This models a dbx 160X.

Vtg Rack U This models a UREI 1178.

Attack

0100 Adjusts the strength of the picking attack when the strings are played.

Higher values result in s sharper attack, creating a more clearly de- fined sound.

Threshold

0100 Adjust this as appropriate for the input sig- nal from your guitar.

When the input signal level exceeds this threshold level, limiting will be applied.

Ratio

1: 1: 1 This selects the compression ratio used with signals in excess of the threshold level.

Release

0100 Adjusts the time from when the signal level drops below the threshold until when limit- ing is removed.

Level 0100 Adjusts the volume.

Parameter/ Range

Explanation

Mode LPF, BPF Selects the wah mode.

LPF (Low Pass Filter) This creates a wah effect over a wide frequency range.

BPF (Band Pass Filter) This creates a wah effect in a narrow frequency range.

Polarity

Down, Up Selects the direction in which the filter will change in response to the input.

Up The frequency of the filter will rise.

Down The frequency of the filter will fall.

Sens

0100 Adjusts the sensitivity at which the filter will change in the direction determined by the polarity setting.

Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no effect.

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Chapter 4 Introduction to Effects and Parameters

AW (Auto Wah) This changes the filtering over a periodic cycle, providing an automatic wah effect.

TM (Tone Modify) This changes the tone of the connected guitar.

GS (Guitar Simulator) Simulation of the characteristics of particular guitar components such as pickups and different guitar bodies allows you to switch among a number of different guitar types all while using a single guitar.

Frequency

0100 Adjusts the center frequency of the Wah ef- fect.

Peak

0100 Adjusts the way in which the wah effect ap- plies to the area around the center frequen- cy.

Higher values will produce a stronger tone which emphasizes the wah effect more. With a value of 50 a standard wah sound will be produced.

Direct Level 0100 Adjusts the volume of the direct sound.

Level 0100 Adjusts the volume of the effect sound.

Parameter/ Range

Explanation

Mode LPF, BPF Selects the wah mode.

LPF (Low Pass Filter) This creates a wah effect over a wide frequency range.

BPF (Band Pass Filter) This creates a wah effect in a narrow frequency range.

Frequency

0100 Adjusts the center frequency of the Wah ef- fect.

Peak

0 100 Adjusts the way in which the wah effect ap- plies to the area around the center frequen- cy.

Higher values will produce a stronger tone which emphasizes the wah effect more. With a value of 50 a standard wah sound will be produced.

Rate 0100,

BPM BPM Adjusts the frequency of the auto wah.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Adjusts the depth of the auto wah effect.

Direct Level 0100 Adjusts the volume of the direct sound.

Level 0100 Adjusts the volume of the effect sound.

Parameter/ Range

Explanation

Parameter/ Range

Explanation

Type see below Selects the type of tone modification.

Fat Fat tone with boosted mid range.

Presence Bright tone with boosted high-mid range.

Mild Mild tone with the high end cut back.

Tight Tone with the low frequencies cut.

Enhance Tone with the high frequencies boosted.

Resonator1, 2, 3 This produces a tone with greater power and punch by adding resonance in the low- frequency range and midrange.

Low

-50+50 Adjusts the tone for the low frequency range.

High

-50+50 Adjusts the tone for the High frequency range

Resonance

0100 This adjusts the strength of the low-end and midrange resonance when Type is set to Resonator 1, 2, or 3.

Level 0100 Adjusts the volume.

Parameter/ Range

Explanation

Type see below Selects the type of the guitar simulator.

SH Changes from a single-coil pickup tone to a humbucking pickup tone.

HS Changes from a humbucking pickup tone to a mixed tone of two single-coil pickups.

HHF Changes from a humbucking pickup tone to a single-coil pickup half tone.

SHollow Changes a single-coil pickup tone to a full- acoustic tone with the body resonance add- ed.

HHollow Changes a humbucking pickup tone to a full-acoustic tone with the body resonance added.

SAC Changes a single-coil pickup tone to an acoustic guitar tone.

HAC Changes a humbucking pickup tone to an acoustic guitar tone.

PAC Changes a piezo pickup tone to an acoustic guitar tone.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

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

PH (Phaser) By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.

Low

-50+50 Adjusts the tone for the low frequency range.

High

-50+50 Adjusts the tone for the High frequency range

Body

0100 Adjusts the way the body sounds when Type is set to S Hollow, H Hollow, S AC, H AC, or P AC.

The body sound increases as the value is raised; reducing the value produces a tone similar to that from a piezo pickup.

Level 0100 Adjusts the volume.

Parameter/ Range

Explanation

Wave Shape 0100 Adjusts changes in volume level.

Rate 0100,

BPM BPM Adjusts the frequency (speed) of the change.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Adjusts the depth of the effect.

Parameter/ Range

Explanation

Parameter/ Range

Explanation

Type

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

4 Stage This is a four-phase effect. A light phaser ef- fect is obtained.

8 Stage This is an eight-phase effect. It is a popular phaser effect.

12 Stage This is a twelve-phase effect. A deep phase effect is obtained.

Bi-Phase This is the phaser with two phase shift cir- cuits connected in series.

Rate 0100,

BPM BPM This sets the rate of the phaser effect.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Determines the depth of the phaser effect.

Manual

0100 Adjusts the center frequency of the phaser effect.

Resonance

0100 Determines the amount of resonance (feed- back).

Increasing the value will emphasize the effect, creating a more un- usual sound.

Step Rate Off, 0100,

BPM BPM This sets the cycle of the step function that changes the rate and depth.

When it is set to a higher value, the change will be finer. Set this to Off when not using the Step function.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Effect Level 0100 Adjusts the volume of the phaser.

Direct Level 0100 Adjusts the volume of the direct sound.

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Chapter 4 Introduction to Effects and Parameters

FL (Flanger) The flanging effect gives a twisting, jet-airplane-like character to the sound.

PAN With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an effect that makes the guitar sound appear to fly back and forth between the speakers.

VB (Vibrato) This effect creates vibrato by slightly modulating the pitch.

Parameter/ Range

Explanation

Rate 0100,

BPM BPM This sets the rate of the flanging effect.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Determines the depth of the flanging effect.

Manual

0 100 Adjusts the center frequency at which to ap- ply the effect.

Resonance

0100 Determines the amount of resonance (feed- back).

Increasing the value will emphasize the effect, creating a more un- usual sound.

Separation

0100 Adjusts the diffusion. The diffusion increas- es as the value increases.

Low Cut (Low Cut Filter)

Flat, 55 Hz800 Hz This sets the frequency at which the low cut filter begins to take effect.

This lets you cut the low-end component below the set frequency to create a clear, distinct low end, thereby bringing out the high end of the effect. When Flat is selected, the low cut filter will have no ef- fect.

Effect Level 0100 Adjusts the volume of the flanger.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

Wave Shape 0100 Adjusts changes in volume level.

Rate 0100,

BPM BPM Adjusts the frequency (speed) of the change.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Adjusts the depth of the effect.

Parameter/ Range

Explanation

Rate 0100,

BPM BPM Adjusts the rate of the vibrato.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Adjusts the depth of the vibrato.

Trigger Off, On This selects on/off of the vibrato.

* It is assumed that this parameter will be assigned (p. 66) to the foot switch.

Rise Time

0100 This sets the time passing from the moment the trigger is turned on until the set vibrato is obtained.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

UV (Uni-V) Although this resembles a phaser effect, it also provides a unique undulation that you cant get with a regular phaser.

RM (Ring Modulator) This creates a bell-like sound by ring-modulating the guitar sound with the signal from the internal oscillator. The sound will be unmusical and lack distinctive pitches.

SG (Slow Gear) This produces a volume-swell effect (violin-like sound).

DF (Defretter) This simulates a fretless guitar.

Parameter/ Range

Explanation

Rate 0100,

BPM BPM Adjusts the rate of the Uni-V effect.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Adjusts the depth of the Uni-V effect.

Level 0100 Adjusts the volume.

Parameter/ Range

Explanation

Mode

Normal, Intelligent This selects the mode for the ring modula- tor.

Normal This is a normal ring modulator.

Intelligent By ring-modulating the input signal, a bell like sound is created. The intelligent ring modulator changes the oscillation frequency accord- ing to the pitch of the input sound and therefore produces a sound with the sense of pitch, which is quite different from Normal. This effect does not give a satisfactory result if the pitch of the guitar sound is not correctly detected. So, you must use single notes, not chords.

Frequency

0100 Adjusts the frequency of the internal oscilla- tor.

Effect Level 0100 Adjusts the volume of the effect sound.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

Sens 0100 Adjusts the sensitivity of the slow gear.

When it is set to a lower value, the effect of the slow gear can be ob- tained only with a stronger picking, while no effect is obtained with a weaker picking. When the value is set higher, the effect is obtained even with a weak picking.

Rise Time

0100 Adjusts the time needed for the volume to reach its maximum from the moment you begin picking.

Parameter/ Range

Explanation

Tone

-50+50 Adjusts the amount of blurring between the notes.

Sens

0100 This controls the input sensitivity of the de- fretter.

Attack 0100 Adjusts the attack of the picking sound.

Depth 0100 This controls the rate of the harmonics.

Resonance

0100 Adds a characteristically resonant quality to the sound.

Effect Level 0100 Adjust the volume of the defretter sound.

Direct Level 0100 Adjust the volume of the direct sound.

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Chapter 4 Introduction to Effects and Parameters

STR (Sitar Simulator) This simulates the sound of the sitar.

FB (Feedbacker) This allows you to use feedback playing techniques.

* Note that the notes you want to apply feedback to must be played singly and cleanly.

* You can use the foot switch to switch the effect on and off. For more details, refer to p. 66.

*1 Setting available with Mode set to OSC.

Parameter/ Range

Explanation

Tone -50+50 This adjusts the tone.

The high end is boosted as the value increases.

Sens 0100 Adjusts the sensitivity of the sitar.

When it is set to a lower value, no effect of the sitar is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the sitar can be obtained whether the picking is weak or strong.

Depth 0100 This adjusts the amount of effect applied.

Resonance

0100 This adjusts the undulation of the reso- nance.

Buzz

0100 Adjusts the amount of characteristic buzz produced by the buzz bridge when the strings make contact with it.

Effect Level 0100 Adjust the volume of the sitar sound.

Direct Level 0100 Adjust the volume of the direct sound.

Parameter/ Range

Explanation

Mode

OSC, Natural Select either oscillator OSC or natural Natural.

OSC (Oscillator) An artificial feedback sound will be created internally. When OSC is selected, the effect is activated after a single note is played and the note stabilizes. A feedback effect is created when the effect switches on; the feedback disappears when the OSC effect switches off.

Natural Analyzes the pitch of the guitar sound being input, and then creates a feedback sound.

Rise Time *1

0100

This determines the time needed for the vol- ume of the feedback sound to reach its max- imum from the moment the effect is turned on.

Rise Time () *1

0100

This determines the time needed for the vol- ume of the one octave higher feedback sound to reach its maximum from the mo- ment the effect is turned on.

F.B.Level (Feedback Level) 0100 Adjusts the volume of the feedback sound.

F.B.Level () *1

0100 Adjusts the volume of the one octave higher feedback sound.

Vibrato Rate *1 0100,

BPM BPM Adjusts the rate of the vibrato when the feedbacker is on.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Vibrato Depth *1

0100 Adjusts the depth of the vibrato when the feedbacker is on.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

AFB (Anti-feedback) This prevents the acoustic feedback that can be produced by the body resonances of a guitar.

HU (Humanizer) This can create human vowel-like sounds.

*1 Setting available with Mode set to Picking or Auto.

*2 Setting available with Mode set to Picking.

*3 Setting available with Mode set to Auto.

SL (Slicer) This consecutively interrupts the sound to create the impression that a rhythm backing phrase is being played.

Parameter/ Range

Explanation

Freq13 (Frequency 13)

0100 Set the fixed frequency point at which feed- back will be cancelled.

You can set up to three cancellation points.

Depth13

0100 Adjusts the degree of the anti-feedback at each of the three cancellation points.

Parameter/ Range

Explanation

Mode Picking, Auto, Random

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.

Random Five vowels (a, e, i, o, u) are called out at random by adjusting the rate and depth.

Vowel 1 *1 a, e, i, o, u Selects the first vowel. fig.04-061d

Vowel 2 *1 a, e, i, o, u Selects the second vowel.

Sens *2 0100 Adjusts the sensitivity of the humanizer.

When it is set to a lower value, no effect of the humanizer is obtained with weaker picking, while stronger picking produces the effect. When it is set to a higher value, the effect of the humanizer can be ob- tained whether the picking is weak or strong.

Rate 0100,

BPM BPM Adjusts the cycle for changing the two vow- els.

Vowel 1 Vowel 2

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Depth 0100 Adjusts the depth of the effect.

Manual *3

0100 This determines the point where the two vowels are switched.

When it is set to 50, vowel 1 and vowel 2 are switched in the same length of time. When it is set to lower than 50, the time for vowel 1 is shorter. When it is set to higher than 50, the time for vowel 1 is longer.

Level 0100 Adjusts the volume.

Parameter/ Range

Explanation

Pattern

P1P20 Select the slice pattern that will be used to cut the sound.

Rate 0100,

BPM BPM Adjust the rate at which the sound will be cut.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Trigger Sens 0100 Adjust the sensitivity of triggering.

With low settings of this parameter, softly picked notes will not re- trigger the phrase (i.e., the phrase will continue playing), but strong- ly 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.

Parameter/ Range

Explanation

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Chapter 4 Introduction to Effects and Parameters

WSY (Wave Synth) This is a synth sound that processes the guitar input signal.

SEQ (Sub Equalizer) This adjusts the tone as a sub equalizer. A parametric type is adopted for the high-middle and low-middle range.

Parameter/ Range

Explanation

Wave

Saw, Square Selects a wave type which the synth sound is based.

Saw Creates a synth sound with a saw waveform ( ).

Square Creates a synth sound with the square waveform ( ).

Cutoff Freq (Cutoff Frequency)

0100 Adjusts the frequency where the harmonics contents of the sound are cut off.

Resonance

0100 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 empha- sized.

FLT.Sens (Filter Sensitivity)

0100 This adjusts the amount of filtering applied in response to the input.

FLT.Decay (Filter Decay)

0100 This sets the time needed for the filter to fin- ish its sweep.

FLT.Depth (Filter Depth) 0100 Adjusts the depth of the filter.

When the value is higher, the filter will change more drastically.

Synth Level 0100 Adjusts the volume of the synth sound.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

Low Cut (Low Cut Filter)

Flat, 55 Hz800 Hz This sets the frequency at which the low cut filter begins to take effect.

This lets you cut the low-end component below the set frequency to create a clear, distinct low end, thereby bringing out the high end of the effect. When Flat is selected, the low cut filter will have no ef- fect.

Low EQ -20 dB+20 dB Adjusts the low frequency range tone.

Low-Middle Frequency

20.0 Hz10.0 kHz Specify the center of the frequency range that will be adjusted by the Low-Middle EQ.

Low-Middle Q

0.516 Adjusts the width of the area affected by the EQ centered at the Low-Middle Frequen- cy.

Higher values will narrow the area.

Low-Middle EQ

-20 dB+20 dB Adjusts the Low-Middle Frequency range tone.

High-Middle Frequency

20.0 Hz10.0 kHz Specify the center of the frequency range that will be adjusted by the High-Middle EQ.

High-Middle Q

0.516 Adjusts the width of the area affected by the EQ centered at the High-Middle Frequen- cy.

Higher values will narrow the area.

High-Middle EQ

-20 dB+20 dB Adjusts the High-Middle Frequency range tone.

High EQ -20 dB+20 dB Adjusts the high frequency range tone.

High Cut (High Cut Filter)

700 Hz11.0 kHz, Flat This sets the frequency at which the high cut filter begins to take effect.

This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When it is set to Flat, the high cut filter is off or has no effect.

Level -20 dB+20 dB Adjusts the volume before the equalizer.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

FX-2 You can use the following effects in FX-2 in addition to whatever effect is shared by FX-1 and FX-2.

HR (Harmonist) Harmonist is an effect where the amount of shifting is adjusted according to an analysis of the guitar input, allowing you to create harmonics based on diatonic scales.

* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

*1 HR1 and HR2 are set individually.

Effect

HR harmonist p. 45

PS Pitch Shifter p. 46

PB Pedal Bend p. 47

OC Octave p. 47

RT Rotary p. 47

2CE 2 x 2 Chorus p. 48

AR Auto Riff p. 48

SYN Guitar Synth p. 49

AC Acoustic Processor p. 50

SH Sound Hold p. 51

SDD Sub Delay p. 51

Parameter/ Range

Explanation

On/Off Off, On Switches the FX-2 effect on/off.

FX2 Select p. 36, see above Selects the effect to be used.

Parameter/ Range

Explanation

Voice 1-Voice, 2-Mono, 2-Stereo

This selects the number of voices for the pitch shift sound (harmony).

1-Voice One-voice pitch-shifted sound output in monaural.

2-Mono Two-voice pitch-shifted sound (HR1, HR2) output in monaural.

2-Stereo Two-voice pitch-shifted sound (HR1, HR2) output through left and right channels.

Harmony *1

-2 oct+2 oct, Scale 1Scale29

This determines the pitch of the sound add- ed 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 in- put sound. When the scale is set to Scale 1Scale29, this parameter sets the user scale number to be used.

Pre Delay *1

0 ms300 ms,

BPM BPM

Adjusts the time from when the direct sound is heard until the harmonist sounds are heard. Normally you can leave this set at 0ms.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Feedback

0100 Adjusts the feedback amount of the har- monist sound.

Level *1 0100 Adjusts the volume of the harmony sound.

Key

C (Am)B (G#m) Specify the key of the song you are playing. By specifying the key, you can create har- monies that fit the key of the song.

The key setting corresponds to the key of the song (#, b) as follows. fig.04-0090

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

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Chapter 4 Introduction to Effects and Parameters

Creating Harmonist Scales (User Scale) When Harmony is set to any value from -2oct to +2oct, and the harmony does not sound the way you intend, use a User scale.

You can set any of 29 different User scales.

1. Press [FX-2], then press PARAMETER [ ] [ ] so that FX Select is displayed.

2. Rotate the PATCH/VALUE dial to select HR.

3. Press PARAMETER [ ] [ ] to select HR1 Harm (or HR2 Harm), then rotate the PATCH/ VALUE dial to select a setting from Scale 1-29.

4. Press PARAMETER [ ] a number of times so that the User scale settings screen is displayed.

fig.04-0100d

5. Press PARAMETER [ ] [ ] to move the cursor, then rotate the PATCH/VALUE dial to set the User scale.

User: You can change the number of the user scale.

DIR (Direct): Sets the note name of the input sound. You can also play individual notes on the guitar and let the GT-PRO interpret the note name.

EFF (Effect): Sets the note name of the output sound.

The triangle next to the note name indicates the octave.

One downward-pointing triangle indicates a note one octave below the note displayed; two triangles indicates a two-octave drop.

One upward-pointing triangle indicates a note one octave above the note displayed; two triangles indicates a two-octave rise.

PS (Pitch Shifter) This effect changes the pitch of the original sound (up or down) within a range of two octaves.

*1 With Voice set to 2-Mono or 2-Stereo, you can select two sounds.

Parameter/ Range

Explanation

Voice 1-Voice, 2-Mono, 2-Stereo

Selects the number of voices for the pitch shift sound.

1-Voice One-voice pitch-shifted sound output in monaural.

2-Mono Two-voice pitch-shifted sound (PS1, PS2) output in monaural.

2-Stereo Two-voice pitch-shifted sound (PS1, PS2) output through left and right channels.

Mode *1 Fast, Medium, Slow, Mono

Selection for the pitch shifter mode.

A chord can be input with a normal pitch shifter. The response is slower in the order of Fast, Medium and Slow, but the modulation is lessened in the same order. Mono is used for inputting single notes. When the pitch is being changed using Assign (p. 66), this provides the same effect as a pedal bend.

Pitch *1

-24+24 Adjusts the amount of pitch shift (the amount of pitch change) in semitone steps.

Fine *1 -50+50 Make fine adjustments to the pitch shift.

The amount of the change in the Fine 100 is equivalent to that of the Pitch 1.

Pre Delay *1

0 ms 300 ms,

BPM BPM

Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at 0ms.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Feedback

0100 Adjusts the feedback amount of the pitch shift sound.

Level *1 0100 Adjusts the volume of the pitch shift sound

Direct Level 0100 Adjusts the volume of the direct sound.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

PB (Pedal Bend) This lets you use the pedal to get a pitch bend effect.

The EXP pedal automatically switches to the pedal bend function when PB is selected.

* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

When you have an EXP pedal connected to the EXP PEDAL 1 jack or FC-200 EXP pedal, you can set the pedal so that it automatically begins functioning as a pedal bend when this effect is switched on (p. 63, p. 64).

OC (Octave) This adds a note one octave lower, creating a richer sound.

RT (Rotary) This produces an effect like the sound of a rotary speaker.

Parameter/ Range

Explanation

Pitch Min

-24+24 This sets the pitch at the point where the ex- pression pedal is fully lifted.

Pitch Max

-24+24 This sets the pitch at the point where the ex- pression pedal is all the way down.

Pdl Position (Pedal Position) 0100 Adjusts the pedal position for pedal bend.

Effect Level 0100 Adjusts the volume of the pitch bend sound.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

Range

Range 1, 2, 3, 4 This selects the pitch range for the input sound to which you want to add the effects.

Range 1 7th string, open (B) to 1st string, 24th fret (E)

Range 2 7th string, open (B) to 1st string, 12th fret (E)

Range 3 7th string, open (B) to 1st string, open (E)

Range 4 7th string, open (B) to 4th string, 2nd fret (E)

Octave Level

0100 Adjusts the volume of the sound one octave below.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

Speed Sel (Speed Select)

Slow, Fast This parameter changes the simulated speakers rotating speed (Slow or Fast).

Rate (Slow) 0100,

BPM BPM This parameter adjusts the speed of rotation when set to Slow.

Rate (Fast) 0100,

BPM BPM This parameter adjusts the speed of rotation when set to Fast.

* When the Rate (Slow) or Rate (Fast) set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. **) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Rise Time

0100 This parameter adjusts the time it takes for the rotation speed to change when switched from Slow to Fast.

Fall Time

0100 This parameter adjusts the time it takes for the rotation speed to change when switched from Fast to Slow.

Depth

0100 This parameter adjusts the amount of depth in the rotary effect.

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Chapter 4 Introduction to Effects and Parameters

2CE (2 x 2 Chorus) Two separate stereo chorus units are used for the low- frequency and high-frequency ranges in order to create a more natural chorus sound.

AR (Auto Riff) This allows you to automatically produce a phrase simply by picking a single note. This can be used to easily play extremely rapid phrases.

* Because of the need to analyze the pitch, chords (two or more sounds played simultaneously) cannot be played.

* Reception of large amounts of MIDI data while Auto Riff is playing may result in disturbances in the sound.

*1 Setting available with Phrase set to Preset130.

Parameter/ Range

Explanation

Xover f (Crossover Frequency)

100 Hz4.00 kHz

This parameter sets the frequency at which the frequency components of the direct sound are divided into bass and treble bands.

Low Rate 0100,

BPM BPM Adjust the speed of the chorus effect 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 (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased). When setting to BPM, press PARAMETER

[ ] several times to display the Master BPM settings screen.

Low Depth

0100 Adjust the depth of the chorus effect for the low frequency range. If you wish to use this as a doubling effect, use a setting of 0.

Low Pre Delay

0.0 msec40.0 msec Adjust the time from when the low frequen- cy range direct sound is output until the ef- fect sound is output.

Extending the pre-delay will produce the sensation of multiple sounds (doubling effect).

Low Level

0100 Adjust the volume of the low frequency range.

High Rate 0100,

BPM BPM Adjust the speed of the chorus effect for the high frequency range.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased). When setting to BPM, press PARAMETER

[ ] several times to display the Master BPM settings screen.

High Depth

0100 Adjust the depth of the chorus effect for the high frequency range.

If you wish to use this as a doubling effect, use a setting of 0.

High Pre Delay

0.0 msec40.0 msec Adjust the time from when the high fre- quency range direct sound is output until the effect sound is output.

Extending the pre-delay will produce the sensation of multiple sounds (doubling effect).

High Level

0100 Adjust the volume of the high frequency range.

Parameter/ Range

Explanation

Phrase Preset1Preset30, User1User10

Select the phrase.

User-programmed phrases are used when User 1-10 is selected.

Loop

Off, On If Loop is turned On, the phrase will be played back continuously.

Tempo 0100,

BPM BPM Adjusts the speed of the phrase.

* When set to BPM, the value of each parameter will be set according to the value of the Master BPM (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the cycle to one-half or one-fourth of the BPM when the set cycle rate is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Sens 0100 Adjust the sensitivity of triggering.

With low settings of this parameter, softly picked notes will not re- trigger the phrase (i.e., the phrase will continue playing), but strong- ly picked notes will retrigger the phrase so that it will playback from the beginning. With high settings of this parameter, the phrase will be retriggered even by softly picked notes. No retriggering occurs when the value is set to 0.

Key *1

C (Am)B (G#m) Select the key of the song that you wish to play.

Attack

0100 By adding an attack to each note of the phrase you can produce a sensation as though the notes were being picked.

Hold

Off, On If you turn hold On after you pick a note, the effect sound will continue even after there is no input signal.

Effect Level 0100 Adjusts the volume of the phrase.

Direct Level 0100 Adjusts the volume of the direct sound.

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

Creating Original Phrases (User Phrase) In addition to the 30 different prepared phrases, you can also create up to ten of your own original phrases (User phrases).

1. Press [FX-2], then press PARAMETER [ ] [ ] so that FX Select is displayed.

2. Rotate the PATCH/VALUE dial to select AR.

3. Press [FX-2] a number of times to select Phrase, then rotate the PATCH/VALUE dial to select User 110.

4. Press PARAMETER [ ] a number of times until you have the User Phrase settings screen displayed.

fig.04-0110d

5. Press PARAMETER [ ] [ ] to move the cursor, then rotate the PATCH/VALUE dial to set the User phrase.

User: specify the user phrase number.

IN: Sets the note name of the input sound. You can also play individual notes on the guitar and let the GT-PRO judge the note name.

STEP: Sets the step of the phrase. You can also play on the guitar and put the step forward.

OUT:

SYN (Guitar Synth) This detects the pitch of an electric guitar and outputs a synthesizer sound.

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

It does not work properly when a chord is played. Be sure to mute all the other strings and play in a single note.

When you are to play the next string while a certain sound is still playing, perfectly mute the previous sound then play the next one with a clear attack.

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

Range

-C -B, C, +Db +C

Specify the note name of the output sound. The minus (-) and plus (+) sym- bols indicate sounds above or below the set note name.

Triangles next to the note names indicate octaves. One downward-pointing triangle indicates a note one octave below the note displayed; two triangles indicates a two-octave drop. One upward-pointing triangle indicates a note one octave above the note displayed; two triangles indicates a two-octave rise.

Indicates a tie. This carries over the same note from the previous step.

end Determines the last step. The step imme- diately before the one for which end has been set becomes the actual last step.

Parameter/ Range

Explanation

Sens 0100 Adjusts the input sensitivity.

The response of the internal sound source is better with a higher sen- sitivity value, but the malfunctions will be increased on the other hand. So, try to set it as high as possible without causing malfunc- tion.

Wave Square, Saw, Brass, Bow

This selects a wave type that is the source of the guitar synthesizer.

Square The unit detects the pitch and attack information from the input gui- tar sound, then send the square waveform ( ) from the inter- nal sound generator.

Saw The unit detects the pitch and attack information from the input gui- tar sound, then send the saw waveform ( ) from the internal sound generator.

Brass The unit directly processes the input guitar sound and creates a gui- tar synthesizer sound. It gives a quick sound rise and send the sound with a sharp edge.

Bow The unit directly processes the input guitar sound and creates a gui- tar synthesizer sound. It outputs a soft sound without attack.

Chromatic *1

Off, On This switches on or off the chromatic func- tion.

When it is on, the pitch change of the synthesizer sound is in semi- tone steps. This does not respond to pitch changes less than a semi- tone, such as what might be obtained with bending or vibrato. Thus, this is effectively used for realistically playing musical instruments whose pitch will change in steps greater than a semitone, such as a keyboard.

Octave Shift *1

0, -1, -2 This allows you to shift the pitch of the inter- nal sound module in an octave step from the guitar sound.

PWM Rate (Pulse Width Modulation Rate) *2

0100 This gives breadth or fatness to the sound by applying modulation to the waveform (only to Square) in the internal sound module.

A higher value will quicken the rate of the modulation.

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Chapter 4 Introduction to Effects and Parameters

*1 Parameter setting included when Wave is set to Square or Saw.

*2 Parameter setting included when Wave is set to Square.

AC (Acoustic Processor) This processor allows you to change the sound produced by the pickup on an acoustic electric guitar, creating a richer sound similar to that obtained with a microphone placed close to the guitar.

PWM Depth (Pulse Width Modulation Depth) *2 0100 Adjusts the depth of the PWM.

When it is set to 0, no PWM effect is obtained.

Cutoff Frequency

0100 Adjusts the frequency where the harmonics contents of the sound are cut off.

Resonance

0100 Adjusts how much of the harmonics con- tents around the cutoff frequency should be emphasized.

Filter Sens 0100 Adjusts the sensitivity of the filter.

When it is set to a lower value, the filter is affected only with stronger picking. When it is set higher, the filter changes even with weaker picking. When it is set to 0, the depth of the filter will be the same no matter how the picking strength may be.

Filter Decay

0100 This sets the time needed for the filter to fin- ish its sweep.

Filter Depth -100+100 Adjusts the depth of the filter.

When the value is higher, the filter will change more drastically. The polarity of the filter will be opposite with + and -.

Attack

Decay, 0100 Adjusts the time needed for a synthesizer sound to reach its maximum.

When it is set to a lower value, the sound will rise quickly. When it is set higher, the sound will rise slowly. When it is set to Decay, the sound will rise quickly and turn to a Release status regardless of the input of the guitar sound.

* When Brass or Bow is selected for the wave, the attack time will not be quicker from a certain level even if the attack is set to Decay or 0.

Release

0100

This determines the time needed for the synthesizer sound to reach zero from the moment the input of the guitar sound is completed.

* When Brass or Bow is selected for the wave, the guitar signal itself is processed. That is, the synthesizer sound will go down when the guitar signal goes down no matter how long the release may be set.

Velocity

0100 This adjusts the amount of the volume change of the synthesizer sound.

When it is set to high, the volume change will be greater depending on the picking strength. When it is set to 0, no volume change is caused even by changing the picking manner.

Hold *1

Off, On The hold function can sustain the output of the synthesizer sound.

If you turn on the hold while a synthesizer sound is being output, the synthesizer sound will be held until you turn it off.

* It is assumed that this parameter will be assigned (p. 66) to the foot switch.

Parameter/ Range

Explanation

Synth Level

0100 Adjusts the volume of the synthesizer sound.

Direct Level 0100 Adjusts the volume of the direct sound.

Parameter/ Range

Explanation

Type Small, Medium, Bright, Power

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.

Bass -50+50 Adjusts the low-end balance.

Middle -50+50 Adjusts the midrange balance.

Middle Freq

20.0 Hz10.0 kHz Specifies the frequency range to be adjusted with Middle.

Treble -50+50 Adjusts the high-end balance.

Presence

-50+50 Adjusts the balance in the extended upper range.

Level 0100 Adjusts the volume.

Parameter/ Range

Explanation

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

SH (Sound Hold) You can have sound played on the guitar be held continuously. This effect allows you to perform the melody in the upper registers while holding a note in the lower registers.

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

SDD (Sub Delay) This is a delay with the maximum delay time of 400 ms. This effect is useful for making the sound fatter.

EQ (Equalizer) Adjusts the tonal quality. A parametric type equalizer is used for the upper and lower midrange.

Parameter/ Range

Explanation

Hold Off, On Switches the hold sound on and off.

Normally, this is controlled with the foot switch connected to the CTL 1/2 jack or CTL 3/4 jack or assigned to the FC-200s CTL pedal (p. 66).

Rise Time

0100 Adjusts how rapidly the Sound Hold sound is produced.

Effect Level 0120 Adjusts the volume of the hold sound.

Parameter/ Range

Explanation

Delay Time 0 ms400 ms,

BPM 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 (p. 55) specified for each patch. This makes it easier to achieve effect sound settings that match the tempo of the song (synchronizing the time to twice or four times the time length of the BPM when the set time is increased).

When setting to BPM, press PARAMETER [ ] several times to display the Master BPM settings screen.

Feedback

0100 Adjusts the volume that is returned to the input.

Feedback refers to returning the delayed signal back into the input of the delay. Higher settings will result in more delay repeats.

Effect Level 0120 Adjusts the volume of delay sound.

Parameter/ Range

Explanation

On/Off Off, On Turns the EQ on/off.

Low Cut (Low Cut Filter)

Flat, 55 Hz800 Hz This sets the frequency at which the low cut filter begins to take effect.

This lets you cut the low-end component below the set frequency to create a clear, distinct low end, thereby bringing out the high end of the effect. When Flat is selected, the low cut filter will have no ef- fect.

Low EQ -20 dB+20 dB Adjusts the low frequency range tone.

Low-Middle Frequency

20.0 Hz10.0 kHz Specify the center of the frequency range that will be adjusted by the Lo-Middle EQ.

Low-Middle Q

0.516 Adjusts the width of the area affected by the EQ centered at the Lo-Middle frequency. Higher values will narrow the area.

Higher values will narrow the area.

Low-Middle EQ

-20 dB+20 dB Adjusts the low-middle frequency range tone.

High-Middle Frequency

20.0 Hz10.0 kHz Specify the center of the frequency range that will be adjusted by the Hi-MidDle EQ.

High-Middle Q

0.516 Adjusts the width of the area affected by the EQ centered at the Hi-Middle frequency. Higher values will narrow the area.

Higher values will narrow the area.

High-Middle EQ

-20 dB+20 dB Adjusts the high-middle frequency range tone.

High EQ -20 dB+20 dB Adjusts the high frequency range tone.

High Cut (High Cut Filter)

700 Hz11.0kHz, Flat This sets the frequency at which the high cut filter begins to take effect.

This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When Flat is selected, the high cut filter will have no effect.

Level -20 dB+20 dB Adjusts the volume before the equalizer.

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Chapter 4 Introduction to Effects and Parameters

LOOP (External Effects Loop) 1/2 This allows you to connect an external effects device to the LOOP 1/2 SEND and RETURN jacks and use it as part of the GT-PROs effects. You can get stereo effects by using two sets of SEND/ RETURN jacks. This is particularly effective when you are connecting spatial effects.

* You cannot set LOOP 1 and LOOP 2 separately to different positions in Effect Chain (p. 22).

When Type is Set to Stereo 1 or Stereo 2

Parameter/ Range

Explanation

On/Off Off, On Switches the LOOP 1/2 on/off.

Type see below Switches the LOOP 1/2 type.

Stereo 1 Signals are output in stereo from the SEND 1/2 jacks and input in stereo to the RETURN 1/2 jacks. fig.04-0120

Stereo 2 Signals are output in mono from the SEND 1/2 jacks and input in stereo to the RETURN 1/2 jacks. fig.04-0130

S/R1S/R2 SEND/RETURN 1 and SEND/RETURN 2 are connected in series. fig.04-0140

S/R1&S/R2 SEND/RETURN 1 and SEND/RETURN 2 are connected in parallel. fig.04-0150

SEND 1 SEND 2 RETURN 2 RETURN 1

External Effects

Processor

L

R

SEND 1 SEND 2 RETURN 2 RETURN 1

L

R

External Effects

Processor

SEND 1 RETURN 1 SEND 2 RETURN 2

L

R

External Effects

Processor

External Effects

Processor

SEND 1 RETURN 1 L

R SEND 2 RETURN 2

External Effects

Processor

External Effects

Processor

Parameter/ Range

Explanation

Mode Normal, Direct Mix, Branch Out

Switches the LOOP mode.

Normal Outputs the input to LOOP to the SEND 1/2 jacks and the input from the RETURN 1/2 jacks to the circuit post-LOOP. Use this when you want to connect an external effects device serially in the GT-PROs effects chain. fig.04-0160

Direct Mix Outputs the input to LOOP to the SEND 1/2 jacks, mixes the input from the RETURN 1/2 jacks with the input to LOOP (the direct sound), then outputs this to the circuit post-LOOP. Use this when you want to mix the GT-PROs effects sounds together with the sound with the external effects device applied to it. fig.04-0170

Branch Out outputs the input to LOOP to the SEND 1/2 jacks. The input from the RETURN 1/2 jacks is disregarded. For example, using this with the GT-PROs reverb and delay immediately ahead of the loop allows you to use the SEND 1/2 jacks as a direct out. fig.04-0180

Send Level

0200 Adjusts the volume of the output to the ex- ternal effects device.

Return Level

0200 Adjusts the volume of the input from the ex- ternal effects device.

SEND RETURN

SEND RETURN

SEND

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Chapter 4 Introduction to Effects and Parameters

Chapter 4

When Type is Set to S/R1S/R2 or S/R1&S/R2

PRE LOOP You can connect an external effects processor to the PRE LOOP SEND/RETURN jacks and use it as one of the GT- PROs effects.

This is convenient when you want to have distortion, wah, or other external effects processors connected ahead of the effects chain (p. 22).

Switch PRE LOOP on and off by pressing [PRE LOOP].

You cannot change the connection sequence in PRE LOOP. Effects are always connected ahead of the front panel INPUT LEVEL knob.

Guitar synths, the Harmonist effect, and other effects that use processes requiring detection of performance data may not function properly when PRE LOOP is switched on with distortion effects connected to PRE LOOP.

PRE LOOP is unavailable when the Input Select (p. 90, p. 96) parameter is set to USB In.

Parameter/ Range

Explanation

Select S/R1, S/R2, S/R1&S/R2

This selects how SEND/RETURN 1 and SEND/RETURN 2 are used.

S/R1 Only SEND/RETURN 1 are used.

S/R2 Only SEND/RETURN 2 are used. S/R1&S/R2 Both SEND/RETURN 1 and SEND/RETURN 2 are used.

Mode 1 Normal, Direct Mix, Branch Out

Switches the SEND/RETURN 1 mode.

Normal Outputs the input to LOOP to the SEND 1 jack and the input from the RETURN 1 jack to the circuit post-LOOP. Use this when you want to connect an external effects device serially in the GT-PROs effects chain.

Direct Mix Outputs the input to LOOP to the SEND 1 jack, mixes the input from the RETURN 1 jack with the input to LOOP (the direct sound), then outputs this to the circuit post-LOOP. Use this when you want to mix the GT-PROs effects sounds together with the sound with the exter- nal effects device applied to it.

Branch Out outputs the input to LOOP to the SEND 1 jack. The input from the RETURN 1 jack is disregarded. For example, using this with the GT- PROs reverb and delay immediately ahead of the loop allows you to use the SEND 1 jack as a direct out.

Send 1 Level

0200 Adjusts the volume of the output to the ex- ternal effects device.

Return 1 Level

0200 Adjusts the volume of the input from the ex- ternal effects device.

Mode 2 Normal, Direct Mix, Branch Out

Switches the SEND/RETURN 2 mode.

Normal Outputs the input to LOOP to the SEND 2 jack and the input from the RETURN 2 jack to the circuit post-LOOP. Use this when you want to connect an external effects device serially in the GT-PROs effects chain.

Direct Mix Outputs the input to LOOP to the SEND 2 jack, mixes the input from the RETURN 2 jack with the input to LOOP (the direct sound), then outputs this to the circuit post-LOOP. Use this when you want to mix the GT-PROs effects sounds together with the sound with the exter- nal effects device applied to it.

Branch Out outputs the input to LOOP to the SEND 2 jack. The input from the RETURN 2 jack is disregarded. For example, using this with the GT- PROs reverb and delay immediately ahead of the loop allows you to use the SEND 2 jack as a direct out.

Send 2 Level

0200 Adjusts the volume of the output to the ex- ternal effects device.

Return 2 Level

0200 Adjusts the volume of the input from the ex- ternal effects device.

Parameter/ Range

Explanation

53

Chapter 4 Introduction to Effects and Parameters

AMP CTL (Amp Control) 1/2 By connecting your guitar amps channel switching jack to the GT-PROs AMP CTL 1 (AMP CTL 2) jack, you can then use [AMP CTL 1] ([AMP CTL 2]) to switch the amp channel.

There are two systems, AMP CTL 1 and AMP CTL 2, that you can use.

This combining of the GT-PRO and the amp channels allows you to get an even wider variety of distortion sounds.

Since the Amp Control setting is handled as one of the effects parameters saved to each individual patch, it allows you to switch guitar amp channels with each patch. fig.04-0190

* To determine how the amp channels are switched when the circuit is open and shorted, refer to the amp owners manual, or actually confirm the sounds by operating the amp.

With Amp Control, not only can you switch amp channels, you can also use it to switch the external effect devices effects on and off, like a foot switch controller.

MASTER The following parameters can be set with MASTER.

NS (Noise Suppressor)

Patch Level

Output

Master BPM

FV (Foot Volume)

NS (Noise Suppressor) This effect reduces the noise and hum picked up by guitar pickups. Since it suppresses the noise in synchronization with the envelope of the guitar sound (the way in which the guitar sound decays over time), it has very little effect on the guitar sound, and does not harm the natural character of the sound.

* Please connect the noise suppressor in the signal path prior to the reverberation type effect. This setup will prevent an natural break of the reverberation type effect.

Lit

Open

Guitar Amp (amps channel switching jack)

GT-PRO (AMP CTL 1/2 jack)

Short

Guitar Amp (amps channel switching jack)

GT-PRO (AMP CTL 1/2 jack)

Off

AMP CTL 1 AMP CTL 2

AMP CTL 1 AMP CTL 2

Parameter/ Range

Explanation

On/Off Off, On Switches the noise suppressor effect on/off.

This parameter can be set with the PATCH/VALUE dial. When NS is On, the [MASTER] indicator lights.

* Even if [MASTER] is pressed, you cannot switch the noise suppressor on and off.

Threshold

0100 Adjust this parameter as appropriate for the volume of the noise.

If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate. Adjust this value until the decay of the guitar sound is as natural as possible.

* High settings for the threshold parameter may result in there being no sound when you play with your guitar volume turned down.

Release

0100 Adjusts the time from when the noise sup- pressor begins to function until the noise level reaches 0.

Detect

Input, NS Input, FV Out

This controls the noise suppressor based on the volume level for the point specified in Detect.

Input Input volume from input jack.

NS Input Noise suppressor input volume.

FV Out Volume after passing through Foot Volume.

54

Chapter 4 Introduction to Effects and Parameters

Chapter 4

Patch Level

Output

Master BPM

FV (Foot Volume) This is a volume control effect.

Normally, this is controlled with the expression pedal connected to the EXP PEDAL 1 jack or the FC-200s EXP pedal.

* When making the settings determining each pedal's foot volume operations, refer to Setting the FV (Foot Volume) Operation for Individual Patches (EXP1/CC#7 Foot Volume) (p. 65)

Use the following settings when changing the foot volume with an expression pedal connected to the EXP PEDAL 2 jack.

Set the EXP 2 function (p. 63) to Foot Volume.

In Assign (p. 66), set FV: Level as the target and EXP PEDAL 2 as the source.

You may be unable to achieve the proper Foot Volume effect with certain Effect Chain (p. 22) settings.

(Example)

FB (OSC Mode: p. 42) or SYN (p. 49) connected at a later point in the chain than FV

Parameter/ Range

Explanation

Patch Level 0200 Adjusts the volume of the patch.

Parameter/ Range

Explanation

Output MAIN, SUB, MAIN+SUB

Sets the output destination.

MAIN Outputs to MAIN OUT.

SUB Outputs to SUB OUT.

MAIN+SUB Outputs to MAIN OUT and SUB OUT.

Parameter/ Range

Explanation

Master BPM 40250 Adjust the BPM value for each patch.

* BPM (beats per minute) indicates the number of quarter note beats that occur each minute.

* When you have an external MIDI device connected, the Master BPM synchronizes to the external MIDI devices tempo, making it impossible to set the Master BPM. To enable setting of the Master BPM, set MIDI: Sync Clock (p. 74) to Internal.

Control with the Master BPM By making use of the Assign settings (p. 66), things can be set up so that a foot switch connected to the GT-PRO is used for inputting the Master BPM.

Parameter/ Range

Explanation

Level 0100 Adjusts the volume.

Vol.Curve (Volume Curve) Slow1, Slow2, Normal, Fast

Selects how the actual volume changes in re- sponse to the level controlled with Volume.

fig.04-0200

Volume

Norm al

Slow2

Slow1

Fast

When the pedal is fully advanced

When the pedal is fully raised

EXP Pedal

55

Chapter 4 Introduction to Effects and Parameters

FX CHAIN (Effect Chain) Heres how you can change the order in which the effects are connected.

1. Press [NAME/FX CHAIN] twice.

The effect chain setting screen appears. fig.02-0150d

* Effects are shown in lowercase letters when turned off.

2. Use the PATCH/VALUE dial or PARAMETER [ ] [ ] to move the cursor to the point where you want to have an effect inserted.

* DGT indicates output to the DIGITAL OUT connector/ USB connector.

3. Press the On/Off button for the effect you want to insert.

The selected effect is inserted at the cursor position.

* Use [MASTER] to set the Noise Suppressor, use [ASSIGN] to set the Foot Volume, and use [OUTPUT SELECT] to set the Digital Out/USB.

4. If you want to change the sequence further, repeat Steps 2 and 3.

5. Press [EXIT] to return to the Play screen.

6. If you want to save the sequence youve set up, use the Write procedure (p. 24) to save it to a User patch.

* Effects can be switched on and off even while making the settings for the connection order. With effects appearing to the left and right of the cursor, the ON/OFF button corresponding to the effect can be pressed to turn them on/off.

NAME (Patch Name) Each patch can be given a name (Patch Name) consisting of up to sixteen characters. Youll probably want to take advantage of this feature by assigning names that suggest the sound youll obtain, or the song in which itll be used.

1. Press [NAME/FX CHAIN].

The patch name edit screen appears. fig.02-0170d

2. Press PARAMETER [ ] [ ] to move the cursor to the text area you want to edit.

3. Rotate the PATCH/VALUE dial to change the characters.

You can use the following functions when changing text characters.

4. If you want to edit names further, repeat Steps 2 and 3.

5. Press [EXIT] to return to the Play screen.

6. If you want to save the sequence youve set up, use the Write procedure (p. 24) to save it to a User patch.

ASSIGN Set this when controlling multiple effects with the foot switch or expression pedal connected to the GT-PRO or via MIDI or other external data.

For more detailed information, refer to Setting External Controller Functions to Individual Patches (Assign) (p. 66).

Button Function

INS Inserts a blank space at the cursor posi- tion.

DEL Deletes the character at the cursor posi- tion and shifts the characters following it to the left.

CAPS Switches the character at the cursor posi- tion between upper and lower case.

Cursor

56

Chapter 5 Creating Original Effects Types (Customize)

Chapter 5

With the GT-PROs Customize function, you can rely on your own sensibilities and create a totally new effect by tweaking the settings for the Preamp/Speaker Simulator, Overdrive/Distortion, and Pedal Wah. The result can then be saved on the GT-PRO as Custom settings.

You can also use these custom settings in other patches.

Customizing the COSM Preamps You can make three different sets of settings, Custom 1, Custom 2, and Custom 3.

* The sound of any patch that uses Custom 1, 2, or 3 will be altered if the custom settings are edited.

fig.05-0010

1. Press the PREAMP/SPEAKER On/Off button to display the PREAMP/SPEAKER edit screen.

2. Press PARAMETER [ ] [ ] to call up the Type parameter.

3. Rotate the PATCH/VALUE dial to call up Custom 1, Custom 2, or Custom 3.

fig.05-0020d

4. Press PARAMETER [ ] [ ] to show the custom parameters.

5. Rotate the PATCH/VALUE dial to change the settings value.

6. Repeat Steps 4 and 5 as needed.

7. Press [EXIT] to return to the Play screen.

3,5 2,4

71

Parameter/ Range

Explanation

Type fig.05-0030d

see below Selects the basic type of preamp.

JC Clean This is the sound of the Roland JC-120.

TW Clean This models a Fender Twin Reverb.

Crunch This is a crunch sound that can produce nat- ural distortion.

VO Drive This models the drive sound of a VOX AC- 30TB.

BG Lead This models the lead sound of the MESA/ Boogie combo amp.

MS HiGain This models the sound of a Marshall with a modified midrange boost.

Modern Stk Models the sound of the Channel 2 MOD- ERN Mode on the MESA/Boogie DUAL Rectifier.

Bottom fig.05-0040d

-50+50 Adjusts the amount of distortion in the low frequencies.

Edge fig.05-0050d

-50+50 Adjusts the amount of distortion in the high frequencies.

Bass Freq (Bass Frequency) fig.05-0060d

-50+50 Adjusts the frequency affected by the BASS knob.

Treble Freq (Treble Frequency) fig.05-0070d

-50+50 Adjusts the frequency affected by the TRE- BLE knob.

Preamp Low fig.05-0080d

-50+50 Adjusts the preamp sections low-frequency tone.

57

Chapter 5 Creating Original Effects Types (Customize)

Customizing the Speakers You can make two different sets of settings, Custom 1 and Custom 2.

* The sound of any patch that uses Custom 1 or 2 will be altered if the custom settings are edited.

fig.05-0100

1. Press the PREAMP/SPEAKER [SPEAKER].

2. Rotate the PATCH/VALUE dial to call up Custom 1 or Custom 2.

fig.05-0110d

3. Press PARAMETER [ ] [ ] to show the custom parameters.

4. Rotate the PATCH/VALUE dial to change the settings value.

5. Repeat Steps 3 and 4 as needed.

6. Press [EXIT] to return to the Play screen.

Preamp High fig.05-0090d

-50+50 Adjusts the preamp sections high-frequen- cy tone.

Parameter/ Range

Explanation

2,4 3

61

Parameter/ Range

Explanation

Speaker Size fig.05-0120d

515 Selects the size of speaker.

Color Low fig.05-0130d

-10+10 Adjusts the speaker sections low-frequency tone.

Color High fig.05-0140d

-10+10 Adjusts the speaker sections high-frequen- cy tone.

Speaker Num (Speaker Number) fig.05-0150d

x1, x2, x4, x8 Sets the number of speakers.

Cabinet fig.05-0160d

Open, Close Selects the speaker cabinet type.

Open This is an open-backed cabinet.

Close This type of cabinet features an enclosed rear panel.

58

Chapter 5 Creating Original Effects Types (Customize)

Chapter 5

Customizing Overdrive/Distortion You can make three different sets of settings, Custom 1, Custom 2, and Custom 3.

* The sound of any patch that uses Custom 1, 2, or 3 will be altered if the custom settings are edited.

fig.05-0170

1. Press the OVERDRIVE/DISTORTION On/Off button to display the OD/DS effect screen.

2. Press PARAMETER [ ] [ ] to call up the Type parameter.

3. Rotate the PATCH/VALUE dial to call up Custom 1, Custom 2, or Custom 3.

fig.05-0180d

4. Press PARAMETER [ ] [ ] to show the custom parameters.

5. Rotate the PATCH/VALUE dial to change the settings value.

6. Repeat Steps 4 and 5 as needed.

7. Press [EXIT] to return to the Play screen.

3,5 2,4

7 1

Parameter/ Range

Explanation

Type fig.05-0190d

see below Selects the basic type of overdrive/distor- tion.

OD-1 This is 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.

METAL-1 This is a metal sound with a characteristic midrange.

METAL-2 This gives a heavy metal sound.

FUZZ This gives a basic, traditional fuzz sound.

Bottom fig.05-0200d

-50+50 Adjusts the amount of distortion in the low frequencies.

Top fig.05-0210d

-50+50 Adjusts the amount of distortion in the high frequencies.

Low fig.05-0220d

-50+50 Adjusts low-frequency tone.

High fig.05-0230d

-50+50 Adjusts the high-frequency tone.

59

Chapter 5 Creating Original Effects Types (Customize)

Customizing Pedal Wah You can make three different sets of settings, Custom 1, Custom 2, and Custom 3.

The sound of any patch that uses Custom 1, 2, or 3 will be altered if the custom settings are edited. fig.05-0240

1. Press [WAH] to display the Pedal Wah edit screen.

2. Press PARAMETER [ ] [ ] to call up the Type parameter.

3. Rotate the PATCH/VALUE dial to call up Custom 1, Custom 2, or Custom 3.

fig.05-0250d

4. Press PARAMETER [ ] [ ] to show the custom parameters.

5. Rotate the PATCH/VALUE dial to change the settings value.

6. Repeat Steps 4 and 5 as needed.

7. Press [EXIT] to return to the Play screen.

3,5 2,4

7 1

Parameter/ Range

Explanation

Type fig.05-0260d

see below Selects the basic type of wah.

CRY WAH This models the sound of the CRY BABY wah pedal popular in the `70s.

VO WAH This models the sound of the VOX V846.

Fat WAH This a wah sound featuring a bold tone.

Light WAH This wah has a refined smooth sound.

7String WAH Wah featuring a broader range of variations for the seven-string guitar.

Q fig.05-0270d

-50+50 Adjusts the amount of characteristic effect applied to the wah tone.

Range Low fig.05-0280d

-50+50 Selects the tone produced when the pedal is back.

Range High fig.05-0290d

-50+50 Selects the tone produced when the pedal is forward.

Presence fig.05-0300d

-50+50 Adjusts the tonal quality of the wah effect.

60

Chapter 6 Using Pedals to Control the Effects

Chapter 6

Notes on Setting the Pedal Functions With the GT-PRO, each effect features various different parameters, and you can adjust these as you perform to produce even more effective changes in your tones.

You can assign and control the parameters you want to external pedals (expression pedals, foot switches) connected to the GT-PRO and to external MIDI devices (such as the FC- 200).

On top of all this, the GT-PRO features an Internal Pedal System, which lets you produce effects including automatic changes of parameters in real time, thus enabling you to create an even greater wealth of tonal changes.

Use-Specific Guide

Using External Controllers With the Same Functions Assigned at All Times If, for example, you want to use an external expression pedal exclusively as a volume pedal, you can have the setting for the external pedal (expression pedal or foot switch) function be applied globally for the GT-PRO.

Setting the Operation of the External Foot Switch (CTL 1, 2, 3, 4 Function) (p. 62)

Setting the Operation of the External EXP Pedal (EXP1, 2 Function) (p. 63)

When Using an External MIDI Device to Control the Same Function at All Times If, for example, you want to use the external expression pedal of the FC-200 (MIDI Foot Controller) connected via MIDI to the GT-PRO exclusively as a volume pedal, assign the setting that determines how Control Change messages from the external MIDI device work as a global setting applied to the entire GT-PRO.

Setting the Operation for an External MIDI Device (CC#7, CC#80, CC#1 Function) (p. 64)

When Setting the FV (Foot Volume) Function Separately for Individual Patches The manner in which the FV (Foot Volume: p. 55) is controlled is determined for individual patches via the EXP pedal connected to the EXP PEDAL 1 jack or via Control Change No. 7 (CC#7) transmitted from the FC-200 or other external MIDI device.

Setting the FV (Foot Volume) Operation for Individual Patches (EXP1/CC#7 Foot Volume) (p. 65)

* When controlling the foot volume with an expression pedal connected to the EXP PEDAL 2 jack, set FV: Level as the target and EXP PEDAL 2 as the source in Assign (p. 66).

Setting External Controller Functions to Individual Patches If you want to assign and control effect parameters freely with the external pedal (foot switch or expression pedal) connected to the GT-PRO, use the Assign settings.

You can also use Assign to make settings enabling control using Control Change messages from an FC-200 or other external MIDI device.

In each patch you can assign up to 12 configurations of settings (Assign Numbers 112), which determine which external controllers (pedal or MIDI device) are used to control the parameters you select.

* You can use the Internal Pedal System with Assign.

Setting External Controller Functions to Individual Patches (Assign) (p. 66)

When using ASSIGN, set the following settings to Assignable (or Auto).

ASSIGN do not function when a different setting is selected.

CTL 1, 2, 3, 4 Function (p. 62)

EXP 1, 2 Function (p. 63)

CC#7, CC#80, CC#1 Function (p. 64)

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Chapter 6 Using Pedals to Control the Effects

Setting the Operation of the External Foot Switch (CTL 1, 2, 3, 4 Function) This applies the settings determining the function of the foot switches connected to the CTL 1/2 and CTL 3/4 jacks as global settings for the entire GT-PRO.

* The correspondence between the pedal switch (A/B) and CTL function when an FS-6 is connected is shown below.

fig.06-0010

* The following shows the correspondence between the foot switch and CTL function when two foot switches are connected using a special connection cable (Roland PCS-31: sold separately).

fig.06-0020

* When connecting foot switches individually, the settings for the CTL Function 1 and CTL Function 2 are enabled.

fig.06-0030

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] so that CTL1 Func, CTL2 Func, CTL3 Func, or CTL4 Func is displayed.

fig.06-0040d

3. Use the PATCH/VALUE dial to select the external foot switch function.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

CTL 1CTL 2CTL 3CTL 4

CTL 1CTL 2CTL 3CTL 4

PCS-31PCS-31

Red WhiteRed White Value Explanation

Assignable The pedal functions as the type of controller set with Assign (p. 66) in each individual patch.

Preamp Ch A/B Switches between Preamp channel A and B.

Solo On/Off Switches the Preamp SOLO on and off.

FX-1 On/Off Switches the FX-1 on and off.

Comp On/Off Switches the COMP on and off.

Wah On/Off Switches the WAH on and off.

Loop On/Off Switches the LOOP 1/2 on and off.

OD/DS On/Off Switches the OVERDRIVE/DISTORTION on and off.

Preamp On/Off Switches the PREAMP/SPEAKER on and off.

EQ On/Off Switches the EQ on and off.

FX-2 On/Off Switches the FX-2 on and off.

Delay On/Off Switches the DELAY on and off.

Chorus On/Off Switches the CHORUS on and off.

Reverb On/Off Switches the REVERB on and off.

Pre Loop On/Off Switches the PRE LOOP on and off.

Amp Ctl1 On/Off Switches the AMP CTL 1 on and off.

13 2

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62

Chapter 6 Using Pedals to Control the Effects

Chapter 6

Setting the Operation of the External EXP Pedal (EXP1, 2 Function) This applies the setting determining the function of the EXP pedals connected to the EXP PEDAL 1 and EXP PEDAL 2 jacks as global settings for the entire GT-PRO. fig.06-0050

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] so that EXP1 Func or EXP2 Func is displayed.

fig.06-0060d

3. Use the PATCH/VALUE dial to select the external EXP pedal function.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

Amp Ctl2 On/Off Switches the AMP CTL 2 on and off.

MANUAL On/Off Switches the Manual Mode (p. 85) on and off.

TUNER On/Off Switches the TUNER/BYPASS on and off.

Master BPM (TAP) Used for tap input of the Master BPM.

Delay Time (TAP) Used for tap input of the delay time.

MIDI Start/Stop Controls the Start/Stop of external MIDI de- vices (such as sequencers).

MMC Play/Stop Controls the Play/Stop of external MIDI de- vices (such as hard disk recorders).

Patch Level Inc1 Increases the patch volume level by 10 units.

Patch Level Inc2 Increases the patch volume level by 20 units.

Patch Level Dec1 Decreases the patch volume level by 10 units.

Patch Level Dec2 Decreases the patch volume level by 20 units.

Hold Dly Rec/Dub Switches Hold recording (dubbing) on and off when Hold (p. 32) is selected for the delay type.

Hold Dly Stop When Hold is selected for the delay type, the performance is instantly stopped.

Solo A&B On/Off

Switches the preamp SOLO, for both chan- nel A and B, on and off.

* If one of the two channels is off, both will be turned on.

Patch Num. Inc Switches to the next higher patch number in the same bank as the currently selected patch.

Patch Num. Dec Switches to the next lower patch number in the same bank as the currently selected patch.

Patch Bank Inc Switches to the next higher bank number.

Patch Bank Dec Switches to the next lower bank number.

Value Explanation

Value Explanation

Auto (EXP1 Func only)

The pedal normally is used as a foot vol- ume pedal. When Pedal Wah (p. 36) or Pedal Bend (p. 47) is switched on, the EXP pedal then automatically functions as a pedal wah or pedal bend pedal.

When Pedal Wah and Pedal Bend are switched off, this automatical- ly functions as a foot volume pedal.

Assignable The pedal is used as the controller set in As- sign (p. 66) for each patch.

Foot Volume The pedal functions as a foot volume pedal.

Patch Level The pedal is used as the patch level controller.

Pedal Wah The pedal is used as a pedal wah pedal when Pedal Wah is switched on.

Pedal Bend The pedal is used as a pedal bend pedal when Pedal Bend is switched on.

13 2

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63

Chapter 6 Using Pedals to Control the Effects

Setting the Operation for an External MIDI Device (CC#7, CC#80, CC#1 Function) These settings are applied to the entire GT-PRO, controlling the GT-PRO by means of Control Change messages from an FC-200 or other external MIDI device connected to the GT- PRO via MIDI.

The following describes the settings for Control Change No. 7 (CC#7), No. 80 (CC#80), and No. 1 (CC#1).

fig.06-0070

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] so that CC#7 Func, CC#80 Func, or CC#1 Func is displayed.

fig.06-0080d

3. Use the PATCH/VALUE dial to set how the Control Change messages are used.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

CC#7

If operating the expression pedal or FC-200 EXP pedal with the EXP1 function, EXP2 function, and CC#7 function all set, be sure to have different functions assigned to each pedal. If the same function is assigned to different pedals, operation normally functions according to the value of the last pedal adjusted, but may not work as intended when Assign Hold (p. 99) is set to On.

CC#80

When Using the FC-200 When the FC-200 is set to its default settings, the correspondence between CC#7, CC#80, and CC#1 and the FC-200s controllers is as shown below.

CC#7: EXP pedal

CC#80: CTL pedal

CC#1: External expression pedal connected to the FOOT SW/EXP 1 jack.

13 2

5

Value Explanation

Auto

The pedal normally is used as a foot vol- ume pedal. When Pedal Wah (p. 36) or Pedal Bend (p. 47) is switched on, the CC#7 then automatically functions as a pedal wah or pedal bend pedal.

When Pedal Wah and Pedal Bend are switched off, this automatical- ly functions as a foot volume pedal.

Assignable The pedal is used as the controller set in As- sign (p. 66) for each patch.

Foot Volume The pedal functions as a foot volume pedal.

Patch Level The pedal is used as the patch level controller.

Pedal Wah The pedal is used as a pedal wah pedal when Pedal Wah is switched on.

Pedal Bend The pedal is used as a pedal bend pedal when Pedal Bend is switched on.

Value Explanation

Assignable The pedal functions as the type of controller set with Assign (p. 66) in each individual patch.

Preamp Ch A/B Switches between Preamp channel A and B.

Solo On/Off Switches the Preamp SOLO on and off.

FX-1 On/Off Switches the FX-1 on and off.

Comp On/Off Switches the COMP on and off.

Wah On/Off Switches the WAH on and off.

Loop On/Off Switches the LOOP 1/2 on and off.

OD/DS On/Off Switches the OVERDRIVE/DISTORTION on and off.

Preamp On/Off Switches the PREAMP/SPEAKER on and off.

EQ On/Off Switches the EQ on and off.

FX-2 On/Off Switches the FX-2 on and off.

Delay On/Off Switches the DELAY on and off.

Chorus On/Off Switches the CHORUS on and off.

Reverb On/Off Switches the REVERB on and off.

Pre Loop On/Off Switches the PRE LOOP on and off.

Amp Ctl1 On/Off Switches the AMP CTL 1 on and off.

Amp Ctl2 On/Off Switches the AMP CTL 2 on and off.

MANUAL On/Off Switches the Manual Mode (p. 85) on and off.

TUNER On/Off Switches the TUNER/BYPASS on and off.

Master BPM (TAP) Used for tap input of the Master BPM.

Delay Time (TAP) Used for tap input of the delay time.

64

Chapter 6 Using Pedals to Control the Effects

Chapter 6

CC#1

Setting the FV (Foot Volume) Operation for Individual Patches (EXP1/CC#7 Foot Volume) The manner in which the FV (Foot Volume: p. 55) is controlled is determined in each individual patch by the EXP pedal connected to the EXP PEDAL 1 jack or the Control Change No. 7 (CC#7) transmitted from the FC-200 or other external MIDI device. fig.06-0090

1. Press [ASSIGN].

2. Press PARAMETER [ ] [ ] so that EXP1 FV or CC#7 FV is displayed.

fig.06-0100d

3. Rotate the PATCH/VALUE dial to change the settings value.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

6. To save the settings, use the Write procedure (p. 24).

MIDI Start/Stop Controls the Start/Stop of external MIDI de- vices (such as sequencers).

MMC Play/Stop Controls the Play/Stop of external MIDI de- vices (such as hard disk recorders).

Patch Level Inc1 Increases the patch volume level by 10 units.

Patch Level Inc2 Increases the patch volume level by 20 units.

Patch Level Dec1 Decreases the patch volume level by 10 units.

Patch Level Dec2 Decreases the patch volume level by 20 units.

Hold Dly Rec/Dub Switches Hold recording (dubbing) on and off when Hold (p. 32) is selected for the delay type.

Hold Dly Stop When Hold is selected for the delay type, the performance is instantly stopped.

Solo A&B On/Off

Switches the preamp SOLO, for both chan- nel A and B, on and off.

* If one of the two channels is off, both will be turned on.

Patch Num. Inc Switches to the next higher patch number in the same bank as the currently selected patch.

Patch Num. Dec Switches to the next lower patch number in the same bank as the currently selected patch.

Patch Bank Inc Switches to the next higher bank number.

Patch Bank Dec Switches to the next lower bank number.

Value Explanation

Assignable The pedal is used as the controller set in As- sign (p. 66) for each patch.

Foot Volume The pedal functions as a foot volume pedal.

Patch Level The pedal is used as the patch level controller.

Pedal Wah The pedal is used as a pedal wah pedal when Pedal Wah is switched on.

Pedal Bend The pedal is used as a pedal bend pedal when Pedal Bend is switched on.

Value Explanation

Parameter/ Range

Explanation

On/Off

Off, On Press [ASSIGN] to switch the foot volume setting on and off.

Foot Volume Min

0100 Sets the volume level when the pedal is completely released.

Foot Volume Max

0100 Sets the volume level when the pedal is fully depressed.

3 2

5 1

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Chapter 6 Using Pedals to Control the Effects

Setting External Controller Functions to Individual Patches (Assign) This sets, on an individual patch basis, the functions of external pedals (foot switches or expression pedals) connected to the GT-PRO, and the control of parameters by means of Control Change messages from external MIDI devices (such as the FC-200).

In each patch you can set up to twelve different types (Assign numbers) determining which parameter is to be controlled by a particular controller.

The Assign settings can be completed simply and easily using the Quick Settings, or you can use the Manual Settings to select and set parameters individually.

* Set the CTL 1, 2, 3, and 4 Function (p. 62), EXP 1 and 2 Function (p. 63), and CC#7, CC#80, and CC#1 Function (p. 64) settings to Assignable (or Auto).

Quick Settings When you select prepared settings (Quick Settings), the relevant parameters are then instantly set to their optimal values. This lets you finish making the settings simply, instead of setting each individual parameter separately. fig.06-0110

1. Press [ASSIGN].

2. Press PARAMETER [ ] [ ] to select one of the Assigns from Assign 112.

The Quick Settings selection screen appears in the display.

fig.05-080d

3. Press [ASSIGN] to set the selected Assign to On.

Each time [ASSIGN] is pressed it alternately switches this on and off.

ASSIGN flashes in the display when the Assign is switched off.

4. Turn the PATCH/VALUE dial to select the Quick Settings.

5. To use the Quick Settings with other Assigns, repeat Steps 24.

6. Press [EXIT] to return to the Play screen.

7. To save the settings, use the Write procedure (p. 24).

4 2

6 1,3

(Example)

Display Explanation

Quick ASSIGN - - -: User Setting

Current Setting

Quick ASSIGN U**:

User Quick Setting (p. 26)

Quick ASSIGN P**:

Preset Quick Setting

U**-** ASSIGN Patch Name

User Patch

P**-** ASSIGN Patch Name

Preset Patch

When you select a User patch or Preset patch, you can use the existing patchs assign settings just as they are.

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Chapter 6 Using Pedals to Control the Effects

Chapter 6

Manual Settings Here, you can individually determine which controller is to control which parameter. fig.06-0130

1. Press [ASSIGN].

2. Press PARAMETER [ ] [ ] to select one of the Assigns from Assign 112.

3. Press [ASSIGN] to set the selected Assign to On.

Each time [ASSIGN] is pressed it alternately switches this on and off. ASSIGN flashes in the display when the Assign is switched off.

* Be sure to set any Assign settings not being used to Off.

4. Press PARAMETER [ ] [ ] to display the following screens.

(Example) With Assign 1 fig.06-0140d

5. Rotate the PATCH/VALUE dial to change the settings value.

6. Repeat Steps 4 and 5 as needed.

7. To use other Assigns, repeat Steps 26.

8. Press [EXIT] to return to the Play screen.

9. To save the settings, use the Write procedure (p. 24).

Target fig.06-0150d

This sets the targeted operation. Possible assignments for the target are as shown below.

5 2,4

8 1,3

Quick Setting

Target

Target Range: Min

Target Range: Max

Source

Source Mode

Active Range Low

Active Range High

Value Explanation

Effect On/Off, Effects Parameters Switches on/off the effect indicated in the screen and controls the ef- fects parameters.

MANUAL On/Off Switches the Manual Mode (p. 85) on and off.

TUNER On/Off Switches the TUNER/BYPASS on and off.

Master BPM (TAP) Used for tap input of the Master BPM.

Delay Time (TAP) Used for tap input of the delay time.

MIDI Start/Stop Controls the Start/Stop of external MIDI devices (such as sequenc- ers).

MMC Play/Stop Controls the Play/Stop of external MIDI devices (such as hard disk recorders).

Patch Level Inc1 Increases the patch volume level by 10 units.

Patch Level Inc2 Increases the patch volume level by 20 units.

Patch Level Dec1 Decreases the patch volume level by 10 units.

Patch Level Dec2 Decreases the patch volume level by 20 units.

Hold Dly Rec/Dub Switches Hold recording (dubbing) on and off when Hold (p. 32) is selected for the delay type.

Hold Dly Stop When Hold is selected for the delay type, the performance is in- stantly stopped.

Solo A&B On/Off Switches the preamp SOLO, for both channel A and B, on and off.

* If one of the two channels is off, both will be turned on.

Patch Num. Inc Switches to the next higher patch number in the same bank as the currently selected patch.

Patch Num. Dec Switches to the next lower patch number in the same bank as the cur- rently selected patch.

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Chapter 6 Using Pedals to Control the Effects

* Although you can set this so that the same target is controlled by more than one controller, in such cases, make sure not to have different sources changing the parameter at the same time. Changing the parameter simultaneously using different sources may result in noise being generated.

When setting the target, you can search for the desired target more rapidly by pressing [SHIFT], causing the indicator to light, and then rotating the PATCH/VALUE dial. To return to the normal mode, press [SHIFT] once again so the indicator goes out.

Target Range fig.06-0160d

The value of the parameter selected as the target changes within the range defined by Min and Max, as set on the GT-PRO.

When using an external foot switch, or other controller that acts as an on/off switch, Min is selected with Off (CLOSED), and Max is selected with On (OPEN).

When using an external expression pedal or other controller that generates a consecutive change in the value, the value of the setting changes accordingly, within the range set by the minimum and maximum values.

Also, when the target is of an on/off type, the median value of the received data is used as the dividing line in determining whether to switch it on or off.

When using the foot switch: fig.06-0170

When using the EXP pedal: fig.06-0180

When controlling the On/Off target with the EXP pedal: fig.06-0190

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

* When the minimum is set to a higher value than the maximum, the change in the parameter is reversed.

* The values of settings can change if the target is changed after the minimum and maximum settings have been made. If youve changed the target, be sure to recheck the minimum and maximum settings.

Patch Bank Inc Switches to the next higher bank number.

Patch Bank Dec Switches to the next lower bank number.

Value Explanation

Amount of change in parameter value

maximum value Target Max

minimum value Target Min

On Depress

Foot Switch

Off Release

maximum value Target Max

minimum value Target Min

When the pedal is fully advanced

When the pedal is fully raised

EXP Pedal

Off

On Target Max

Off Target Min

When the pedal is fully advanced

When the pedal is fully raised

When the pedal is advanced halfway

EXP Pedal

On

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Chapter 6 Using Pedals to Control the Effects

Chapter 6

Source fig.06-0200d

This sets the controller (source) that affects the target parameter.

Controllers that can be selected as the source are shown below.

Setting Assign Input Sens * This determines the global settings for Assign 112.

1. Press PARAMETER [ ] so that Assign Input Sens is displayed.

2. Rotate the PATCH/VALUE dial to adjust the settings value.

Valid Settings: 0100

Source Mode fig.06-210d

This determines whether the control pedal will function as a momentary type switch (such as the optional FS-5U).

* Set this to Normal when a latch-type foot switch (such as the optional FS-5L) is connected, or when selecting something other than a foot switch as the controller.

Active Range fig.006-0220d

This sets the operational range within which the value of the setting changes when an expression pedal or other controller that changes the value consecutively is used as the source. If the controller is moved outside the operational range, the value does not change, it stops at minimum or maximum.

(Example)

With Act. Range Lo: 40, Act. Range Hi: 80 fig.06-0230

Value Explanation

EXP PEDAL 1 Expression pedal connected to the EXP PEDAL 1 jack

CTL PEDAL 1 Foot switch connected to the CTL 1 jack

CTL PEDAL 2 Foot switch connected to the CTL 2 jack

EXP PEDAL 2 Expression pedal connected to the EXP PEDAL 2 jack

CTL PEDAL 3 Foot switch connected to the CTL 3 jack

CTL PEDAL 4 Foot switch connected to the CTL 4 jack

FC-200 EXP When FC-200 is connected, the FC-200s EXP pedal

* Control Change No. 7 (CC#7) is used.

FC-200 CTL When FC-200 is connected, the FC-200s CTL pedal

* Control Change No. 80 (CC#80) is used.

INTERNAL PEDAL Refer to Internal Pedal System (p. 70)

WAVE PEDAL Refer to Internal Pedal System (p. 70)

INPUT Level The target parameter is controlled by the level of the signal from the INPUT jack. Set the sensitivity in response to the level with Assign Input Sens.

* For more information, refer to Controlling Various Parameters Through the Guitar Volume (p. 92).

MIDI CC#131, 6495 Control Change messages from an external MIDI device (131, 64 95)

Value Explanation

Normal The normal state is Off (minimum value), with the switch On (max- imum value) only while the foot switch is depressed.

Toggle The setting is toggled On (maximum value) or Off (minimum value) with each press of the foot switch.

maximum value

minimum value

0 40 80 127

Target Max

Target Min

Act.Range Lo

Act.Range Hi

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Chapter 6 Using Pedals to Control the Effects

fig.06-0240

* When using a foot switch or other on/off switching controller as the source, leave these at Lo: 0 and Hi: 127. With certain settings, the value may not change.

Internal Pedal System The GT-PRO features a function called Internal Pedal system. This function assigns specified parameters to a virtual EXP pedal (the internal pedal), providing an effect automatically that changes volume and tone in real time just the way an expression pedal functions.

The Internal Pedal system features the following two functions, allowing you to set Source for each assign number (112) of the Assign.

Internal Pedal

Wave Pedal

* When the Internal Pedal or the Wave Pedal is used, set the ASSIGN Source Mode to Normal.

Internal Pedal With the trigger you have set, the assumed EXP pedal starts working. If you have set Internal Pedal to Source, set the following parameters.

Off

On

Off

Center value

On

0 40 8060 127 Act.Range

Lo Act.Range Hi

Parameter/ Range

Explanation

Trig (Trigger) fig.06-0250d

see below This sets the trigger that activates the virtual EXP pedal.

PatchChange This is activated when a patch is selected.

EXP PEDAL 1 This is activated when the EXP pedal connected to the EXP PEDAL 1 jack is depressed.

CTL PEDAL 1 This is activated when the foot switch connected to the CTL 1 jack is depressed.

CTL PEDAL 2 This is activated when the foot switch connected to the CTL 2 jack is depressed.

EXP PEDAL 2 This is activated when the EXP pedal connected to the EXP PEDAL 2 jack is depressed.

CTL PEDAL 3 This is activated when the foot switch connected to the CTL 3 jack is depressed.

CTL PEDAL 4 This is activated when the foot switch connected to the CTL 4 jack is depressed.

FC-200 EXP When an FC-200 is connected, this is activated when the FC-200s EXP pedal is depressed.

* Control Change No. 7 (CC#7) is used.

FC-200 CTL When an FC-200 is connected, this is activated when the FC-200s CTL pedal is depressed.

* Control Change No. 80 (CC#80) is used.

MIDI CC#131,6495 This is activated when the value of the Control Change messages (CC#0131, 6495) from an external MIDI device exceeds the middle value.

Time fig.06-0260d

0100

This controls the time needed for the as- sumed Expression pedal to move from the returned (lifted) position to the depressed (lowered) position.

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Chapter 6 Using Pedals to Control the Effects

Chapter 6

Wave Pedal This changes the parameter selected as a target in a certain cycle with the assumed EXP pedal. When you have set Wave Pedal for Source, the following parameters should be set.

* The following targets cannot be operated with the Wave pedal.

FX1/FX2 Select (FX-1, FX-2)

Type (Preamp/Speaker, Overdrive/Distortion, Delay)

You may be unable to change parameter settings when the following functions are set for the target while INTERNAL PEDAL or WAVE PEDAL is selected for the source.

TUNER On/Off

MANUAL On/Off

Patch Num. Inc

Patch Num. Dec

Patch Bank Inc

Patch Bank Dec

Note that if you inadvertently happen to make this type of setting, there is no way to return the patch to its normal state other than overwriting and saving.

Curve fig.06-0270d

see below This selects one of the three types that deter- mines how the assumed Expression pedal changes.

fig.06-0280

Parameter/ Range

Explanation

Rate fig.06-0290d

0100 This determines the time spend for one cycle of the assumed EXP pedal.

Waveform fig.06-0300d

see below This selects one of the three types that deter- mines how the assumed EXP pedal should change.

fig.06-0310

Parameter/ Range

Explanation

Linear Slow Rise Fast Rise

SAW TRI SIN

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

What Can You Do with MIDI? You can perform the following operations using MIDI with the GT-PRO.

* The use of MIDI requires that the MIDI channels of the connected devices match. If the MIDI channel settings are not correct, the GT-PRO will be unable to exchange data with other MIDI devices.

When connecting an FC-200, refer to Chapter 8 Using the GT-PRO Connected to the FC-200 (p. 81).

Operating From the GT-PRO

Outputting Program Change Messages When a patch is selected on the GT-PRO, a Program Change message corresponding to the patch number is transmitted simultaneously. The external MIDI device then switches its settings according to the Program Change message it receives. fig.07-0010

Outputting Control Change Messages Data describing the actions of the external devices (EXP pedal, foot switch, etc.) connected to the GT-PRO are output as Control Change messages. Such messages can be used to (among other things) manipulate the parameters of an external MIDI device.

Transmitting Data You can use Exclusive messages to transmit the settings for effect sounds and other content stored in the GT-PRO to other MIDI devices. For example, you can provide another GT-PRO with the same settings, and save effect sound settings to a sequencer or other device.

Remotely Controlling the GT-PRO Using an External MIDI Device

Switching Patch Numbers When the GT-PRO receive Program Change messages from the external MIDI device, its patches are simultaneously switched.

You can set up the correspondence between MIDI Program Change messages and the GT-PROs patches using the Program Change Map (p. 77). You may need to work on these correspondences when you want to line up some effects in combination with other MIDI devices.

The connections shown in the figure below are for a sequencer automatically performing the backing as a guitar is being played. The patches are switched automatically when the program numbers corresponding to the patches are input along with the performance data at the points where you have determined the GT-PRO patches are to be switched. fig.07-0020

Receiving Control Change Messages

You can control specified parameters during a performance by having the GT-PRO receive Control Change messages. Parameters to be controlled are set with Assign (p. 66).

Receiving Data The GT-PRO can receive data transmitted from another GT- PRO, as well as data thats been stored on a sequencer.

MIDI OUT

MIDI IN

MIDI IN

MIDI OUT

Chapter 7 Using the GT-PRO with External MIDI Devices Connected

Chapter 7

Notes Regarding the MIDI Messages That Can Be Transmitted and Received The MIDI messages that the GT-PRO can transmit and receive differ depending on whether the GT-PRO is connected via MIDI to an external MIDI device, or is connected to a computer through a USB connection.

When Connecting Via MIDI The GT-PRO transmits and receives all applicable MIDI messages through the MIDI OUT and MIDI IN connectors.

When FC-200 Mode (p. 81) is switched on, however, only messages used for setting the FC-200 are transmitted from the MIDI OUT connector.

* All MIDI messages received at the MIDI IN connector are transmitted from the MIDI THRU connector.

When Connecting Through USB The GT-PRO transmits and receives all applicable MIDI messages to and from the USB-connected computer (except for messages used for setting the FC-200).

Program Change messages and Control Change messages are received through the MIDI IN connector.

In addition, nothing is normally output from the MIDI OUT connector, but only in FC-200 mode, messages used for setting the FC-200 are transmitted from the MIDI OUT connector.

* MIDI messages arriving at the MIDI IN connector cannot be routed on to a USB-connected computer. Likewise, messages originating on a USB-connected computer cannot be passed through and output from the MIDI OUT connector.

* All MIDI messages received at the MIDI IN connector are transmitted from the MIDI THRU connector.

Making the Settings for MIDI Functions Here is a description of the GT-PROs MIDI functions. Set them as needed, depending on the intended use. fig.07-0030

1. Press [SYSTEM] several times to display the MIDI setting screen.

2. Press PARAMETER [ ] [ ] so that the parameter that you want to set appears in the display.

3. Rotate the PATCH/VALUE dial to change the settings value.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

Parameter/ Range

Explanation

MIDI RX Channel (MIDI Receive Channel) fig.07-0040d

116 This sets the MIDI channel used for receiv- ing MIDI messages.

MIDI Omni Mode fig.07-0050d

Omni Off, Omni On When set to Omni On, messages are re- ceived on all channels, regardless of the MIDI channel settings.

Even when Omni Mode is set to ON, the only Exclusive messages re- ceived are for Device ID data set with Device ID.

MIDI TX Channel (MIDI Transmit Channel) fig.07-0060d

116, Rx This sets the MIDI Transmit channel used for transmitting MIDI messages.

When set to Rx, this MIDI channel is same as the MIDI Receive channel.

13 2

5

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

MIDI Device ID fig.07-0070d

132 This sets the Device ID used for transmitting and receiving Exclusive messages.

MIDI Sync Clock fig.07-0080d

Auto, Internal You can synchronize the performance of a sequencer or other external MIDI device.

Auto When the MIDI Clock of the external MIDI device is not being re- ceived, the performance is synchronized to the tempo set in Master BPM; when the external MIDI devices MIDI Clock is being received, the performance is synchronized to that.

Internal The performance is synchronized to the tempo set in Master BPM.

* When you have an external MIDI device connected, the Master BPM is then synchronized to the external MIDI devices tempo, thus disabling the Master BPM setting. To enable setting of the Master BPM, set to Internal.

* When synchronizing performances to the MIDI Clock signal from an external MIDI device, timing problems in the performance may occur due to errors in the MIDI Clock.

MIDI PC OUT (MIDI Program Change Out) fig.07-0090d

Off, On This setting determines whether or not Pro- gram Change messages are output when patches are switched on the GT-PRO.

Off Program Change messages are not output, even when patches are switched.

On Program Change messages are simultaneously output when patches are switched.

* On the GT-PRO, Bank Select messages are output simultaneously with Program Change messages. For more details, reefer to p. 77.

MIDI EXP1 OUT (MIDI EXP 1 Pedal Out) fig.07-0100d

Off, 131, 3395

This sets the controller number when opera- tion data from the EXP pedal connected to the EXP PEDAL 1 jack is output as Control Change messages.

When set to Off, Control Change messages are not output.

Parameter/ Range

Explanation

MIDI CTL1 OUT (MIDI CTL 1 Pedal Out) fig.07-0110d

Off, 131, 3395

This sets the controller number when opera- tion data from the foot switch (CTL 1) con- nected to the CTL 1 jack is output as Control Change messages.

When set to Off, Control Change messages are not output.

MIDI CTL2 OUT (MIDI CTL 2 Pedal Out) fig.07-0120d

Off, 131, 3395

This sets the controller number when opera- tion data from the foot switch (CTL 2) con- nected to the CTL 2 jack is output as Control Change messages.

When set to Off, Control Change messages are not output.

MIDI CTL3 OUT (MIDI CTL 3 Pedal Out) fig.07-0130d

Off, 131, 3395

This sets the controller number when opera- tion data from the EXP pedal (EXP2) or foot switch (CTL 3) connected to the EXP PEDAL 2/CTL 3 jack is output as Control Change messages.

When set to Off, Control Change messages are not output.

MIDI CTL4 OUT (MIDI CTL 4 Pedal Out) fig.07-0140d

Off, 131, 3395

This sets the controller number when opera- tion data from the foot switch (CTL 4) con- nected to the CTL 4 jack is output as Control Change messages.

When set to Off, Control Change messages are not output.

Parameter/ Range

Explanation

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

Chapter 7

Transmitting and Receiving MIDI Data On the GT-PRO, you can use Exclusive messages to provide another GT-PRO with identical settings, and save effect settings on a MIDI sequencer or other device.

Transmitting data this way is called Bulk Dump, while receiving such data is referred to as Bulk Load.

Transmitting Data to an External MIDI Device (Bulk Dump) The following types of data can be transmitted. You can transmit data by specifying the range from the start to the end of transmission.

Making the Connections

When Saving to a MIDI Sequencer Connect as shown in the figure below, and put the sequencer in the state where it is ready to receive Exclusive messages. fig.07-0150

* For instructions on operating the sequencer, refer to the owners manual for the sequencer you are using.

When Transmitting Data to Another GT-PRO Connect as shown in the figure below, and match the Device ID for the transmitting and receiving devices. fig.07-0160

Transmitting fig.07-0170

1. Press [SYSTEM] several times to display the MIDI setting screen.

2. Press PARAMETER [ ] [ ] so that Bulk Dump is displayed.

fig.07-0180d

3. Press PARAMETER [ ] [ ] to move the cursor, and rotate the PATCH/VALUE dial to select the start and end of the data to be transmitted.

4. When the data to be sent has been determined, press [WRITE].

The data is transmitted. fig.07-0190d

When the transmission is completed, the screen prior to transmission returns to the display.

5. Press [EXIT] to return to the Play screen.

Displayed Data Transmitted

System

System Parameters, Harmonist scales, Auto Riff phrases, and Preamp/Speaker, Overdrive/Distortion, and Wah Custom Edit parameter settings

Quick Settings for User Quick Setting

#1-1#20-10 Settings for Patch Number 1-1 through 20-10

Temp Settings for the patch that is currently called up

MIDI OUT

MIDI IN

MIDI OUT

MIDI IN

12,3

5 4

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

Receiving Data from an External MIDI Device (Bulk Load)

Making the Connections

When Receiving Data Saved on a MIDI Sequencer Connect as shown below. Set the GT-PROs Device ID to the same number that was used when the data was transmitted to the MIDI sequencer. fig.07-0020

For instructions on operating the sequencer, refer to the owners manual for the sequencer you are using.

Receiving fig.07-0210

1. Press [SYSTEM] several times to display the MIDI setting screen.

2. Press PARAMETER [ ] [ ] so that Bulk Load is displayed.

fig.07-0220d

3. Transmit the data from the external MIDI device.

The following appears in the display when the GT-PRO receives the data.

fig.07-0230d

The following appears in the display when the GT-PRO finishes receiving the data.

fig.07-0240d

At this stage, even more data can be received.

* When data that can be received by the GT-PRO is not included, Waiting... immediately appears in the display.

4. Press [EXIT] to quit Bulk Load.

After you press [EXIT], Checking... appears in the display, indicating that the GT-PRO is checking the received data. When the check is completed, the Play screen returns to the display.

* When data that can be received by the GT-PRO is not included, the Play screen immediately returns to the display.

MIDI IN

MIDI OUT

12

4

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

Chapter 7

Setting the Program Change Map When switching patches using Program Change messages transmitted by an external MIDI device, you can freely set the correspondence between Program Change messages received by the GT-PRO and the patches to be switched to in the Program Change Map.

Initial Program Change Map Settings The program Change map set at the factory is shown below.

* When setting MIDI Omni Mode (p. 73) to Omni Off, be sure to have the MIDI RX Channel (p. 73) set beforehand to the match the transmit channel of the external MIDI device.

fig.07-0250

1. Press [SYSTEM] several times to display the MIDI setting screen.

2. Press PARAMETER [ ] [ ] so that Map Select is displayed.

fig.07-0260d

3. Rotate the PATCH/VALUE dial to select Prog.

* You cannot set the Program Change Map when Fix is selected (it is not displayed).

* See next for more on MID Map Select.

4. Press PARAMETER [ ] until Program Map appears in the display.

fig.07-0270d

5. Press PARAMETER [ ] [ ] to move the cursor, and rotate the PATCH/VALUE dial to set the received Program number and the corresponding patch number.

* Use this same procedure to select Bank Select Numbers.

* When using only Program Change messages to make program changes, without using Bank Select messages, set the Program number (1128) when the Bank Select number is 0.

6. Repeat Step 5 as needed, setting patch numbers to their corresponding Program numbers, until the Program Change Map is completed.

7. Press [EXIT] to return to the Play screen.

Program Change Patch NumberBank

Select Program Number

0

1 U1-1 2 U1-2 : : 127 U13-7 128 U13-8

1

1 U11-1 2 U11-2 : : 99 U20-9 100 U20-10 101 P21-1 102 P21-2 : : 127 P23-7 128 P23-8

2

1 P21-1 2 P21-2 : : 99 P30-9 100 P30-10 101 P31-1 102 P31-2 : : 127 P33-7 128 P33-8

3

1 P31-1 2 P32-2 : : 99 P40-9 100 P40-10 101 P40-10 102 P40-10 : : 128 P40-10

13 2,5

7 4

Bank Select Number

Program Number

Patch Number

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

Enabling/Disabling the Program Change Map Settings (MIDI Map Select) This setting determines whether patches are switched according to the Program Change Map settings, or to the default settings. fig.07-0280

1. Press [SYSTEM] several times to display the MIDI setting screen.

2. Press PARAMETER [ ] [ ] so that Map Select is displayed.

fig.07-0260d

3. Rotate the PATCH/VALUE dial to select Fix or Prog.

4. Press [EXIT] to return to the Play screen.

Bank Select Message

A bank select message consists of a set of two control change messages, the controllers numbered 0 (CC#0) and 32 (CC#32). Normally, you select a sound by using the bank select message followed by a program change message.

Changing Patch Numbers on an External MIDI Device from the GT-PRO When a patch is selected on the GT-PRO, the bank select and program change messages sent from the GT-PRO correspond with each other as shown below.

* If you wish to know whether the receiving device can recognize bank select messages or not, refer to the description for control changes in the MIDI implementation chart provided in the owner's manual of the receiving device.

* If the receiving device does not recognize bank select messages, it will ignore the bank select messages and recognize only the program change messages.

Value Explanation

Fix Switches to the patches according to the default settings. For more on the default settings, refer to p. 77.

Prog Switches to the patches according to the Program Change Map.

13 2

4

Patch Number Program Change

Bank Select

Program Number

U1-1

0

1

U1-2 2

: :

U10-9 99

U10-10 100

U11-1

1

1

U11-2 2

: :

U20-9 99

U20-10 100

P21-1

2

1

P21-2 2

: :

P30-9 99

P30-10 100

P31-1

3

1

P31-2 2

: :

P40-9 99

P40-10 100

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

Chapter 7

About MIDI MIDI is an acronym for Musical Instrument Digital Interface, and is a world-wide standard for allowing electronic musical equipment to communicate by transmitting messages such as performance information and sound selections. Any MIDI equipped device is able to transmit applicable types of data to another MIDI equipped device, even if the two devices are different models or were made by different manufacturers.

In MIDI, performance information such as playing a key or pressing a pedal are transmitted as MIDI Messages.

How MIDI messages are transmitted and received First, we will explain briefly how MIDI messages are transmitted and received.

MIDI connectors The following types of connector are used to convey MIDI messages. MIDI cables are connected to these connectors as needed. fig.07-0290

MIDI channels MIDI is able to independently control more than one MIDI device over a single MIDI cable. This is possible because of the concept of MIDI channels.

The idea of MIDI channels is somewhat similar to the idea of television channels. By changing channels on a television set, you can view a variety of programs. This is because the information of a particular channel is received when the channels of the transmitter and receiver match. fig.07-0300

MIDI has sixteen channels 116, and MIDI messages will be received by the instrument (the receiving device) whose channel matches the channel of the transmitter.

* If omni mode is on, data of all MIDI channels will be received regardless of the MIDI channel setting. If you do not need to control a specific MIDI channel, you may set Omni On.

Main types of MIDI message used by the GT-PRO MIDI includes many types of MIDI messages that can convey a variety of information. MIDI messages can be broadly divided into two types; messages that are handled separately by MIDI channel (channel messages), and messages that are handled without reference to a MIDI channel (system messages).

Channel messages These messages are used to convey performance information. Normally these messages perform most of the control. The way in which a receiving device will react to each type of MIDI message will be determined by the settings of the receiving device.

Program change messages These messages are generally used to select sounds, and include a program change number from 1 to 128 which specifies the desired sound. The GT-PRO also allows you to select any of the 400 different patch numbers in conjunction with bank select messages; a type of control change message.

Control change messages These messages are used to enhance the expressiveness of a performance. Each message includes a controller number, and the settings of the receiving device will determine what aspect of the sound will be affected by control change messages of a given controller number.

The specified parameters can be controlled with the GT-PRO.

System messages System messages include exclusive messages, messages used for synchronization, and messages used to keep a MIDI system running correctly.

Exclusive messages Exclusive messages handle information related to a units own unique sounds, or other device-specific information. Generally, such messages can only be exchanged between devices of the same model by the same manufacturer. Exclusive messages can be employed to save the settings for effects programs into a sequencer, or for transferring such data to another GT-PRO.

The two instruments must be set to the same device ID numbers when exchanging Exclusive messages.

MIDI IN This connector receives messages from an- other MIDI device.

MIDI OUT This connector transmits messages from this device.

MIDI THRU This connector re-transmits the messages that were received at MIDI IN.

Broadcasting Station A

T.V. information from many different broadcasting station is sent through an antena.

Select the channel of the broadcasting station you wish to watch

Broadcasting Station B

Broadcasting Station C

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Chapter 7 Using the GT-PRO with External MIDI Devices Connected

About the MIDI implementation MIDI allows a variety of messages to be exchanged between instruments, but it is not necessarily the case that all types of message can be exchanged between any two MIDI devices. Two devices can communicate only if they both use the types of messages that they have in common.

Thus, every owners manual for a MIDI device includes a MIDI Implementation Chart. This chart shows the types of message that the device is able to transmit and receive. By comparing the MIDI implementation charts of two devices, you can tell at a glance which messages they will be able to exchange. Since the charts are always of a uniform size, you can simply place the two charts side by side. fig.07-0310

TransmitFunction

Fold here MIDI Device A MIDI Device B

Recognized Remarks

A separate publication titled MIDI Implementation is also available. It provides complete details concerning the way MIDI has been implemented on this unit. If you should require this publication (such as when you intend to carry out byte-level programming), please contact the nearest Roland Service Center or authorized Roland distributor.

80

Chapter 8 Using the GT-PRO Connected to the FC-200

Chapter 8

You can connect the Roland FC-200 MIDI Foot Controller (sold separately) to the GT-PRO.

Using the FC-200 makes changing patches and working with effects more convenient (Chapter 6 Using Pedals to Control the Effects (p. 61)).

To use the GT-PRO and FC-200 together, in order to coordinate the operation of the GT-PRO with the FC-200s controls, you need to make settings for both the GT-PRO and the FC-200.

This section describes the settings required to connect and use the FC-200 with the GT-PRO.

Setting the Functions Related to the FC-200 Start by making the FC-200-related settings on the GT-PRO. fig.08-0010

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] to display the parameters related to the FC-200.

fig.08-0020d

3. Rotate the PATCH/VALUE dial to select the settings value.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

Switching Operation of the GT-PRO for Use with the FC-200 (FC-200 Mode)

Setting the Operation of the FC-200s CTL Pedal (FC-200 CTL Pedal)

Limiting the Range of Banks Allowed in Switching (FC-200 Bank Limit)

13 2

5

(Example)

Parameter/ Range

Explanation

FC-200 Mode fig.08-0030d

Off, On Changes the GT-PROs Bank display to 0 39, matching that of the FC-200 (one less than what is normally indicated).

Off Switches FC-200 Mode off. GT-PRO Banks 140 are indicated.

On Switches FC-200 Mode on. Matching the FC-200s display, GT-PRO Banks 039 are indicated.

* Once FC-200 mode is switched on, data describing the GT-PROs own operations, as well as data describing the usage of an expression pedal or foot switch connected to the external pedal jack (MIDI PC OUT, MIDI EXP1 OUT, etc.; p. 74) will no longer be output from the MIDI OUT connector.

Parameter/ Range

Explanation

FC-200 CTL Pedal fig.08-0040d

Momentary, Latch Sets the operation of the FC-200s CTL ped- al.

Momentary The pedal functions as a momentary switch, switching on (maxi- mum value) when pressed and off (minimum value) when released.

Latch The pedal functions as a latch switch, alternately switching on (max- imum value) and off (minimum value) when pressed.

Parameter/ Range

Explanation

FC-200 Bank Lmt fig.08-0050d

039 Sets the upper limit for banks that can be switched when banks are specified with the FC-200s BANK pedals.

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Chapter 8 Using the GT-PRO Connected to the FC-200

Setting the Timing for Switching Patches (FC-200 Program Change Out)

Switching Banks with the Number Pedals (FC-200 Bank Change)

Transmitting Settings for the GT-PRO to the FC-200 This procedure transmits the settings made in Setting the Functions Related to the FC-200 (p. 81) from the GT-PRO to the FC-200.

Connecting To transmit the settings, connect the GT-PROs MIDI OUT connector to the FC-200s MIDI IN connector as shown in the figure below. fig.08-0080

If you want to control the GT-PRO with the FC-200, connect the MIDI cables in the opposite arrangement (switch IN and OUT).

When controlling the GT-PRO from the FC-200, after transmitting the settings data (see the following page) to the FC-200, refer to Controlling the GT-PRO with the FC-200 (p. 83) and change the MIDI cable connections.

Parameter/ Range

Explanation

FC-200 PC Out fig.08-0060d

Immediate, Wait for a NUM.

Sets the timing for switching patches that can be switched when banks are specified with the FC-200s BANK pedals.

Immediate Instantly switches to the next patch when any BANK or number ped- al is pressed.

Wait for a NUM. Pressing a BANK pedal switches only the bank, not the GT-PROs patch number. Numbers are switched at the same time the number pedals are pressed.

Parameter/ Range

Explanation

FC-200 Bank Chng fig.08-0070d

Bank Pedal Only, Use Number Pedal

Selects the switching method used when banks are switched using the FC-200.

Bank Pedal Only Banks are switched each time a BANK pedal is pressed, with the bank indicated in the display. The next higher-numbered bank is se- lected each time the UP pedal is pressed; the next lower-numbered bank is selected each time the DOWN pedal is pressed.

Use Number Pedal Pressing the BANK UP pedal causes the left digit (in the tens place) of the bank indicated in the FC-200s display to flash. When you press the desired number pedal, that number is set in the left digit. Pressing the BANK DOWN pedal causes the right digit (in the ones place) of the bank indicated in the FC-200s display to flash. When you press the desired number pedal, that number is set in the right digit.

* If a value exceeding the FC-200s Bank Limit is entered, that value is ignored.

MIDI OUT

MIDI IN

FC-200

82

Chapter 8 Using the GT-PRO Connected to the FC-200

Chapter 8

Transmitting Settings Data to the FC-200 After the GT-PRO and FC-200 are connected with a MIDI cable, change the FC-200s settings with the GT-PRO. The content of the settings is transmitted to the FC-200 as MIDI messages. fig.08-0090

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that FC-200: Setup is displayed.

fig.08-0100d

2. Press [WRITE] to transmit the data.

Now sending... is displayed, and the data is transmitted to the FC-200.

At this time, the FC-200 is simultaneously set as follows (for more on each setting, refer to the FC-200 Owners Manual).

Mode: Program change mode

* The FC-200 will be set to Control Change mode when the GT-PRO is in Manual mode (p. 85).

Bank Select: On

3. Press [EXIT] to return to the Play screen.

Controlling the GT-PRO with the FC-200 This section describes how to use the FC-200 to switch the GT-PROs patches and control its effects.

Connecting When controlling the GT-PRO with the FC-200, connect the GT-PROs MIDI IN connector to the FC-200s MIDI OUT connector as shown below. fig.08-0110

* Set the GT-PRO and FC-200 to the same MIDI channel. Both the GT-PRO and FC-200 are set at the factory to MIDI Channel 1.

How to Switch Patches Switching Only the Number fig.08-0120

1. Select the number of the patch you want to switch to by pressing the corresponding number pedal.

The indicator for the pressed number pedal lights up, and the GT-PRO switches to that patch.

When making the Program Change Map settings (p. 77), you may find that the banks and numbers indicated on the FC-200 differ from the banks and numbers indicated in the GT-PRO display. To have the banks and numbers indicated on the FC-200 and GT-PRO conform with each other, set MIDI Map Select (p. 78) to Fix.

11

3 2 MIDI IN

MIDI OUT

FC-200

1

83

Chapter 8 Using the GT-PRO Connected to the FC-200

Switching the Bank and Number fig.08-0130

1. Press a BANK Up or BANK Down pedal.

The bank switches, then the number indicator that was active before the BANK pedal was pressed starts flashing, indicating that the GT-PRO is ready for selection of the patch number (at this stage, however, the patch is not switched yet).

* If you have FC-200 Bank Change (p. 82) set to Use Number Pedal, switch banks as described on p. 82.

* Patches are switched merely by pressing the BANK pedals when the FC-200 Program Change Out setting (p. 82) is set to Immediate.

2. Select the number of the patch you want to switch to by pressing the corresponding number pedal.

The indicator for the pressed number pedal lights up, and the GT-PRO switches to that patch.

If the Patch Does Not Switch On the GT-PRO, you cannot switch patches in any screen other than the Play screen. Press [EXIT] to return to the Play screen (p. 16).

Using the FC-200s CTL and EXP Pedals Information describing the actions of the FC-200s CTL and EXP pedals is transmitted to the GT-PRO in the form of MIDI messages (Control Changes).

The GT-PRO is programmed so that its effects can be controlled through MIDI messages from the FC-200.

When using a pedal exclusively for a single function at all times: You can make settings determining how the GT-PRO is to respond when it receives the MIDI messages (Control Changes) sent by the FC-200 when its pedals are operated.

* This is enabled when the controller numbers assigned to each of the FC-200s pedals and jacks are set to the factory-set values.

Setting the Operation for an External MIDI Device (CC#7, CC#80, CC#1 Function) (p. 64)

When you want to control Foot Volume with the EXP pedal: You can use the EXP pedal to control the Foot Volume (CC#7 Foot Volume).

Setting the FV (Foot Volume) Operation for Individual Patches (EXP1/CC#7 Foot Volume) (p. 65)

When you want to set the pedal function for each patch individually: In Assign, you can set the effect operations performed with the FC-200's pedals for each patch individually.

Selecting MIDI CC#** with the same numbers as the corresponding controller numbers assigned to each of the FC-200s pedals and jacks as the Assign Sources then enables you to control the effects.

If youve set the CTL pedal and EXP pedal as Assign Sources, you can select FC-200 CTL and FC-200 EXP instead of MIDI CC#**.

* FC-200 CTL functions the same as MIDI CC#80, and FC-200 EXP functions the same as MIDI CC#7.

Setting External Controller Functions to Individual Patches (Assign) (p. 66)

2 1

Pedal Controller Number

Function

EXP Pedal CC#7 CC#7 Function

CTL Pedal CC#80 CC#80 Function

Pedal Connected to the FOOT SW/EXP 1 Jack

CC#1 CC#1 Function

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Chapter 8 Using the GT-PRO Connected to the FC-200

Chapter 8

Switching the Effect On and Off with the FC-200s Pedals (Manual Mode) The GT-PRO features a Manual mode, in which the pedals on the FC-200 are used for switching specified effects on and off.

In Manual mode, you can switch effects on and off without changing the patch number.

Switching to Manual Mode fig.08-0140

1. Press [SHIFT] so the indicator is lighted.

2. Press PARAMETER [ ].

The GT-PRO switches to Manual mode, and the following appears in the display.

fig.08-0150d

3. Press the FC-200s [MODE] button to switch the FC-200 to Control Change mode.

appears in the FC-200s display.

* For more on the FC-200s Control Change mode, refer to the FC-200 Owners Manual.

4. To switch Manual mode off, press [EXIT].

* You can also switch Manual mode off by pressing [SHIFT] and then PARAMETER [ ].

5. Press the FC-200s [MODE] button one or more times to switch the FC-200 to Program Change mode.

* For more on the FC-200s Program Change mode, refer to the FC-200 Owners Manual.

Selecting the Effect to Be Switched On and Off With the Pedals

1. When you press PARAMETER [ ] [ ] while Manual mode is on, the screen for the pedals used to change the settings is displayed.

fig.08-0160d

2. Rotate the VALUE dial to select the effect to be assigned to the pedal.

3. Repeat Steps 1 and 2 as needed.

4. Press [EXIT] to return to the Play screen.

2

4 1 Value Explanation

Off Not used.

Preamp Ch A/B Switches between Preamp channel A and B.

Solo On/Off Switches the Preamp SOLO on and off.

FX-1 On/Off Switches the FX-1 on and off.

Comp On/Off Switches the COMP on and off.

Wah On/Off Switches the WAH on and off.

Loop On/Off Switches the LOOP 1/2 on and off.

OD/DS On/Off Switches the OVERDRIVE/DISTORTION on and off.

Preamp On/Off Switches the PREAMP/SPEAKER on and off.

EQ On/Off Switches the EQ on and off.

FX-2 On/Off Switches the FX-2 on and off.

Delay On/Off Switches the DELAY on and off.

Chorus On/Off Switches the CHORUS on and off.

Reverb On/Off Switches the REVERB on and off.

Pre Loop On/Off Switches the PRE LOOP on and off.

Amp Ctl1 On/Off Switches the AMP CTL 1 on and off.

Amp Ctl2 On/Off Switches the AMP CTL 2 on and off.

MANUAL On/Off Switches the MANUAL on and off.

TUNER On/Off Switches the TUNER/BYPASS on and off.

Hold Dly Rec/Dub Switches Hold recording (dubbing) on and off when Hold (p. 32) is selected for the delay type.

Hold Dly Stop When Hold is selected for the delay type, the performance is instantly stopped.

Patch Num. Inc Switches to the next higher patch number in the same bank as the currently selected patch.

Patch Num. Dec Switches to the next lower patch number in the same bank as the currently selected patch.

Patch Bank Inc Switches to the next higher bank number.

Patch Bank Dec Switches to the next lower bank number.

(Example)

85

Chapter 8 Using the GT-PRO Connected to the FC-200

If the controller number set for the Assign (p. 66) source is the same as that assigned to an FC-200 pedal and you then adjust the FC-200s pedal, both the Manual mode setting and the Assign settings function simultaneously.

* With the factory settings, the following controller numbers are assigned to the FC-200s pedals.

fig.08-0161

Advanced Settings This section describes more convenient ways to use the FC- 200. The explanations presented thus far have involved making settings while changing the MIDI cable connections as a method of using the GT-PRO with the FC-200 connected, but the following is possible when you use two cables to connect the GT-PRO and FC-200 to each other.

You can run the GT-PRO from the FC-200 without having to reconnect any MIDI cables.

You can set the FC-200 from the GT-PRO without having to reconnect any MIDI cables.

When you turn on the power to the GT-PRO, the FC-200 is programmed with the corresponding settings for the GT-PRO.

When using Manual mode, the FC-200 automatically switches to the appropriate settings for Manual mode.

* For more detailed instructions on how to make the settings for the FC-200 and operating it, refer to the FC-200 Owners Manual.

Connecting Connect the GT-PROs MIDI OUT connector to the FC-200s MIDI IN connector and the GT-PROs MIDI IN connector to the FC-200s MIDI OUT connector as shown below.

Whenever the FC-200 and GT-PRO are connected as shown below, be sure to set FC-200 Mode (p. 81) to On. Malfunction may result if this is left at Off.

fig.08-0170

* Set the GT-PRO and FC-200 to the same MIDI channel. Both the GT-PRO and FC-200 are set at the factory to MIDI Channel 1.

With the devices connected as shown above, when you change the FC-200s settings (Setting the Functions Related to the FC-200 (p. 81)) with the GT-PRO, the changes are immediately reflected by the corresponding change in the FC-200, meaning there is no need for a separate procedure to transmit these changes to the FC-200 (Transmitting Settings for the GT-PRO to the FC-200 (p. 82)).

#72 #73 #74#71#70

#65 #66 #67 #68 #69 #76 #80

#75

#07

MIDI IN

MIDI OUT

MIDI OUT

MIDI IN

FC-200

86

Chapter 8 Using the GT-PRO Connected to the FC-200

Chapter 8

After connecting the FC-200, you will find it convenient to change the settings without having to disconnect and reconnect the MIDI cables.

Automatically Setting the FC-200 with the Corresponding GT-PRO Settings When Turning On the GT-PRO You can have the FC-200 automatically programmed with the corresponding GT-PRO settings by first switching the GT-PROs FC-200 mode on and then turning on the power to the GT-PRO.

1. First make sure the GT-PRO and FC-200 are connected with MIDI cables as described in Connecting (p. 86).

2. Switch the FC-200s POWER switch to the ON or ECONOMY position to turn on the FC-200.

3. Turn on the power to the GT-PRO.

The FC-200 is automatically programmed with the corresponding GT-PRO settings.

Manual Mode When you switch on Manual mode from the GT-PROs control panel, the FC-200 automatically switches to the settings for Manual mode, without any manual setting of the FC-200 necessary.

1. In the Play screen, press [SHIFT] so the indicator is lit, then press PARAMETER [ ] to switch to Manual mode.

The FC-200 automatically switches to the settings for Manual mode.

* At this point, the FC-200 is set to Control Change mode.

2. To quit Manual mode, press [EXIT].

The FC-200 automatically returns to the original settings.

* The FC-200 is set to Program Change mode.

* You can also switch Manual mode off by pressing [SHIFT] and then PARAMETER [ ].

You can use CC#80 Function (p. 64) or Assign (p. 66) to switch Manual mode on and off with the FC-200s CTL pedal.

Connecting an External MIDI Device in FC-200 Mode If, while controlling the GT-PRO with the FC-200, you also want to run an additional MIDI device, connect the MIDI IN connector on the other external MIDI device to the GT-PROs MIDI THRU connector.

This way, MIDI messages from the FC-200 are transmitted to the external MIDI device as well as the GT-PRO, enabling you to control both the GT-PRO and the other external MIDI device with the FC-200. fig.08-0180

Control Change messages set for EXP1 OUT, CTL1 OUT, CTL2 OUT, CTL3 OUT, and CTL4 OUT (p. **) are not output from the MIDI THRU connector, even when the external expression pedal or foot switch connected to the GT-PRO is operated.

If you want to output Control Change messages when an external expression pedal or foot switch is adjusted, connect the pedal to the FC-200.

MIDI IN

MIDI OUT

MIDI IN

MIDI THRU

MIDI OUT

MIDI IN

FC-200

87

88

Chapter 9 Using the GT-PRO Connected to a Computer Via USB

Before Connecting with USB With the GT-PRO, you can use USB to transmit both digital audio signals and MIDI messages between the GT-PRO and your computer.

First, this requires installation of a USB driver on your computer so that it can work with the GT-PROs driver mode settings.

For instructions on installing the driver, please read Installing & Setup the USB Driver (p. 109). ig.09-0010

* The GT-PROs [SYSTEM] indicator lights up when the GT- PRO and the computer are connected via USB.

About the Included Software The GT-PRO Software CD-ROM that comes with the GT- PRO contains USB driver and special software used in connecting the GT-PRO to computers.

Software for use with Windows and Macintosh operating systems is included.

GT-PRO Editor This software allows you to edit the GT-PROs settings from a computer. You can save the tone settings (patches) you create as files on the computer.

GT-PRO Librarian This software lets you manage all of the GT-PROs patches from your computer.

Driver Mode The GT-PRO features two operational modes, one mode that uses the special driver on the CD-ROM included with the GT-PRO and another mode that uses the operating systems (Windows/Mac OS) standard drivers.

The special driver provides high-quality sound and stable timing for audio recording, playback, and editing.

In addition, the driver enables you to control the GT-PRO with MIDI messages.

Switching the Driver Mode ig.09-0030

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] so that Driver Mode is displayed.

ig.09-0040d

3. Rotate the PATCH/VALUE dial to set the driver mode.

Standard: The standard OS USB driver is used in this mode.

Advanced: The special driver on the included CD-ROM is used in this mode.

* When using GT-PRO Editor/Librarian, set this to Advanced.

* In actual operation, the mode is not switched until you turn the power off and then on again.

4. Press [EXIT] to return to the Play screen.

* If the driver for the set mode has not yet been installed, at this point you need to turn off the power to the GT-PRO and install the driver.

5. Quit any sequencer software and any other computer applications used by the GT-PRO.

6. Switch off the GT-PRO, then turn it on again.

The corresponding driver is installed on the computer.

MIDI in Standard Driver Mode You cannot use MIDI with the GT-PRO when Standard is selected as the driver mode.

If you want to use MIDI while the GT-PRO is connected via USB, select the Advanced driver mode.

Computer

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Chapter 9 Using the GT-PRO Connected to a Computer Via USB

Chapter 9

Setting USB-Related Functions This section describes the GT-PROs USB functions. Set these functions according to how you want to use the unit.

Setting the Digital Audio Signal Input/Output fig.09-0050

1. Press [OUTPUT SELECT].

2. Press PARAMETER [ ] [ ] to display the USB setting screen.

3. Rotate the PATCH/VALUE dial to change the settings value.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen. Direct Monitor Settings fig.09-0100

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] so that the parameter that you want to set appears in the display.

3. Rotate the PATCH/VALUE dial to change the settings value.

4. Repeat Steps 2 and 3 as needed.

5. Press [EXIT] to return to the Play screen.

Parameter/ Range

Explanation

USB/DGT Out Ch. (USB/Digital Out Channel) fig.09-0060d

MAIN, SUB, MAIN+SUB

Selects the signals output from the USB (Computer) and DIGITAL OUT connectors.

MAIN Outputs the same signals as those output from MAIN OUT. The tone adjustments made with Main Global EQ (p. 94) are enabled.

SUB Outputs the same signals as those output from SUB OUT. The tone adjustments made with Sub Global EQ (p. 95) are enabled.

MAIN+SUB Outputs a mix of the signals output from MAIN OUT and SUB OUT.

* This is enabled only when effects chain (p. 22) settings ending in DGT (DIGITAL/USB OUT) are selected.

USB/DGT Out Lev (USB/Digital Out Level) fig.09-0070d

0200 Adjusts the volume level of the digital audio signals output to the USB (Computer) and DIGITAL OUT connectors.

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USB Mix Channel fig.09-0080d

MAIN, SUB, MAIN+SUB

Sets the output jacks used in mixing the dig- ital audio signals from USB (Computer) when Input Select (p. 90) is set to Guitar In.

MAIN Mixed at MAIN OUT.

SUB Mixed at SUB OUT.

MAIN+SUB Mixed at MAIN OUT and SUB OUT.

USB Mix Level fig.09-0090d

0200 Sets the volume level of the mixed digital audio signals from USB (Computer) when Input Select (p. 90) is set to Guitar In.

Parameter/ Range

Explanation

13 2

5

89

Chapter 9 Using the GT-PRO Connected to a Computer Via USB

Recording the GT-PROs Output with a Computer Set your application (such as a sequence software) so that the audio input port it uses is the GT-PRO.

You can freely set the point in the signal chain from which to extract the signal to be sent to the computer with Effect Chain (p. 22). For example, by setting this so that the computer records the signals as they are at the beginning of the chain, you can record the sounds without any effects added while you listen to the performance with the effects applied.

* If you are using the software to send the audio data through, set Direct Monitor to Off.

Applying Effects with the GT-PRO to a Computers Audio Playback Set the audio output port used by applications to the GT- PRO.

You can use the GT-PRO to add effects to audio data played back from the computer, and then record these sounds back to the computer.

Use this feature when you want to add effects to existing audio data. fig.09-0130

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] so that Input Select is displayed.

fig.09-0140d

3. Rotate the PATCH/VALUE dial to select USB In.

USB In: Effects are applied to the signals input via USB.

* In this mode, set the software so that audio is not transmitted through (not set to Thru).

* PRE LOOP (p. 53) is unavailable.

Guitar In: Effects are applied to the signals input via the INPUT jacks.

Audio played back from a computer is mixed with the GT-PROs effect sound and output jacks set in USB Mix Channel (p. 89).

4. Press [EXIT] to return to the Play screen.

Parameter/ Range

Explanation

USB Monitor Cmd (USB Monitor Command) fig.09-0110d

Disable, Enable

This setting determines whether or not the command (the Direct Monitor command) controlling the Direct Monitor (described later) setting is enabled.

Disable The Direct Monitor command is disabled, maintaining the Direct Monitor mode set by the GT-PRO.

Enable The Direct Monitor command is enabled, allowing the Direct Moni- tor mode to be switched from an external device.

USB Dir Monitor (USB Direct Monitor) fig.09-0120d

On, Off Switches the output of the effect sound to the PHONES jack, MAIN OUT jacks, or SUB OUT jacks.

On The effect sound is output. Set this to On when using the GT-PRO as a standalone device, without connecting to a computer (no sound will be output if this is set to Off).

Off Set this to Off if transmitting audio data internally through a com- puter (Thru).

* If you are using the special driver, you can control Direct Monitor On/ Off from ASIO 2.0-compatible application such as Cubase.

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90

Chapter 9 Using the GT-PRO Connected to a Computer Via USB

Chapter 9

Running the GT-PRO from a Computer You can use USB MIDI to run the GT-PRO from your computer.

When you set the GT-PRO to the Advanced driver mode (p. 110, p. 126), the MIDI connectors used for operation of the GT-PRO switches from MIDI IN/OUT connectors to the USB drivers GT-PRO Control MIDI ports.

Set your editor and sequencer MIDI input and output ports to GT-PRO Control.

For more on MIDI-related settings, refer to Chapter 7 Using the GT-PRO with External MIDI Devices Connected (p. 72).

91

92

Chapter 10 Other Features

Controlling Various Parameters Through the Guitar Volume The GT-PRO includes a function to control effect parameters with the guitar dynamics as the instrument is played. This is not limited to touch wah, but provides tonal changes in real time as the guitar is played.

Switching Preamp Channels A and B Dynamically with the Guitar Volume The GT-PROs Preamp/Speaker feature includes a Dynamic Mode (p. 28) setting, which switches the two preamps in response to the guitar volume.

During a performance, for example, you can use the guitar volume to switch between a crunch sound and a lead sound, even without switching patches or adjusting any knobs.

* You will hear the sound of Channel A when the guitar volume

is low, and Channel B when the volume is high. fig.10-0010

1. Press PREAMP/SPEAKER On/Off switch, then press

PARAMETER [ ] [ ] so that Ch.Mode is

displayed. fig.10-0020d

2. Rotate the PATCH/VALUE dial to select Dynamic. fig.10-0030d

3. Press PARAMETER [ ] to display Dynamic Sens. fig.10-0040d

4. Rotate the PATCH/VALUE dial to change the settings

value.

As the guitar volume changes during the performance, Dynamic Sens is adjusted in response to the volume when the preamps are switched.

5. Press [EXIT] to return to the Play screen.

2,4 1

5 31

Chapter 10 Other Features

Chapter 10

Using the Guitar Volume to Change Selected Effect Parameters (Assign Source) Assign (p. 66) features a function that allows effect parameters to be controlled with the guitar volume, in the same manner as the parameters are changed with an expression pedal or other such controller.

You can set this feature to create even more distortion as the guitar volume increases, deepen the chorus effect as a long tone is played quietly, or use it to produce any of a number of other effects to suit your purposes. fig.10-0050

1. Use the procedure described on p. 67 to set the type of parameter you want to control (Assign Target) and the range over which the change is to occur (Target Min/ Max).

2. Press [ASSIGN], then press PARAMETER [ ] [ ] to select one of the Assigns from ASSIGN112.

fig.10-0060d

3. Press [ASSIGN] once again to set the Assign to On.

4. Press PARAMETER [ ] [ ] to display Source. fig.10-0070d

5. Rotate the PATCH/VALUE dial to select Input Level. fig.10-0080d

6. Press PARAMETER [ ] [ ] to display Input Sens.

fig.10-0090d

You can jump to the core parameters by pressing

PARAMETER [ ] (or [ ]) while holding down

PARAMETER [ ] (or [ ]). With items for which there arent that many parameters, the GT-PRO jumps to the last (or first) parameter.

7. Rotate the PATCH/VALUE dial to change the settings value.

Play the guitar at various volumes and adjust the Input Sens as you listen to the sound to confirm how the parameter set in Step 1 changes.

8. Press [EXIT] to return to the Play screen.

You may be unable to change parameter settings when the following functions are set for the Assign target (p. 67) while INPUT LEVEL is selected for the Assign source (p. 69).

TUNER On/Off

MANUAL On/Off

Patch Num. Inc

Patch Num. Dec

Patch Bank Inc

Patch Bank Dec

Note that if you inadvertently happen to make this type of setting, there is no way to return the patch to its normal state other than overwriting and saving.

5,7 2,4,6

8 2,3

93

Chapter 10 Other Features

Adjusting the Overall Sound to Match the Usage Environment (Global) The GT-PRO includes a feature that allows you to change the overall tone temporarily. This is called the Global function.

With the Global function, you can temporarily change your settings to match those of your equipment and the operating environment, while leaving the settings in the patches untouched. fig.10-0100

1. Press [OUTPUT SELECT], then press PARAMETER [ ] [ ] so that the Global setting screen.

fig.10-0110d

2. Rotate the PATCH/VALUE dial to change the settings value.

3. Repeat Steps 1 and 2 as needed.

4. Press [EXIT] to return to the Play screen.

Adjusting the overall sound Main Global EQ This adjusts the tone of the MAIN OUT regardless of the equalizer on/off settings of individual patches.

Total NS This has no effect on patches in which the noise suppressor is turned off.

Total REVERB This has no effect on patches in which reverb is turned off.

Parameter/ Range

Explanation

Low EQ fig.10-0120d

-20 dB+20 dB Adjusts the tone in the low frequencies.

Mid EQ (Middle EQ) fig.10-0130d

-20 dB+20 dB Adjusts the tone in the middle frequencies.

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4

(Example)

Mid Freq (Middle Frequency) fig.10-0140d

20 Hz10.0 kHz Specify the center of the frequency range that will be adjusted by the Mid EQ.

High EQ fig.10-0150d

-20 dB+20 dB Adjusts the tone in the high frequencies.

Parameter/ Range

Explanation

NS Thres (Noise Suppressor Threshold) fig.10-0160d

-20 dB+20 dB Adjusts the noise suppressor threshold level settings for each patch in a range from -20 dB to +20 dB.

This adjustment is an effective way to get equivalent output with each of your guitars when you are connecting more than one guitar.

* Set to 0 dB when using this in individual patch settings.

Parameter/ Range

Explanation

Rev Level fig.10-0170d

0%200% Adjusts the reverb level settings for each patch in a range from 0% to 200%.

Adjusting the reverb level is an effective way to match the reverber- ation of the performance venue.

* Set to 100% when using this in individual patch settings.

Parameter/ Range

Explanation

94

Chapter 10 Other Features

Chapter 10

Sub Global EQ This adjusts the tone of the SUB OUT regardless of the equalizer on/off settings of individual patches.

Setting the Output Destination

Output Channel

USB/Digital Out

Parameter/ Range

Explanation

Sub Low EQ fig.10-0180d

-20 dB+20 dB Adjusts the tone in the low frequencies.

Sub Mid EQ (Middle EQ) fig.10-0190d

-20 dB+20 dB Adjusts the tone in the middle frequencies.

Sub Mid Freq (Middle Frequency) fig.10-0200d

20 Hz10.0 kHz Specify the center of the frequency range that will be adjusted by the Mid EQ.

Sub High EQ fig.10-0210d

-20 dB+20 dB Adjusts the tone in the high frequencies.

Parameter/ Range

Explanation

Output Channel fig.10-0220d

PATCH, MAIN, SUB, MAIN+SUB

This procedure selects the jacks from which signals are output.

PATCH The output selected in the patchs Master Output setting (p. 55) is used.

MAIN Signals are output from the MAIN OUT jacks.

SUB Signals are output from the SUB OUT jacks.

MAIN+SUB Signals are output from both the MAIN OUT and SUB OUT jacks.

Parameter/ Range

Explanation

USB/DGT Out Ch. (USB/Digital Out Channel) fig.09-0060d

MAIN, SUB, MAIN+SUB

Selects the signals output from the USB and DIGITAL OUT connectors.

MAIN Outputs the same signals as those output from MAIN OUT. The tone adjustments made with Main Global EQ (p. 94) are enabled.

SUB Outputs the same signals as those output from SUB OUT. The tone adjustments made with Sub Global EQ (p. 95) are enabled.

MAIN+SUB Outputs a mix of the signals output from MAIN OUT and SUB OUT.

* This is enabled only when effects chain (p. 22) settings ending in DGT (DIGITAL/USB OUT) are selected.

USB/DGT Out Lev (USB/Digital Out Level) fig.09-0070d

0200 Adjusts the volume level of the digital audio signals output to the USB and DIGITAL OUT connectors.

USB Mix Channel fig.09-0080d

MAIN, SUB, MAIN+SUB

Sets the output jacks used in mixing the dig- ital audio signals from USB when Input Se- lect (see right) is set to Guitar In.

MAIN Mixed at MAIN OUT.

SUB Mixed at SUB OUT.

MAIN+SUB Mixed at MAIN OUT and SUB OUT.

USB Mix Level fig.09-0090d

0200 Sets the volume level of the mixed digital audio signals from USB when Input Select (see right) is set to Guitar In.

95

Chapter 10 Other Features

Adjusting the Display Contrast (LCD Contrast) Depending on where the GT-PRO is placed, the display (on the right) may become difficult to read. If this occurs, adjust the display contrast. fig.10-0230

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that LCD Contrast is displayed.

fig.10-0240d

2. Rotate the PATCH/VALUE dial to adjust the contrast.

Valid Settings: 116

3. Press [EXIT] to return to the Play screen.

Switching the Sounds Input to the GT-PRO (Input Select) This selects the input sounds, those input through the INPUT jacks or those input via USB, to which the effects are applied. fig.10-0250

1. Press [SYSTEM].

2. Press PARAMETER [ ] [ ] so that Input Select is displayed.

fig.09-0140d

3. With the PATCH/VALUE dial, select the input to be used for the effects.

4. Press [EXIT] to return to the Play screen.

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3

Value Explanation

Guitar In Effects are applied to the sounds input through the INPUT jacks.

USB In

Effects are applied to the sounds played back by the USB-connected computer.

* In this mode, set the software so that audio is not transmitted through (not set to Thru).

* PRE LOOP (p. 53) is unavailable.

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3

96

Chapter 10 Other Features

Chapter 10

Adjusting the Tone of the Sounds Input to the GT-PRO (Input Level/Input Presence) The GT-PRO includes a function used for adjusting the tone to match the connected guitar.

This is effective when you are connecting a different guitar from the one used when the patch was created.

When adjusting the input level and input presence, the input signals for all patches are affected. Note that the nuances of the effect sounds that occur in response to guitar volume may change, particularly with patches in which effects are controlled by the guitar volume.

fig.10-0260

1. Press [SYSTEM], then press PARAMETER [ ] [ ] to display the following screen.

fig.10-0270d

2. Rotate the PATCH/VALUE dial to change the settings value.

3. Repeat Steps 1 and 2 as needed.

4. Press [EXIT] to return to the Play screen.

Keeping Effect Sounds Playing After Patches Are Switched (Patch Change Mode) The GT-PRO features a mode that is enabled when spatial effects (such as reverb and delay) are used, whereby the effects sound of one patch continues playing even after you switch to the next patch. If the necessary conditions regarding the effects chain and effect parameter settings are met, you can then have the decay of reverb, delay, and similar effects continue on into the next patch after you switch patches.

Effects are in the same effects chain

When switching the delay off or on, or when the type and time are identical

When switching other effects off or on, or when the parameter settings are identical

* There still may be no reverberation in some cases, even after the above settings are made.

fig.10-0280

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that P.Chnge Mode is displayed.

fig.10-0290d

2. Rotate the PATCH/VALUE dial to change the settings value.

3. Press [EXIT] to return to the Play screen.

Parameter/ Range

Explanation

Input Level -20 dB+20 dB Adjusts the guitar input level.

Input Pres. (Input Presence)

-20 dB+20 dB Adjusts the tonal quality of the guitars high end.

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4

Value Explanation

Fast Patches are changed normally. The unit switches to the subse- quent patch without any carry-over of the decay from the pre- vious patchs reverb or chorus.

Smooth The unit switches to the subsequent patch with the decay from the previous patchs reverb or delay continued after the switch is made.

* For smooth switching, patches may be switched with one tempo delayed.

2 11

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97

Chapter 10 Other Features

Using the Identical Preamp Settings in All Patches (Preamp Mode) With the GT-PRO, you can have a preamp be set globally for use in all patches.

This provides an effect that always gives you the sound of the same guitar amp regardless of the patches you set. fig.10-0300

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that Preamp Mode is displayed.

fig.10-0310d

2. Rotate the PATCH/VALUE dial to change the settings value.

3. Press [EXIT] to return to the Play screen.

Setting the System Preamp When the Preamp Mode is set to System, preamp settings made by adjusting the panel controls are treated as system preamp settings.

The stored content is updated each time the settings are changed.

Limiting the Patches That Can Be Switched (Patch Extent) By setting an upper limit to the patches, thus limiting the range of patches that can be switched, you can set the GT- PRO so that only the patches you need can be selected. fig.10-0320

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that Patch Extent is displayed.

fig.10-0330d

2. Rotate the PATCH/VALUE dial to set the upper limit for the Patches.

Valid Settings: 1-140-10

* The bank numbers indicated are lowered by one when FC-200 mode (p. 81) is switched on, so U0-1 to P39-10 is displayed.

3. Press [EXIT] to return to the Play screen.

Value Explanation

Patch The patch preamp setting is used. This al- lows you to use different preamp settings in each individual patch.

System The systems preamp setting is used. This applies the same preamp settings to all patches.

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3

2 11

3

98

Chapter 10 Other Features

Chapter 10

Changing the EXP Pedal Mode When Patches are Switched (Assign Hold) This setting determines whether or not the Assigns (p. 66) operational status is carried over to the next patch when patches are switched.

* Assign Hold does not function if the Assign Source mode is set to Toggle (whereby the value is toggled between Min and Max each time the pedal is pressed).

fig.10-0340

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that Assign Hold is displayed.

fig.10-0350d

2. Rotate the PATCH/VALUE dial to set Assign Hold.

3. Press [EXIT] to return to the Play screen.

Setting the Knob Functions (Knob Mode) This sets the way the values of settings are changed when the control knobs are turned. fig.10-0360

1. Press [SYSTEM], then press PARAMETER [ ] [ ] so that Knob Mode is displayed.

fig.10-0370d

2. Rotate the PATCH/VALUE dial to set the Knob mode.

3. Press [EXIT] to return to the Play screen.

Value Explanation

On The Pedal Assign status is carried over.

(Example) If a patch is switched while the volume is being controlled with the expression pedal, the volume of the subsequent patch will take on the value determined by the current pedal position (an- gle). If the patch switched to has the expression pedal controlling the wah effect, then the volume assumes the value set in the patch, and the patchs wah effect is given the value derived from the current pedal position (angle).

Off The Pedal Assign status is not carried over.

(Example) If a patch is switched while the volume is being controlled with an expression pedal, the volume of the subsequent patch is set to the value set in that patch. If the expression pedal is operated, and that information is transmitted to the GT-PRO, the volume will change in accord with the pedals movement.

2 11

3

Value Explanation

Immediate Turning the knobs immediately changes the values.

Current Setting Values begin to change only once the knob position reaches the values set in the patch.

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3

99

Chapter 10 Other Features

Switching the Output/Input Level You can switch between the MAIN OUT, SUB OUT, and LOOP 1/2 SEND output levels and the LOOP 1/2 RETURN input levels.

Switch levels according to the connected device. fig.10-0380

1. You can display the level switching screen by pressing [SYSTEM] and then pressing PARAMETER [ ] [ ].

2. Use the PATCH/VALUE dial to switch the output level.

Valid Settings: +4 dBu, -10 dBu

3. Press [EXIT] to return to the Play screen.

MAIN OUT Level fig.10-0390d

SUB OUT Level fig.10-0400d

* The SUB OUT R/L (XLR type) connectors are unaffected by the SUB OUT level. Signals are always output at a fixed level (+4 dBu).

LOOP 1/2 SEND Level fig.10-0410d

LOOP 1/2 RETURN Level fig.10-0420d

Checking the Effect Level with the Level Meter You can meter the output level of each effect. This is handy for checking the effects output levels. fig.10-0430

1. Press [SYSTEM] several times so that METER is displayed.

fig.10-0440d

2. Rotate the PATCH/VALUE dial to select the effect whose level you want to check.

You can check the level of signals being input to the INPUT jack by selecting Input.

Selecting Main Out allows you to check the level of signals output from the MAIN OUT.

Selecting Sub Out allows you to check the level of signals output from the SUB OUT.

* You may not be able to achieve the effects you envision if your output levels are set too high. Adjust the output level of each of your effects to the optimum value while checking the meter and making sure the needle doesnt swing too far to the right.

3. Press [EXIT] to return to the Play screen.

2 11

3

2 11

3

For more information on the following system settings, refer to p. 62p. 65.

SYS: EXP 1 Func

SYS: CTL 1 Func

SYS: CTL 2 Func

SYS: EXP 2 Func

SYS: CTL 3 Func

SYS: CTL 4 Func

SYS: CC#7 Func

SYS: CC#80 Func

SYS: CC#1 Func

100

Chapter 10 Other Features

Chapter 10

Tuning the Guitar (Tuner/Bypass) When the Tuner is turned on, sounds input to the GT-PRO are output directly as is (bypassed), and the tuner is activated.

Under these conditions you can then tune your guitar.

Turning the Tuner Function On fig.10-0450

Each time [TUNER/BYPASS] is pressed, the Tuner is switched on or off.

The [TUNER/BYPASS] buttons indicator lights when the function is on.

About the Display During Tuning With the GT-PROs internal tuner, the note name is indicated in the upper row of the display and the Tuning Guide is shown in the lower row, indicating the difference between the input sound and the sound in the display. fig.10-0460d

When the difference from the correct pitch falls within 50 cents, the Tuning Guide then indicates the size of that difference. As you watch the Tuning Guide, tune the guitar so that the appears in the center. fig.10-0470

How to Tune 1. Play a single open note on the string being tuned.

The name of the note closest to the pitch of the string that was played appears in the display.

* Only play a single note on the one string being tuned.

2. Tune the string until the string name appears in the display.

3. As you watch the Tuning Guide, adjust the guitars tuning until appears in the center.

4. Repeat Steps 13 until all of the strings are tuned.

* When tuning guitars equipped with a tremolo bar, when one string is tuned, the others may end up being out of tune. In this case, tune to the pitch indicated by the initial note name, then tune the other strings again, repeatedly fine-tuning each string.

Changing the Tuner Settings fig.10-0480

1. Press [TUNER/BYPASS]; the indicator lights up.

2. Press PARAMETER [ ] [ ] to display the Tuner Setting screen.

fig.10-0490d

3. Rotate the PATCH/VALUE dial to change the settings.

4. Repeat Steps 2 and 3 to change each parameters settings.

5. Press [TUNER/BYPASS] or [EXIT] to return to the Play screen.

Tuning Guide

Note Name

Tuned

Too Low

Too High

7th 6th 5th 4th 3rd 2nd 1st Regular B E A D G B E

1/2 Step Down A# D# G# C# F# A# D#

1 Step Down A D G C F A D

3 1,52

5

(Example)

101

Chapter 10 Other Features

Parameter/ Range

Explanation

TUNER Pitch fig.10-0500d

435445 Hz Sets the reference pitch.

The frequency of A4 (the middle A on a piano keyboard) played by an instrument (such as a piano) that provides the pitch to which the other instruments refer in tuning before a performance begins is called the reference pitch.

* This is set to 440 Hz when shipped from the factory.

TUNER Out fig.10-0510d

Mute, Bypass, Current Selects the output while Tuner is on.

Mute Sounds are muted, and no sound is output.

Bypass Sounds input to the GT-PRO bypass the processing and are output directly as is. When the tuner is switched on while set to Bypass, you can adjust the volume of the direct sound by moving the EXP pedal (EXP pedal connected to the EXP PEDAL 1 jack or the FC-200s EXP pedal (MIDI CC#7).

* The bypass sound is output in mono.

Current Allows tuning with the sound of the currently selected patch.

* This option may not function properly if you are using Harmonist, Auto Riff, or other effects that rely on pitch detection.

Switching Tuner On and Off by Lifting Up on the EXP Pedal When the EXP pedal is functioning as a Foot Volume control, set one of the ASSIGN 112 Assign settings (p. 66) to one of the following settings.

With this setting, you can switch on Tuner by drawing back the EXP pedal.

* You can achieve the same effect using the FC-200s EXP pedal when FC-200 EXP is selected as the Source setting.

Target: TUNER On/Off Mode: Normal

Target Min: On Act. Range Lo: 0

Target Max: Off Act. Range Hi: 1127

Source: EXP PEDAL 1

102

Appendices

Appendices

Restoring the Factory Settings (Factory Reset) Restoring the GT-PRO to the settings made at the factory is referred to as Factory Reset.

Not only can you return all of the settings to the values in effect when the GT-PRO was shipped from the factory, you can also specify the range of settings to be reset. fig.11-0010

1. Turn off the power.

2. While holding down PREAMP/SPEAKER On/Off button and [TYPE VARIATION], turn on the power.

The Factory Reset range setting screen appears in the display.

fig.11-0020d

* To cancel Factory Reset, press [EXIT].

3. Press PARAMETER [ ] [ ] to move the cursor, and rotate the PATCH/VALUE dial to specify the range of settings you want to restore to factory settings.

4. If you want to proceed with the factory reset, press [ENTER].

The specified range of data will be returned, and return to the Play screen.

List of Factory Settings

value Explanation

System System parameters, Harmonist scales, Auto Riff phrases, and Preamp/Speaker, Overdrive/Distortion, and Wah Custom Edit parameter settings

Quick Content of the Settings Made with User Quick Setting

#1-1#20-10 Settings for Patch Number 1-1 through 20-10

3

142

The range of data you wish to factory reset

Parameter Value

TUNER TUNER Pitch A= 440Hz

TUNER Out Bypass

OUTPUT SELECT MAIN Output Sel. LINE/PHONES

MAIN Low EQ 0dB

MAIN Mid EQ 0dB

MAIN Mid Freq 500Hz

MAIN High EQ 0dB

TOTAL NS Thres 0dB

TOTAL Rev Level 100%

SUB Output Sel. LINE/PHONES

SUB Low EQ 0dB

SUB Mid EQ 0dB

SUB Mid Freq 500Hz

SUB High EQ 0dB

Output Channel PATCH

USB/DGT Out Ch. MAIN

USB/DGT Out Lev 100

USB Mix Channel MAIN

USB Mix Level 100

SYSTEM LCD Contrast 16

Input Select Guitar In

Input Level 0dB

Input Pres. 0dB

P.Chnge Mode Fast

Preamp Mode Patch

Patch Extent P40-10

Assign Hold On

Knob Mode Immediate

EXP1 Func Auto

CTL1 Func Assignable

CTL2 Func Assignable

EXP2 Func Assignable

CTL3 Func Assignable

CTL4 Func Assignable

CC#7 Func Auto

CC#80 Func Assignable

CC#1 Func Assignable

Main Out Lev +4dBu

Sub Out Lev +4dBu

LP Send Lev -10dBu

LP Retrn Lev -10dBu

FC-200 Mode Off

Ctl Pedal Momentary

Bank Lmt 39

PC Out Wait for a NUM.

Bank Chng Bank Pedal Only

103

Appendices

USB Monitor Cmd Disable

Dir Monitor On

Driver Mode Advanced

MIDI RX Channel 1

Omni Mode Omni On

TX Channel Rx

Device ID 1

Sync Clock Auto

PC OUT On

EXP 1 OUT CC#7

CTL1 OUT CC#81

CTL2 OUT CC#80

CTL3 OUT Off

CTL4 OUT Off

MIDI Map Select Fix

Manual Mode Pedal 1 Preamp Ch A/B

Pedal 2 Solo On/Off

Pedal 3 Comp On/Off

Pedal 4 OD/DS On/Off

Pedal 5 Delay On/Off

Pedal 6 Wah On/Off

Pedal 7 EQ On/Off

Pedal 8 Chorus On/Off

Pedal 9 FX-1 On/Off

Pedal 10 FX-2 On/Off

Pedal Down Patch Num. Dec

Pedal Up Patch Num. Inc

Parameter Value

104

Appendices

Appendices

MIDI Implementation Chart

Function...

Basic Channel

Mode

Note Number :

Velocity

After Touch

Pitch Bend

Control Change

Prog Change

System Exclusive

System Common

System Real Time

Aux Message

Notes

Transmitted Recognized Remarks

Default Changed

Default Messages Altered

True Voice

Note ON Note OFF

Key's Ch's

0, 32 131

3363 6495

: True #

: Song Pos : Song Sel : Tune

: Clock : Command

: All sound off : Local ON/OFF : All Notes OFF : Active Sense : Reset

116 116

X X

X X

X **************

X X

X

O (03) O O O

O O X O

O 099

O

X X X

X O

X X X X X

116 116

OMNI ON/OFF X X

X X

X **************

X X

X

O 0127

O

X X X

O X

X X X O X

* 1 CC#0 data of a value of 04H or higher, and the CC#32 are ignored. * 2 Recognizes messages designated for Assign source (p. 69), Assign CC#7 (p. 64), CC#7/CC#80/CC#1 Function (p. 64), and FC-200 Manual mode (p. 85).

Model GT-PRO

Date: Feb. 14, 2005

Version: 1.00MIDI Implementation Chart

**************

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

O : Yes

X : No

Memorized

Memorized

GUITAR EFFECTS PROCESSOR

Bank Select

Program Number 1128

A separate publication titled MIDI Implementation is also available. It provides complete details concerning the way MIDI has been implemented on this unit. If you should require this publication (such as when you intend to carry out byte-level programming), please contact the nearest Roland Service Center or authorized Roland distributor.

* 1 * 2

* 2

105

Appendices

Specifications

GT-PRO: Guitar Effects Processor

AD Conversion 24 bit + AF method

DA Conversion 24 bit

Sampling Frequency 44.1 kHz

Program Memories 400: 200 (User) + 200 (Preset)

Nominal Input Level INPUT: -10 dBu

PRE LOOP RETURN: -10 dBu

LOOP 1/2 RETURN: -10 dBu/+4 dBu

Input Impedance INPUT: 1 M PRE LOOP RETURN: 220 k LOOP 1/2 RETURN: 220 k

Nominal Output Level DIRECT OUT/TUNER OUT: -10 dBu

MAIN OUT/SUB OUT: -10 dBu/+4 dBu

SUB OUT XLR: +4 dBu

PRE LOOP SEND: -10 dBu

LOOP 1/2 SEND: -10 dBu/+4 dBu

Output Impedance DIRECT OUT/TUNER OUT: 2 k MAIN OUT/SUB OUT: 2 k SUB OUT XLR: 600 PRE LOOP SEND: 2 k LOOP 1/2 SEND: 2 k

Digital Output EIAJ CP1201, S/P DIF

Controls < Front Panel >

INPUT LEVEL knob

MAIN OUTPUT knob

SUB OUTPUT knob

(PREAMP/SPEAKER)

TYPE knob

GAIN knob

BASS knob

MIDDLE knob

TREBLE knob

PRESENCE knob

LEVEL knob

On/Off button

TYPE VARIATION button

CHANNEL button A, B

SOLO button

SPEAKER button

(Effect On/Off button)

COMP

OD/DS

WAH

EQ

DELAY

CHORUS

REVERB

FX-1

FX-2

AMP CTL 1

AMP CTL 2

PRE LOOP

LOOP 1/2

ASSIGN

(Others)

PATCH/VALUE dial

PARAMETER buttons

OUTPUT SELECT button

SYSTEM button

EXIT button

WRITE button

SHIFT button

TUNER/BYPASS button

NAME/FX CHAIN button

MASTER button

PATCH LEVEL knob

POWER switch

106

Appendices

Appendices

GND LIFT switch (SUB OUT)

Display 16 characters, 2 lines (backlit LCD)

2 characters, 7 segment LED

PEAK indicator

Connectors

INPUT jack

PHONES jack

INPUT jack

DIRECT OUT/TUNER OUT jack

MAIN OUT jacks L (MONO)/R

SUB OUT jacks L (MONO)/R

SUB OUT connectors L/R (XLR type)

PRE LOOP SEND jack

PRE LOOP RETURN jack

LOOP 1 SEND jack

LOOP 1 RETURN jack

LOOP 2 SEND jack

LOOP 2 RETURN jack

AMP CTL 1 jack

AMP CTL 2 jack

EXP PEDAL 1 jack

CTL 1/2 jack

CTL 3/4, EXP PEDAL 2 jack

DIGITAL OUT connector (coaxial)

USB connector

MIDI connectors IN/OUT/THRU

Power Supply AC 117 V/230 V/240 V

Power Consumption 16 W

Dimensions 482 (W) x 305 (D) x 89 (H) mm

19 (W) x 12-1/16 (D) x 3-9/16 (H) inches

(EIA-2U rack mount type)

Weight 4.8 kg/10 lbs 10 oz

Accessories Owners Manual

USB cable

GT-PRO Software CD-ROM

Roland Service (information sheet)

Options MIDI Foot Controller: FC-200 (Roland), GFC-50 (roland)

Foot Switch: FS-5U, FS-5L

Dual Foot Switch: FS-6

Expression Pedal:

EV-5 (Roland), FV-300L

Foot Switch Cable: PCS-31 (Roland)

(1/4 inches Phone Plug (stereo) - 1/4 inches Phone Plug (mono) x 2)

* 0 dBu = 0.775Vrms

In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.

AF Method (Adaptive Focus method) This is a proprietary method from BOSS & Roland that vastly improves the signal-to-noise (S/N) ratio of the A/ D and D/A converters.

107

Appendices

GT-PRO Software System Requirements

Windows

Operating System: Microsoft Windows XP Professional/XP Home Edition/ 2000 Professional/Me/98SE/98

CPU/Clock: Pentium, Celeron, Intel-compatible Processor/600 MHz or Higher

Memory: 128 MB or more (256 MB or more recommended)

Computer: A Windows compatible computer with a USB connector

Hard disk: 200 MB or more of free space

Display resolution: 800 x 600 pixels or higher/65,535 colors (High Color 16 bit) or more (1024 x 768 pixels or recommended)

Mac OS

Operating System: Mac OS X v10.2.3 or later

* This will not operate in the Classic environment of Mac OS X.

Mac OS 9.x, Mac OS 8.6

CPU/Clock: PowerPC G3/600 MHz or faster (PowerPC G4 recommended)

Memory: 256 MB or more (512 MB or more recommended)

* You must turn virtual memory off before using this driver on Mac OS 9/8.

Computer: Apple Macintosh series computer with on-board USB port

Hard disk: 200 MB or more of free space

Display resolution: 800 x 600 pixels or higher/32,000 colors or more

(1024 x 768 pixels or recommended)

OMS (Mac OS 9/8) OMS version 2.3.5 or later

FreeMIDI (Mac OS 9/8) FreeMIDI version 1.3.5 or later

While under most conditions, a computer similar to the above will permit normal operation of the GT-PRO, BOSS cannot guarantee compatibility solely on these factors. This is due to numerous variables that may influence the processing environment, such as differences in motherboard design and the particular combination of other devices involved.

108

Installing & Setup the USB Driver In order to use the GT-PRO USB, you must first install the USB driver. The USB Driver is included in the GT-PRO Software CD-ROM.

What is USB Driver? The USB Driver is software which passes data between the GT-PRO and the application (sequencer software etc.) that is running on the USB-connected computer.

The GT-PRO Driver sends data from the application to the GT-PRO, and passes data from the GT-PRO to the application.

The GT-PRO can receive and transmit both digital audio signals and MIDI messages.

The explanation about installing and setup the driver is organized according to the computer and driver mode that you are using. Please proceed to the following pages.

Driver installation and settings (Windows) ................................. (p. 110)

Driver installation and settings (Macintosh) ............................... (p. 126)

Application

USB Driver

Computer

GT-PRO

USB cable

USB connector

109

11

Driver installation and settings (Windows)

The GT-PRO features two operational modes, each of which uses a different type of driver, with one mode using the special driver on the CD-ROM included with the GT-PRO and the other mode using the standard Windows driver. Before installing the drivers, you must first switch the GT-PROs driver mode. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

Special driver mode Switch to this mode when using GT-PRO Editor and GT-PRO Librarian while the GT-PRO is connected to your computer via USB. You can use the native driver included on the GT-PRO Driver CD-ROM to record, play, and edit audio with high quality and stable timing. In Special driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 24 bits and a sample rate of 44.1 kHz. Choose Special driver mode if you are using software that supports 24-bit audio, such as the Cakewalk series or Cool Edit; or ASIO-compatible software that can record, play, and edit high-quality audio, such as Cubase or Logic.

Normally, you should use Special driver mode.

* You cannot use the GT-PROs MIDI IN/OUT connectors as the computers MIDI interface.

Standard driver mode The standard USB audio driver provided by Windows will be used. In Standard driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 16 bits and a sampling rate of 44.1 kHz. Choose this mode if you are using software that uses the standard functionality provided by Windows, such as software that uses the CD-ROM drive of your computer to play CD audio, or that uses the software synthesizer included with Windows.

* The driver included with Windows does not support ASIO.

* You cannot use the GT-PROs MIDI IN/OUT connectors as the computers MIDI interface.

About the Driver Modes

The installation procedure will differ depending on your system. Please proceed to one of the following sections, depending on the system you use.

Windows XP users .................................................................. (p. 111)

Windows 2000 users ............................................................... (p. 114)

Windows Me/98 users ........................................................... (p. 117)

0

Driver installation and settings (Windows)

1 Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

2 Open the System Properties dialog box.

1. Click the Windows start menu, and from the menu, select Control Panel.

2. In Pick a category, click Performance and Maintenance.

3. In or pick a Control Panel icon, click the System icon. fig.12-0020

3 Click the Hardware tab, and then click [Driver Signing]. Open the Driver Signing Options dialog box.

4 In the Driver Signing Options dialog box, make sure that Ignore is selected. If Ignore is selected, simply click [OK]. If Ignore is not selected, make a note of the current setting (Warn or Block), change the setting to Ignore, and click [OK].

5 Click [OK] to close the System Properties dialog box.

6 Close all currently running software (applications). Also close all windows that are open. If you are using software such as antivirus programs, be sure to close these programs as well.

7 Find the included CD-ROM. Insert the CD-ROM into your computers CD-ROM drive.

8 From the Windows start menu, choose Run... The Run dialog box will appear.

9 Input the name into the dialog box as shown, and click [OK].

fig.12-0030

(Drive name): \Driver\USB_XP2k\SETUPINF.EXE

* The drive name is D: in the example shown here, but this may be different on your system. Specify the drive name for your CD-ROM drive.

The SetupInf dialog box will appear. You are now ready to install the driver.

10 Before connecting the USB cable, switch the GT-PROs driver mode to Advanced. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

Installing the Special Driver Windows XP users

Depending on your system, the System icon may be displayed directly in the Control Panel (Classic view). If so, double-click the System icon.

You must log on to Windows with a user name whose account has administrative privileges (e.g., Administrator).

If you change the Driver Signing Options setting, change it back to the original setting after youve installed the driver.

If the screen indicates Windows can perform the same action each time you insert a disk or connect a device with this kind of file, click [Cancel].

Checking the name of your drive. From the start menu, choose My Computer. In the window that appears, verify the name of the CD- ROM drive into which you inserted the CD-ROM in step 7. The (D:) or (E:) displayed by the CD- ROM drive icon is the drive name.

111

Driver installation and settings (Windows)

11 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

12 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch.

13 The Found New Hardware Wizard will appear.

* Your computer may display the message Can Windows computer to Windows Update to search for software? If this occurs, select No, not this time and click [Next].

14 The screen will indicate Please choose your search and installation options. Select Install from a list or specific location (Advanced), and click [Next].

15 The screen will indicate Please choose your search and installation options. Select Dont search. I will choose the driver to install, and click [Next].

16 Make sure that the Model field indicates BOSS GT-PRO, and click [Next]. Driver installation will begin.

17 The Insert Disk dialog box will appear. Click [OK].

18 The Files Needed dialog box will appear. Input the following into the Copy files from field, and click [OK]. (drive name):\DRIVER\USB_XP2k

* Specify the drive name of your CD-ROM drive.

19 The screen will indicate Completing the Found New Hardware Wizard. Click [Finish].

20 When driver installation has been completed, the System Settings Change dialog box will appear. Click [Yes]. Windows will restart automatically. If the System Setting Change dialog box does not appear, restart Windows from the start menu.

If the What action do you want Windows to take? (Step 4) setting was not set to Ignore, a Hardware Installation dialog box will appear.

A dialog box with a ! symbol will appear.

1. Click [Continue Anyway].

2. Continue the installation.

A dialog box with a x symbol will appear.

1. Click [OK].

2. When the Found New Hardware Wizard appears, click [Finish].

3. Return to step 1 (p. 111) and re-install the driver from the beginning of the procedure.

The Insert Disk dialog may not appear. In that case, proceed to the next step.

If the What action do you want Windows to take? (Step 4) setting was not set to Ignore, a Hardware Installation dialog box will appear.

A dialog box with a ! symbol will appear.

1. Click [Continue Anyway].

2. Continue the installation.

112

Driver installation and settings (Windows)

Next, you need to set your computer so priority is given to background services, which will help to assure that audio and MIDI processing occur smoothly.

Giving priority to background services Crackling may occur in the sound if you omit making this setting. To ensure that audio and MIDI are processed smoothly, make the setting as follows.

1 Open the System Properties dialog box.

1. From the Windows start menu, choose Control Panel.

2. In Pick a category, click Performance and Maintenance.

3. In or Pick a Control Panel icon, click the System icon.

2 Click the Advanced tab.

3 Click [Settings] located at the right of the Performance area. The Performance Options dialog box appears.

fig.12-0040

4 Click the Advanced tab.

5 In Processor Scheduling, choose Background services, and click [OK].

6 In the System Properties dialog box, click [OK]. The System Properties dialog box closes.

Next, you need to make audio device settings. (Driver settings (p. 123))

If you changed the Driver Signing Options setting (p. 111, step 4), restore the setting to its previous state after restarting Windows.

1. Log on to Windows using the same user account as the one used when the driver was installed.

2. From the Windows start menu, choose Control Panel.

3. In Pick a category, click Performance and Maintenance.

4. In or Pick a Control Panel icon, click the System icon. The System Properties dialog box appears.

* Depending on your system, the System icon may be shown directly in the Control Panel (Classic view). If so, double-click the System icon.

5. Click the Hardware tab, and then click [Driver Signing]. The Driver Signing Options dialog box appears.

6. In Driver Signing Options, restore the previous setting (Warn or Block) and click [OK].

7. Click [OK]. The System Properties dialog box closes.

Depending on your system, the System icon may be displayed directly in the Control Panel (Classic view). If so, double-click the System icon.

113

Driver installation and settings (Windows)

1 Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

2 Open the System Properties dialog box.

1. Click the Windows Start button, and from the menu that appears, select Settings | Control Panel.

2. In Control Panel, double-click the System icon. fig.12-0050

3 Click the Hardware tab, and then click [Driver Signing]. The Driver Signing Options dialog box will appear.

4 Make sure that File signature verification is set to Ignore. If it is set to Ignore, simply click [OK]. If it is not set to Ignore, make a note of the current setting (Warn or Block). Then change the setting to Ignore and click [OK].

5 Click [OK] to close the System Properties dialog box.

6 Exit all currently running software (applications). Also close any open windows. If you are using virus checking or similar software, be sure to exit it as well.

7 Prepare the CD-ROM. Insert the CD-ROM into the CD-ROM drive of your computer.

8 Click the Windows Start button. From the menu that appears, select Run... The Run... dialog box will appear.

9 In the dialog box that appears, input the following into the Open field, and click [OK].

fig.12-0060

(drive name): \Driver\USB_XP2k\SETUPINF.EXE

* In the explanatory example shown here, the drive name is given as D:. The drive name D: may be different for your system. Specify the drive name of your CD-ROM drive.

The SetupInf dialog box will appear. You are now ready to install the driver.

10 Before connecting the USB cable, switch the GT-PROs driver mode to Advanced. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

11 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

12 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch.

Windows 2000 users

Log on to Windows as a user with administrative privileges (such as Administrator)

If you changed File signature verification, you must restore the previous setting after you have installed the driver.

To check the drive name In the Windows desktop, double-click the My Computer icon. In the window that appears, check the drive name of the CD-ROM drive into which you inserted the CD-ROM in step7. The drive name is the (D:) or (E:) displayed by the CD-ROM drive .

114

Driver installation and settings (Windows)

13 The Insert Disk dialog box will appear. Click [OK].

14 The Files Needed dialog box will appear. Input the following into the Copy files from field, and click [OK]. (drive name): \Driver\USB_XP2k

* Specify the drive name of your CD-ROM drive.

15 The screen will indicate Completing the Found New Hardware Wizard. Click [Finish].

16 The System Settings Change dialog box will appear. Click [Yes]. Windows will restart automatically.

This completes installation of the driver. Next, we recommend that you enable background processing on your computer, so MIDI and audio processing will be as smooth as possible. ( Giving priority to background services (p. 116))

If the File signature verification (Step 4) setting was not set to Ignore, a Digital Signature Not Found dialog box will appear.

If File signature verification is set to Warn

1. Click [Yes].

2. Continue the installation.

If File signature verification is set to Block

1. Click [OK].

2. When the Found New Hardware Wizard appears, click [Finish].

3. Return to step 1 (p. 114) and re-install the driver from the beginning of the procedure.

If the Insert Disk dialog box does not appear, proceed to the next step.

If the File signature verification (Step 4) setting was not set to Ignore, a Digital Signature Not Found dialog box will appear.

If File signature verification is set to Warn 1. Click [Yes].

2. Continue the installation.

If you changed the File signature verification (p. 114, step 4) setting, restore the original setting after Windows restarts.

1. After Windows restarts, log on to Windows as a user with administrative privileges, (such as Administrator).

2. In the Windows desktop, right-click the My Computer icon, and from the menu that appears, select Properties. The System Properties dialog box will appear.

3. Click the Hardware tab, and then click [Driver Signing]. The Driver Signing Options dialog box will appear.

4. Return the File signature verification setting to the original setting (either Warn or Block), and click [OK].

5. Click [OK]. The System Properties dialog box will close.

115

Driver installation and settings (Windows)

Giving priority to background services In Windows 2000, make settings to enable background processing. If you fail to make this setting, you may experience interruptions in the sound. To ensure that MIDI and audio processing occurs smoothly, use the following procedure to make settings.

1 Click the Windows Start button, and from the menu that appears, select Settings | Control Panel. In Control Panel, double-click the System icon.

2 Click the Advanced tab.

3 At the right of the Performance field, click [Performance Options]. The Performance Options dialog box will appear.

fig.12-0040

4 In the Application response field, choose Background services and click [OK].

5 Click [OK] to close the System Properties dialog box.

Next, make audio device settings. (Driver settings (p. 123))

116

Driver installation and settings (Windows)

1 With the GT-PRO disconnected, start up Windows. Disconnect all USB cables except for a USB keyboard and USB mouse (if used). If you are using virus checking or similar software, be sure to exit it as well.

2 Exit all currently running software (applications). Also close any open windows. If you are using virus checking or similar software, be sure to exit it as well.

3 Prepare the CD-ROM. Insert the CD-ROM into the CD-ROM drive of your computer.

4 Click the Windows Start button. From the menu that appears, select Run.... The Run... dialog box will appear.

5 In the dialog box that appears, input the following into the Open field, and click [OK].

fig.12-0070

(drive name): \Driver\USB_Me98\SETUPINF.EXE

* In the explanatory example shown here, the drive name is given as D:. The drive name D: may be different for your system. Specify the drive name of your CD-ROM drive.

The SetupInf dialog box will appear. You are now ready to install the driver.

6 Before connecting the USB cable, switch the GT-PROs driver mode to Advanced. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

7 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

8 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch. The driver will be installed automatically.

9 In the SetupInf dialog box, click [OK].

Next, make audio device settings. (Driver settings (p. 123))

Windows Me/98 users

To check the drive name In the Windows desktop, double-click the My Computer icon. In the window that appears, check the drive name of the CD-ROM drive into which you inserted the CD-ROM in step 3. The drive name is the (D:) or (E:) displayed by the CD-ROM drive .

If a message recommends that you restart Windows, restart Windows as directed.

117

Driver installation and settings (Windows)

1 With the GT-PRO disconnected, start up Windows. Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

2 Exit all currently running software (applications). Also close any open windows. If you are using virus checking or similar software, be sure to exit it as well.

3 Before connecting the USB cable, switch the GT-PROs driver mode to Standard. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

4 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

5 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch. The GT-PRO will be detected automatically, and the driver will be installed.

6 When installation is complete, restart Windows.

Next, you need to make the driver settings. (Driver settings (p. 123))

Installing the OS-standard Driver

Windows XP/2000 users

The installation procedure will differ depending on your system. Please proceed to one of the following sections, depending on the system you use.

Windows XP/2000 users........................................................ (p. 118)

Windows Me users ................................................................. (p. 119)

Windows 98 users ................................................................... (p. 120)

118

Driver installation and settings (Windows)

1 With the GT-PRO disconnected, start up Windows. Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

2 Exit all currently running software (applications). Also close any open windows. If you are using virus checking or similar software, be sure to exit it as well.

3 Before connecting the USB cable, switch the GT-PROs driver mode to Standard. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

4 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

5 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch. Windows will detect the GT-PRO, and the Add New Hardware Wizard dialog box will appear.

fig.12-0080

6 Make sure that Automatic search for a better driver (Recommended) is selected, and click [Next]. Driver detection will begin. When the driver has been found, driver installation will begin. Once the driver has been installed, a dialog box will inform you of this.

fig.12-0090

7 Click [Finish].

8 Restart Windows.

Next, you need to make the driver settings. (Driver settings (p. 123))

Windows Me users

119

Driver installation and settings (Windows)

The USB composite device driver is installed first, then the USB audio device driver is installed. Use the following procedure to install the drivers.

1 With the GT-PRO disconnected, start up Windows. Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

2 Exit all currently running software (applications). Also close any open windows. If you are using virus checking or similar software, be sure to exit it as well.

3 Before connecting the USB cable, switch the GT-PROs driver mode to Standard. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

4 Insert the Windows CD-ROM into the CD-ROM drive of your computer, and the power switch turned OFF, then use the USB cable to connect the GT-PRO to your computer.

5 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch. USB composite device will be detected automatically, and the Add New Hardware Wizard dialog box will appear.

fig.12-0091

6 Click [Next].

7 When What do you want Windows to do? appears, select Search for the best driver for your device (Recommended), and click [Next].

fig.12-0092

A dialog box like the one shown below will appear. fig.12-0093

Windows 98 users

120

Driver installation and settings (Windows)

8 Check CD-ROM drive, and click [Next]. A dialog box like the one shown below will appear.

fig.12-0094

9 Click [Next]. File (driver) copying will begin.

When installation of the USB Composite Device driver is completed, a dialog box like the one shown below will appear.

fig.12-0096

10 Click [Finish]. Next, the USB audio device will be detected automatically, and the Add New Hardware Wizard dialog box will appear.

fig.12-0097

If the Windows CD-ROM is not inserted in the CD-ROM drive, a Insert Disk dialog box may appear. In this case, insert the Windows CD-ROM into the CD-ROM drive and click [OK].

fig.12-0095

121

Driver installation and settings (Windows)

11 Click [Next], and proceed with the installation in the same way as in steps 810. When installation of the USB audio device driver is complete, a dialog box like the one shown here will appear.

fig.12-0098

12 Click [Finish]. Installation of the USB composite device driver and USB audio device driver has been completed.

13 Restart Windows.

Next, you need to make the driver settings. (Driver settings (p. 123))

122

Driver installation and settings (Windows)

In order to get the best performance from the software you are using, you must choose the correct device settings. The GT-PROs audio driver supports WDM and ASIO 2.0.

Audio devices

MIDI devices

* For details on how to make settings for your software, you should also refer to the owners manual for your software.

* If you are unable to select the GT-PRO in the device settings of your software, it is possible that the GT-PRO driver was not installed correctly. Please re-install the driver.

WDM Use this if you are using the GT-PRO with the following applications or situations.

Conventional applications such as Media Player (for the settings, refer to Input/output device settings (p. 124))

WDM driver mode compatible applications such as SONAR

DirectSound compatible applications

ASIO Use this if you are using the GT-PRO with an ASIO-compatible application such as Cubase. In the ASIO settings of your application, choose BOSS GT-PRO.

* To prevent audio loop feedback or double monitoring, turn monitoring off in your application, or set your application to use ASIO Direct Monitor.

* When using the GT-PRO with ASIO, we recommend that you not set your application to use the Microsoft GS Wavetable SW Synth. (This will decrease the processing load, and make it easier to change the driver buffer size.)

MME Normally you should use WDM or ASIO. Use this in the following cases when using an application that does not support WDM driver mode or ASIO.

Recording or playing 24-bit data

Driver settings About the input and output devices

Audio output device BOSS GT-PRO WDM MME BOSS GT-PRO Out MME

Audio input device BOSS GT-PRO WDM MME BOSS GT-PRO In MME

ASIO device BOSS GT-PRO ASIO

MIDI OUT BOSS GT-PRO Control If you specify BOSS GT-PRO as the output port for the GT-PRO Editor/Librarian, sequencer soft- ware, etc., you can control the GT-PRO using System Exclusive and other messages.

MIDI IN BOSS GT-PRO Control If you specify BOSS GT-PRO as the input port for the GT-PRO Editor/Librarian, sequencer software, etc., you can acquire data from the GT-PRO using System Exclusive and other messages.

123

Driver installation and settings (Windows)

If you will be using the Windows Media Player application with the GT-PRO, specify the input/output devices as follows. The method in which you make device settings will depend on the software you are using. For details, refer to the owners manual for your software.

Windows XP users

1 Open the Sound, Speech, and Audio Devices Properties dialog box.

1. From the Windows start menu, choose Control Panel.

2. In Pick a category, click Sound, Speech, and Audio Devices.

3. In or Pick a Control Panel icon, click the Sounds and Audio Devices icon.

2 Click the Audio tab.

fig.12-0100

3 In the Sound playback and Sound recording areas, click the Default device field. From the list that appears for each field, choose the device shown below.

4 Click [OK] to close the Sounds and Audio Devices Properties dialog box.

This completes the audio input/output settings.

Windows 2000/Me users

1 Open the Sounds and Multimedia Properties dialog box

1. Click the Windows Start button, and from the menu that appears, select Settings | Control Panel.

2. In Control Panel, double-click the Sounds and Multimedia icon to open the Sounds and Multimedia Properties dialog box.

2 Click the Audio tab.

fig.12-0110

3 For Sound Playback and Sound Recording areas, click the located at the right of [Preferred device], and select the following from the list that appears.

4 Close the Sounds and Audio Devices Properties dialog box. Click OK to complete the settings.

This completes the audio input/output settings.

Input/output device settings

Sound playback BOSS GT-PRO Sound recording BOSS GT-PRO

Sound playback BOSS GT-PRO Sound recording BOSS GT-PRO

Depending on your system, the System icon may be displayed directly in the Control Panel (Classic view). If so, double-click the System icon.

If using the standard Windows driver, select GT-PRO or USB Audio Device.

If the Sound and Multimedia icon is not displayed, click Show all control panel options in the frame at the left.

If using the standard Windows driver, select GT-PRO or USB Audio Device.

124

Driver installation and settings (Windows)

Windows 98 users

1 Click the Windows Start button, and from the menu that appears, select Settings | Control Panel. The Control Panel will appear.

2 In Control Panel, double-click the Multimedia icon.

3 Click the Audio tab.

fig.12-0111

4 For Sound Playback and Sound Recording areas, click the located at the right of [Preferred device], and select the following from the list that appears.

5 Click [OK] to close the Multimedia Properties dialog box. This concludes the procedure for setting the input and output destinations.

Before you start up your software, use a USB cable to connect the GT-PRO to your computer. If your software allows you to specify audio input/output settings, choose BOSS GT-PRO. For details, refer to the owners manual for your software.

Sound playback BOSS GT-PRO Sound recording BOSS GT-PRO

Software settings

If using the standard Windows driver, select GT-PRO or USB Audio Device.

125

12

Driver installation and settings (Macintosh)

The GT-PRO features two operational modes, each of which uses a different type of driver, with one mode using the special driver on the CD-ROM included with the GT-PRO and the other mode using the standard Mac OS driver. Before installing the drivers, you must first switch the GT-PROs driver mode. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

Special driver mode Switch to this mode when using GT-PRO Editor and GT-PRO Librarian while the GT-PRO is connected to your computer via USB. You can use the native driver included on the GT-PRO Driver CD-ROM to record, play, and edit audio with high quality and stable timing. In Special driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 24 bits and a sample rate of 44.1 kHz. Choose Special driver mode if you are using software that supports 24-bit audio, such as the Cakewalk series or Cool Edit; or ASIO-compatible software that can record, play, and edit high-quality audio, such as Cubase or Logic. In Special mode, the GT-PRO cannot play back audio data from the Macintoshs sound manager (such as audio CDs and alert sounds).

Normally, you should use Special driver mode.

* You cannot use the GT-PROs MIDI IN/OUT connectors as the computers MIDI interface.

* The driver for Mac OS 9 can also be used with Mac OS 8.6. Refer to Mac OS 9 users (p. 129).

Standard driver mode The standard USB audio driver provided by Mac OS will be used. In Standard driver mode, audio signals are transferred between the GT-PRO and the computer at a bit depth of 16 bits and a sampling rate of 44.1 kHz. Choose this mode if you are using software that uses the standard functionality provided by Mac OS, such as software that uses the CD-ROM drive of your computer to play CD audio, or that uses the software synthesizer included with Mac OS.

* The driver included with Mac OS does not support ASIO.

* You cannot use the GT-PROs MIDI IN/OUT connectors as the computers MIDI interface.

* Use of a standard driver is not supported in Mac OS 8.6. Use the Special driver mode.

About the Driver Modes

The installation procedure will differ depending on your system. Please proceed to one of the following sections, depending on the system you use.

Mac OS X users........................................................................ (p. 127)

Mac OS 9 users ........................................................................ (p. 129)

6

Driver installation and settings (Macintosh)

Installing the driver

1 Disconnect all USB cables other than those for your keyboard and mouse, and restart your Macintosh.

2 Prepare the CD-ROM. Insert the CD-ROM into the CD-ROM drive of your computer.

3 In the Driver (Mac OS X) folder of the CD-ROM, double-click GTPROUSBDriver.pkg.

4 The display will indicate Welcome to the BOSS GT-PRO USB Driver Installer. Click [Continue].

5 The display will indicate Select a Destination. Click the drive in which the operating system is installed to select it, and then click [Continue].

6 The display will indicate Easy Install. Click Install or Upgrade.

7 The display will indicate Installing this software requires you to restart your computer when the installation is done. Click [Continue Installation].

8 The display will indicate The software was successfully installed. Click [Restart] to restart your computer.

This completes installation of the GT-PRO driver. Next, you need to make the driver settings. (Driver settings (p. 128))

Installing the Special Driver Mac OS X users

If the Authenticate dialog box appears during the installation, input the password and click OK.

The message This Installer package needs to run a program to determine if it can be installed. Do you want to continue? may be displayed. If this occurs, click continue to advance.

Select your startup disk as the drive.

127

Driver installation and settings (Macintosh)

Input/output device settings If you want to use the GT-PRO with the iTunes software included with your Macintosh, specify the input/output devices as follows. The procedure for making device settings differs depending on the software you are using. For details, refer to the owners manual for your software.

1 Before connecting the USB cable, switch the GT-PROs driver mode to Advanced. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

2 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

3 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch.

4 Open System Preferences and click Sound.

5 In the Sound Effects tab, set Play alerts and sound effects through to BOSS GT-PRO 44.1 kHz.

6 In the Output tab, set Choose a device for sound output to BOSS GT-PRO 44.1 kHz.

GT-PRO

7 In the Input tab, set Choose a device for sound input to BOSS GT-PRO 44.1 kHz. When you have finished making settings, close the dialog box.

* You'll need to make MIDI device settings within the sequencer you're using. For details, refer to the owner's manual for your sequencer software.

Software settings Before you start up your software, use a USB cable to connect the GT-PRO to your computer. If your software allows you to specify MIDI and audio input/output settings, choose BOSS GT-PRO. For details, refer to the owners manual for your software.

Driver settings

If you want sound to be played from the internal speakers of your Macintosh, choose Internal speakers in the Output tab. If you dont want alerts to be played through the GT-PRO, choose Internal speakers for the Play alerts and sound effects through setting.

Cautions for use Before you use your software with the GT-PRO, please note the following.

Before you start up your software, use a USB cable to connect the GT-PRO with your computer.

Do not disconnect the GT-PROs USB cable while your software is running.

Close your software before you unplug the GT-PROs USB cable.

Turn off the Sleep setting of your Macintosh.

The GT-PRO will not work in the Classic environment of Mac OS X. Use it when the Classic environment is not running.

Depending on the model of Macintosh you are using, starting up the Macintosh when the GT-PRO is connected may cause operation to become unstable. In this case, start up the Macintosh and then connect the GT-PRO.

128

Driver installation and settings (Macintosh)

Installing the driver Use either OMS or FreeMIDI as the MIDI driver.

The included GT-PRO driver is an add-on module for using the GT-PRO with OMS or FreeMIDI.

* Either OMS or FreeMIDI must be installed in your Macintosh, as appropriate for the sequencer software you are using.

Use the following procedure to install the GT-PRO driver.

1 Exit all currently running software (applications). If you are using a virus checker or similar software, be sure to exit this as well.

2 Prepare the CD-ROM.Insert the CD-ROM into the CD-ROM drive.

3 Double-click the GT-PRO Driver-E Installer icon (found in the Driver E (Mac OS 9) folder of the CD-ROM) to start up the installer.

4 Verify the Install Location, and click [Install].

fig.12-0210

* If a message like the following is displayed, click [Continue]. The other currently running applications will exit, and installation will continue.

5 A dialog box will indicate Installation was successful. Click [Restart] to restart your Macintosh.

Mac OS 9 users

OMS can be found in the OMS 2.3.8 E folder within the OMS (Mac OS 9) folder of the CD-ROM. If you would like to know more about OMS, refer to OMS_2.3_Mac.pdf which can be found in the same folder.

Disconnect the GT-PRO from the Macintosh before you perform the installation. If a GT-PRO is already connected to your Macintosh when you install the driver, a message like the following will appear when the Macintosh is started up. Perform the steps described below as appropriate for the message that is displayed.

If the screen indicates: Software needed for the USB device GT-PRO is not available. Would you like to look for the software on the Internet? click [Cancel].

If the screen indicates: The software needed to use the USB device GT-PRO cannot be found. Please refer to the device documentation to install the necessary software. click [OK].

129

Driver installation and settings (Macintosh)

OMS settings

1 Before connecting the USB cable, switch the GT-PROs driver mode to Advanced. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

2 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

3 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch.

4 In the Opcode folder, open the OMS Applications folder, and double-click the OMS Setup icon.

fig.12-0220

* The first time OMS is started up, a Create a New Studio Setup dialog box will appear. Click [OK].

If this is the second or later time, select New Studio Setup from the File menu. fig.12-0230

* If the Apple Talk dialog box appears, select [Turn It Off]. Then click [OK] in the dialog box that appears next. fig.12-0240

The OMS Driver Search dialog box will appear. fig.12-0250

5 Click [Search].

130

Driver installation and settings (Macintosh)

6 When the search has been completed, verify that the OMS Driver Setup dialog box lists the BOSS GT-PRO, and click [OK].

fig.12-0260

* If the dialog box does not show BOSS GT-PRO, check whether the GT-PRO is connected correctly, and start up OMS Setup once again.

7 Verify that the OMS MIDI Device Setup dialog box lists the GT-PRO. Then click all check boxes from the BOSS GT-PRO to check them, and click [OK]. A dialog box will appear, allowing you to save the settings in a file.

fig.12-0270

* For other connected MIDI devices as well, add a check mark to the port(s) you want to use. For details on settings, refer to the manual that came with your MIDI device.

* BOSS/Roland can provide no guarantees or support regarding the operation of MIDI device made by another company. Please contact the manufacturer of your MIDI device.

8 Input the desired file name, and click [Save].

9 In the Studio Setup window, change the device name indicating the MIDI device connected to the GT-PRO as follows. Click the device name, and you will be able to edit it. BOSS GT-PRO: GT-PRO Control

fig.12-0280

10 From the File menu, select Save.

131

Driver installation and settings (Macintosh)

11 From the Edit menu, select OMS MIDI Setup. In the OMS MIDI Setup dialog box that appears, check Run MIDI in background, and click [OK].

fig.12-0290

12 Exit OMS Setup.

13 Make MIDI device settings on your sequencer software. For details on settings, refer to the manual that came with your software.

Next, you need to install the ASIO driver. (Installing the ASIO driver (p. 135))

132

Driver installation and settings (Macintosh)

FreeMIDI settings

1 Before connecting the USB cable, switch the GT-PROs driver mode to Advanced. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

2 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

3 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch.

4 Open the FreeMIDI Applications folder, and double-click the FreeMIDI Setup icon.

fig.12-0300

* The first time FreeMIDI is started up, a Welcome to FreeMIDI! dialog box will appear. Click [Continue]. If this is the second or later time, select the FreeMIDI Preferences from the File menu. fig.12-0310

* When OMS is installed on this computer... appears, click [FreeMIDI].

5 Make sure that Use OMS when available is unchecked in the FreeMIDI Preferences dialog box. If it is checked, remove the check mark, and restart FreeMIDI.

6 In the FreeMIDI Preferences dialog box, check GT-PRO Port which is located below GT-PRO Driver in MIDI Configuration, and click [OK].

fig.12-0320

* If the dialog box does not show GT-PRO Driver, check whether the GT-PRO is connected correctly, and start up FreeMIDI Setup once again.

The About Quick Setup dialog box will appear. fig.12-0330

* If the dialog will not appear, select Quick Setup from the Configuration menu.

133

Driver installation and settings (Macintosh)

7 Click [Continue].

8 In the dialog box that appears, set Studio Location: to GT-PRO,GT-PRO Port, and click [>>Add>>].

fig.12-0340

9 When settings are complete, click [Done]. A setting window will appear.

10 In the setting window, change the device name indicating the MIDI device connected to the GT-PRO as follows. Click the device name, and you will be able to edit it. Device 1: GT-PRO Control

fig.12-0350

11 From the File menu, select [Save], and save your settings.

12 Exit FreeMIDI Setup.

13 Make MIDI device settings on your sequencer software. For details on settings, refer to the manual that came with your software.

Next, you need to install the ASIO driver. (Installing the ASIO driver (p. 135))

134

Driver installation and settings (Macintosh)

Installing the ASIO driver You must install the MIDI driver even if you will be using only audio on the GT-PRO. Be sure to install the MIDI driver before you install the ASIO driver.

This section explains how to install the ASIO driver that allows the GT-PRO to be used by your sequencer software or audio editing software.

* For more on installing and setting the ASIO driver, be sure to refer to the Readme_E.htm file in the Driver E (Mac OS 9) folder on the CD-ROM.

The ASIO driver of the GT-PRO supports the following audio input/output channels.

Audio input 24/16 bit 1 stereo ch. (2 mono chs.)

Audio output 24/16 bit 1 stereo ch. (2 mono chs.)

Here we will explain how to install the ASIO 1.0 16 bit-compatible driver.

1 From the Driver E (Mac OS 9) ASIO folder of the CD-ROM, copy [GT-PRO ASIO1.0 16bit] to ASIO Drivers folder of the ASIO-compatible software you are using (e.g., Cubase, Logic, or Digital Performer).

fig.12-0360

2 Start up your ASIO-compatible software.

3 Open the Audio setting dialog box of your ASIO-compatible software, and select [GT-PRO ASIO 16bit] as the ASIO Device.

ASIO (Steinberg Audio Stream In/Out Interface) This is an audio interface standard promoted by the Steinberg Corporation. When the GT-PRO is used with ASIO-compatible software, the synchronization precision will be improved, allowing a more sophisticated music production environment.

The GT-PRO cannot play back audio data from the Macintoshs sound manager (such as audio CDs and alert sounds).

If your ASIO-compatible software supports ASIO 2.0 or recording/playback of 24 bit audio data, using the following drivers will provide a higher quality environment.

ASIO-compatible software Driver to use

ASIO2.0-compatible 24 bit compatible

x x GT-PRO ASIO1.0 16 bit x o GT-PRO ASIO1.0 24 bit o x GT-PRO ASIO2.0 16 bit o o GT-PRO ASIO2.0 24 bit

The Audio setting dialog box will be named differently depending on your software. For details refer to the manual of your software.

135

Driver installation and settings (Macintosh)

1 With the GT-PRO disconnected, start up Mac OS. Disconnect all USB cables except for a USB keyboard and USB mouse (if used).

2 Exit all currently running software (applications). Also close any open windows. If you are using virus checking or similar software, be sure to exit it as well.

3 Before connecting the USB cable, switch the GT-PROs driver mode to Standard. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

4 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

5 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch.

6 Open the System Preferences and click Sound.

fig.12-0370

7 In the Sound Effects tab, set the Play alerts and sound effects through to GT-PRO. Now, return the GT-PROs OUTPUT MAIN/SUB knob to the original position, then try clicking on an alert in the list. If the sound of the alert comes from the GT-PRO when you do so, it means that the GT-PRO is being recognized and that the driver has been installed properly.

Installing the OS-standard Driver

Mac OS X users

The installation procedure will differ depending on your system. Please proceed to one of the following sections, depending on the system you use.

Mac OS X users........................................................................ (p. 136)

Mac OS 9 users ........................................................................ (p. 138)

Once set this way, all sounds from your Macintosh (including audio alerts) will be output only through the GT-PRO, not from the speakers of your Macintosh.

136

Driver installation and settings (Macintosh)

fig.12-0380

8 In the Output tab, set the Choose a device for sound output to GT-PRO.

fig.12-0390

9 In the Input tab, set the Choose a device for sound input to GT-PRO.

fig.12-0400

The Main Volume slider will not move.

Cautions when using the GT-PRO Before you use your software, please note the following points.

Select GT-PRO in the audio driver setting of your software. For details, refer to the manual that came with your software.

Connect the GT-PRO to your computer via a USB cable before you start up your sequencer or other software.

Do not disconnect the USB cable from the GT-PRO while your sequencer or other software is running.

Disconnect the USB cable from the GT-PRO only after you have quit your sequencer or other software.

Leave the Sleep function of your Macintosh turned off.

The GT-PRO will not work in the Classic environment of Mac OS X. Use the GT-PRO when the Classic environment is not running.

137

Driver installation and settings (Macintosh)

1 With the GT-PRO disconnected, start up Mac OS.

2 Exit all currently running software (applications). If you are using a virus checker or similar software, be sure to exit it as well.

3 After starting up Mac OS, select Apple System Profiler from the Apple menu. The Apple System Profiler dialog box will appear.

fig.12-0410

4 Click the Devices and Volumes tab.

5 Before connecting the USB cable, switch the GT-PROs driver mode to Standard. For instructions on switching the GT-PROs driver modes, refer to Switching the Driver Mode (p. 88).

6 With the power switch turned OFF, use the USB cable to connect the GT-PRO to your computer.

7 Make sure that the GT-PROs OUTPUT MAIN and SUB knobs are set to the lowest setting, then switch ON the POWER switch. Wait for approximately five seconds. While you are waiting, the screen display will not change, but the GT-PRO is being detected. Do not touch the mouse or keyboard.

8 In order to check that detection has been completed, once again go to Apple System Profiler, and select Update all information from the Commands menu. In the USB area, three audio devices will be displayed. If these are displayed correctly, driver installation has succeeded.

fig.11-630

9 In the File menu, click Quit to close the Apple System Profiler. If they are not displayed correctly, disconnect the GT-PRO, wait for about ten seconds, and then repeat the procedure from step 2.

Mac OS 9 users

138

Driver installation and settings (Macintosh)

Settings the sound input/output

1 From the Apple menu, select Control Panel Sound. The Sound dialog box will appear.

fig.12-0430

The Sound dialog box will appear.

2 Click the Speakers tab or Speaker Settings.

fig.12-0440

3 With the volume turned down on the GT-PRO and on your peripheral audio equipment, click [Start Test]. Test signals will be output from the GT-PRO; left first, then right, as indicated in the screen.

fig.12-450

4 In the Sound dialog box, click the Input tab.

139

Driver installation and settings (Macintosh)

5 In Choose a source for sound input (Device), select USB audio.

fig.12-0460

* Do not check Play sound through output device.

6 When you are finished making settings, close the Sound dialog box.

7 From the File menu, select Quit.

If USB audio is not displayed, close the Sound dialog box, and disconnect the GT-PROs USB cable from the Macintosh. Perform the driver installation (p. 138) once again.

140

Setting the Special Drivers Functions

When using the GT-PRO in Advanced mode, you can change the driver settings to adjust the latency of the audio. To adjust the latency, change the Buffer Size in the driver settings dialog box.

1 As described in Opening the special driver settings dialog box (p. 142), open the Driver Settings dialog box.

2 Adjust the driver buffer size. The following setting will produce the shortest latency.

Windows: Set Audio Buffer Size to the far left (Min).

Macintosh: Set Buffer Size to the far left (Min).

3 Click [OK] to close the driver settings dialog box.

4 Restart the application that is using the GT-PRO. If you are using an application that has a function for testing audio devices, get it to perform its tests.

5 Play back audio data on your application. If interruptions occur in the sound, repeat this procedure, and gradually increase the buffer size specified in step 2 until interruptions no longer occur.

* Depending on the application you are using, there may be a buffer size or latency adjustment function among the audio settings of the application as well. For details, refer to the operation manual for your application.

If you are using the GT-PRO from an ASIO 2.0 compatible application, switching of the GT-PROs output signals (Direct Monitor; p. 90)) can be controlled from your ASIO 2.0 compatible application.

1 As described in Opening the special driver settings dialog box (p. 142), open the Driver Settings dialog box.

2 Check the Use ASIO Direct Monitor check box.

3 Click [OK] to close the driver settings dialog box.

* Depending on the application you are using, there may be a ASIO Direct Monitor among the audio settings of the application as well. For details, refer to the operation manual for your application.

* When using ASIO Direct Monitor, monitoring may switch on/off at unexpected times, depending on the application settings and on the recording procedure. If this occurs, uncheck the check box in step 2 to disable ASIO Direct Monitor.

Adjusting the audio latency

Using ASIO Direct Monitor

141

Setting the Special Drivers Functions

Opening the special driver settings dialog box

If using Windows:

1. Open the Control Panel and double-click BOSS GT-PRO. The BOSS GT-PRO Driver Settings dialog box will appear.

* In Windows XP, click Switch to classic view to switch the display to the classic view. BOSS GT-PRO will not be displayed unless the classic view is selected.

* In Windows Me, click View all Control Panel options.

If using Macintosh:

1. Open the ASIO Control Panel from the Audio Settings dialog box of your ASIO-compatible application. The name of the Audio Settings dialog box and the procedure for opening the ASIO Control Panel will differ depending on your application. For details, refer to the operation manual for your application.

142

Troubleshooting

Error Messages If you attempt an incorrect operation or if an operation could not be executed, the display will indicate an error message. Refer to this list and take the appropriate action. fig.12-0510d

The memory backup battery inside the GT-PRO has run down. (This message will appear when the power is turned on.)

Replace the battery as soon as possible. For battery replacement, please contact a nearby Roland service center or your dealer.

fig.12-0520d

There is a problem with the MIDI cable connection.

Check to make sure the cable has not been pulled out or is not shorted.

fig.12-0530d

More MIDI messages were received in a short time than could be processed correctly.

Problems when using the GT-PRO If there is no sound or other operational problems occur, first check through the following solutions. If this does not resolve the problem, then contact your dealer or a nearby Roland service station.

Problems with the sound

No sound / volume too low

Are the connection cables broken?

Try using a different set of connection cables.

Is the GT-PRO correctly connected to the other devices?

Check connections with the other devices (p. 15).

Is the connected amp/mixer turned off, or the volume lowered?

Check the settings of your amp/mixer system.

Is the OUTPUT MAIN/SUB knobs lowered?

Adjust the OUTPUT MAIN/SUB knobs to an appropriate position (p. 17).

Is Output Channel set correctly?

When Output Channel (p. 95) is set to PATCH, the output destination set with Master Output (p. 55) is used.

Is Tuner set to On?

When the volume is set to Mute in the Tuner mode, even the direct sound will not be output by setting the Tuner to On (p. 102).

Is each effect set correctly?

Use the Meter function (p. 100) to check the output level of each effect. If there is an effect for which the meter does not move, check the settings for that effect.

Is USB/DGT: Out Lev set to a low value?

Adjust the setting to an appropriate value (p. 89).

Is FV: Level or MST: Patch Level specified as an assign Target?

Move the controller to which it is assigned.

Is the power to the external device connected to the SEND/RETURN jack off, or is the volume of the device turned down?

Check the settings for the connected device.

Sound from devices connected to the INPUT jack is not heard in the headphones

The output from the PHONES jack is a mix of the output from the MAIN OUT and SUB OUT.

Try adjusting both the MAIN and SUB volume knobs.

Is the USB: Dir Monitor (p. 90) set to OFF?

Set to ON.

The volume level of the instrument connected to INPUT and RETURN are too low

Could you be using a connection cable that contains a resistor?

Use a connection cable that does not contain a resistor.

143

Troubleshooting

Oscillating sound occurs

Is the value for any gain- or volume-related effects parameter set too high?

Lower these values.

Is the SYS: Input Select (p. 96) set to USB In?

When set to USB In, audio signals may, depending on the software settings, end up looping. You can use the following methods to prevent this from happening.

Stop playback with the software, and set Soft Thru to Off.

Switch the software's audio input off.

Change SYS: Input Select to Guitar In.

No change in preamp tone even after switching patches

Has the GT-PRO been set to System (p. 98) in Preamp mode?

When the GT-PRO is set to System in Preamp mode, the preamp settings do not change when patches are switched. To make different preamp settings for individual patches, choose the Patch setting in Preamp mode.

Unable to change parameters with the knobs or PATCH/VALUE dial

Are you using the Internal Pedal System (p. 70) in Assign?

When the Assign Source is set to Internal Pedal or Wave Pedal, the effect parameter set as the Assign Target changes automatically. If you want to be able to change the parameters manually with the knobs and PATCH/VALUE dial, first switch off Assign to deactivate the Internal Pedal System.

Is INPUT LEVEL (p. 69) set as the Assign Source in Assign?

When INPUT LEVEL is set for the Assign Source, the effect parameter set as the Assign Target changes automatically according to the level of the input from the guitar (the playing dynamics). If you want to be able to change the parameters manually with the knobs and PATCH/VALUE dial, first switch off Assign.

Other Problems

Patch does not change

Is something other than the Play screen shown in the display?

On the GT-PRO, patches can be selected only when the Play screen is displayed. Press [EXIT] to return to the Play screen (p. 16).

Parameters specified with Assign cant be controlled

Could the effect be switched off?

To control a parameter using the expression pedal or foot switch, make sure the effect that contains the parameter you intend to control is switched on.

Is something other than Assignable selected for the CTL 1, 2, 3, 4 function setting?

When operating the foot switches connected to the CTL 1/2 and CTL 3/4 jacks, set the CTL 1, 2, 3, 4 function (p. 62) to Assignable.

Is something other than Assignable selected for the EXP 1, 2 function setting?

When operating the EXP pedal connected to the EXP PEDAL 1 and EXP PEDAL 2 jacks, set the EXP 1, 2 function (p. 63) to Assignable.

Is something other than Assignable selected for the CC#7, CC#8, CC#1 function setting?

When operating the the FC-200 or other external MIDI device, set the CC#7, CC#80, CC#1 function (p. 64) to Assignable.

Do the MIDI channel settings of both devices match?

Make sure that the MIDI channels of both devices match (p. 73).

Do the controller number settings of both devices match?

Make sure that the controller number of both devices match (p. 69).

MIDI messages are not transmitted/ received

Are the MIDI cables broken?

Try another set of MIDI cables.

Is the GT-PRO correctly connected to the other MIDI device?

Check connections with the other MIDI device.

144

Troubleshooting

Do the MIDI channel settings of both devices match?

Make sure that the MIDI channels of both devices match (p. 73).

When you send messages from the GT-PRO, make sure the GT-PRO is set to the settings appropriate for sending data.

Check the on/off status for transmission of program change messages (p. 74) and the settings for the controller numbers to be transmitted (p. 74) .

Is the GT-PRO connected via USB?

The MIDI messages that the GT-PRO can transmit and receive using a MIDI connection are different from those when the GT-PRO is connected via USB. For more detailed information, refer to Notes Regarding the MIDI Messages That Can Be Transmitted and Received (p. 73).

When the GT-PRO is connected to a computer via USB, MIDI messages arriving at the MIDI IN connector cannot be routed on to the computer. Likewise, MIDI messages from the computer cannot be passed through and output from the MIDI OUT connector.

Problems related to the USB Driver

An Unknown driver found dialog box appears, and you are unable to install the driver

Find new hardware wizard does not execute automatically

Find new hardware wizard ends before the process is completed

It may take about 15 seconds (or more) after the USB cable is connected for the GT-PRO to be detected.

Is the USB cable connected correctly?

Make sure that the GT-PRO and your computer are correctly connected via a USB cable.

Is USB enabled on your computer?

Refer to the operation manual for your computer, and make sure that USB is enabled.

Does your computer meet the USB specifications?

If you are using a computer that does not fulfill the electrical requirements of the USB specifications, operation may be unstable. In this case, you may be able to solve the problem by connecting a USB hub.

Does Unknown device appear for Other device or Universal serial bus controller?

Use the following procedure to delete Other device (Universal Serial Bus Controller) Unknown device, and then restart your computer.

1. In the Windows Control Panel, double-click System.

The System Properties dialog box will appear.

2. Click the Device Manager tab.

3. Double-click Other device or Universal Serial Bus Controller to display a list of devices.

4. From the list, select the unknown device and click [Delete].

5. In the dialog box that asks you to confirm the deletion, click [OK].

6. Verify that Other device or Unknown device is not displayed in the list, and click [Close] to close the dialog box.

Found unknown device appears even though you installed the driver

If your computer or USB hub has two or more USB connectors, and you connect the GT-PRO to a USB connector to which the GT-PRO has never been connected before, the Unknown device dialog box may appear even on a computer onto which you have already installed the driver.

Refer to Driver installation and settings (Windows) (p. 110), and install the driver once again. This is not a malfunction.

Driver is not installed correctly As described in Deleting the Special Driver (p. 151),

delete the USB audio device driver that is installed in your computer, and then install the GT-PRO driver once again as described in Driver installation and settings (Windows) (p. 110) Also check whether there is an Unknown device in Other devices or Universal Serial Bus Controller. If you find one, delete it.

Problems common to Windows and Macintosh

Problems occurring only in Windows

Problems occurring only in Macintosh

145

Troubleshooting

Cant install/delete/use the driver in Windows XP/2000

Did you log on to Windows as a user with administrative privileges?

In order to install/delete/re-install the driver in Windows XP/2000, you must be logged into Windows as a user with administrative privileges, such as Administrator. For details, please contact the system administrator for your computer system.

Did you make Driver Signing Options?

In order to install/re-install the driver, you must make Driver Signing Options. (Windows XP p. 111, Windows 2000 p. 114)

Windows XP/2000 displays a Hardware Installation or Digital Signature Not Found dialog box

Did you make Driver Signing Options?

In order to install/re-install the driver, you must make the settings described in Driver Signing Options. (Windows XP p. 111, Windows 2000 p. 114)

Device Manager shows ?, !, or USB Composite Device

The Insert Disk dialog box does not appear

Use the following procedure to re-install the driver.

1. Turn off the power of your computer, and start up Windows with all USB cables disconnected (except for keyboard and mouse).

2. After Windows restarts, use a USB cable to connect the GT-PRO to your computer, and turn on the power of the GT-PRO.

3. Click the Windows [Start] button, and from the menu that appears, choose Settings | Control Panel.

4. Double-click the System icon.

The System Properties dialog box will appear.

5. Click the Device Manager tab.

6. Check whether you can see an indication of ?Composite USB Device, ?USB Device, !USB Device, or USB composite device displayed below Sound, Video, and Game Controllers, Other Devices, or Universal Serial Bus Controller.

If you find any such indication, select it and click [Delete].

7. A dialog box will ask you to confirm deletion of the device. Verify the contents of the dialog box, and then click [OK].

In the same way, delete all indications of ?Composite USB Device, ?USB Device, USB Device, and USB composite device that you find.

If you find BOSS GT-PRO with a yellow ! or a red ? displayed beside it, delete this in the same way.

8. When you have finished deleting the unwanted devices, click [OK] in the System Properties dialog box.

9. Turn off the power of the GT-PRO, then delete the driver. ( Deleting the Special Driver (p. 151))

10. Restart Windows.

Then install the driver once again. ( Driver installation and settings (Windows) (p. 110)).

* If the problem still occurs after you have taken the above measures, please refer also to the Readme_E.htm file for the USB driver. The Readme_E.htm file is on the CD-ROM.

A dialog box says Cant use driver required by USB device BOSS GT-PRO

[Special driver mode] Are you using only audio?

You must install the MIDI driver even if you are using the GT-PRO only with audio. Please install the GT-PRO driver for OMS or FreeMIDI. ( Installing the Special Driver (p. 127))

146

Troubleshooting

Problems when using the USB Driver

Operating system becomes unstable

Operation becomes unstable when the computer is started up with the GT-PRO already connected

Please start up your computer with the GT-PRO disconnected, and then connect the GT-PRO. On a computer that uses a USB keyboard, starting up the computer with the GT-PRO already connected may cause operation to become unstable. In this case, start up the computer with the GT-PRO disconnected, and then connect the GT-PRO.

Cant hear sound from the computer

Is it possible that the GT-PROs OUTPUT MAIN/SUB has been placed at 0 (turned fully counterclockwise)?

Are USB/DGT Out Ch. (p. 89) and USB/DGT Out Lev (p. 89) set correctly?

Have you specified the audio and MIDI data output destination for your operating system?

You must specify the GT-PRO as the audio data output destination for your computer. For details on how to make this setting, refer to Settings and checking. (Windows, Driver settings (p. 123)/ Macintosh, OMS settings (p. 130), FreeMIDI settings (p. 133))

In your playback software, have you specified the audio data output destination?

For some software, you will need to specify the GT-PRO as the output destination for audio data. For details on the procedure for making settings, refer to the owners manual for your software.

Are you running multiple applications?

If multiple applications are running simultaneously, an error message may appear. If this occurs, click [OK] and exit the other applications. Even if an application window is closed, it is still running if it appears in the taskbar. Be sure to exit unneeded applications displayed.

Was the driver installed correctly?

In order for you to play back audio data via the GT-PRO, the driver must be installed. For installation and settings, refer to Driver installation and settings (Windows, p. 110 / Macintosh, p. 126).

Is your computer in Suspend or Sleep mode?

If so, get your computer to resume normal operation, then exit all applications that are using the GT-PRO. Next, turn the GT-PROs power off, then switch it on again.

Did you plug in the USB cable, or unplug it while an application was running?

Exit all applications that are using the GT-PRO, and exit all applications that are using the GT-PRO, and re- connect the GT-PRO.

Have you selected Game compatible device or Voice modem as the output for the audio track?

If game compatible device or voice modem (the actual name will depend on the computer you are using) is selected for the audio track of your software, the audio track may not play back. Do not select these devices as the port.

Has your computer been set to enter Sleep mode?

If your computer enters Sleep mode, exit the software you are using, and then restart your computer. We recommend that you set your computer to not use Sleep mode.

Noise is heard during audio playback

Is a guitar still connected?

If a guitar is connected to the GT-PRO, disconnect the guitar. Disconnect any audio devices you are not using.

Noise is sometimes heard in the input.

If a USB-compatible MIDI sound module and the GT- PRO are connected via USB to the same computer, and the outputs of the MIDI sound module are connected to the input jacks of the GT-PRO, noise from your computer may be heard via the MIDI sound module from the GT-PRO, depending on the computer you are using. If this occurs, you can either connect the MIDI sound module and the GT-PRO in parallel using a self- powered hub, or connect the MIDI sound module via its serial or MIDI interface.

Are two or more audio devices such as the GT-PRO or a mixer connected to your computer?

Try connecting only a single GT-PRO unit, and check whether the noise disappears. If numerous audio devices are connected to a computer, noise may occur depending on your system. In such cases, connect only the GT-PRO to your computer.

147

Troubleshooting

Does your sequencer software support ASIO 2.0?

If your ASIO-compatible software does not support ASIO 2.0, it will not operate correctly if you use [GT- PRO ASIO2.0 16bit] or [GT-PRO ASIO2.0 24bit] as the ASIO driver. In this case, select either [GT-PRO ASIO1.0 16bit] or [GT- PRO ASIO1.0 24bit] as the ASIO driver.

Does your sequencer software support 24-bit audio?

If your ASIO-compatible software does not support 24- bit audio input/output, it will not operate correctly if you select [GT-PRO ASIO1.0 24bit] or [GT-PRO ASIO2.0 24bit] as the ASIO driver. In this case, select either [GT- PRO ASIO1.0 16bit] or [GT-PRO ASIO2.0 16bit] as the ASIO driver.

Is the GT-PRO connected to a USB hub?

Try connecting the GT-PRO directly to the USB connector of the Macintosh itself.

Are you using a USB device other than the GT-PRO?

Try turning off the power of all USB audio devices other than the GT-PRO.

In some cases, you may also be able to solve this problem by grounding the chassis of your computer, or the grounding connector of the AC power supply plug of your computer. In addition, you can check whether any devices that produce a strong magnetic field are located nearby, such as a television or microwave oven. Also check the troubleshooting item Sound is interrupted during audio recording/playback.

Is the SYS: Input Select (p. 96) set to USB In?

When SYS: Input Select is set to USB In, the GT-PROs effects are applied to the audio signals from the computer. If you want to output the computers audio signals unchanged to an audio device, set SYS: Input Select to Guitar In.

Sound is interrupted during audio recording/playback

Are many applications running on your computer?

If you use many applications or start up other applications during playback, playback may be interrupted, depending on your computer system. Please exit unneeded applications, and try again. If this does not resolve the problem, try restarting your computer.

Graphic accelerators may cause noise to be heard during audio playback.

Use the following procedure to turn the graphic accelerator Off.

1. In the Windows Control Panel, double-click Display to open the Display Properties dialog box, and click the Settings tab.

2. Click Advanced, and in the properties that appear, click the Performance tab.

For Windows XP, click Advanced, and then click the Troubleshoot tab.

For Windows 2000, click Advanced, and then click the Troubleshooting tab.

3. Set the Hardware acceleration slider to None, and click [OK].

4. In the Display Properties dialog box, click [OK] to close the dialog box.

5. Restart your computer.

Make the settings that enable background processing.

Make these settings so that audio processing can be performed smoothly. Make settings as described in Make Windows XP (p. 113) or Windows 2000 (p. 116) settings to Giving priority to background services.

Try using the following procedure to change your disk drive settings. The following setting item may not exist on some computers.

1. In the Windows Control Panel, double-click System.

2. Click the Device Manager tab.

3. Double-click Disk Drives to see the list of devices.

148

Troubleshooting

4. From the list, select GENERIC IDE DISK TYPE??, and click Properties to access the GENERIC IDE DISK TYPE?? Properties dialog box.

* In the?? field of GENERIC IDE DISK TYPE??, there will be a number that differs depending on your computing environment.

5. Click the Settings tab, place a check mark in the check box for the DMA option, and click [OK] to close the dialog box.

* Depending on your system, a DMA Settings dialog box may appear. Check the contents, and click either [OK] or [Cancel].

6. In the System Properties dialog box, click [OK] to close the dialog box.

7. Restart your computer.

Try installing more memory.

Installing more memory will increase the performance of your computer. For details on how to install more memory, refer to the operation manual for your computer.

Does your computer satisfy the requirements of the USB standard?

If you are using a computer (such as a computer that you yourself assembled) that does not satisfy the electrical requirements of the USB specifications, you may experience interruptions in the audio. If this occurs, you may be able to solve the problem by connecting a USB hub that contains its own power supply.

On some computers, audio playback may be interrupted due to the Power Management settings in the Control Panel.

The Power Supply Properties that you see when you double-click Power Management will differ depending on your computer system. One example is given below, but you should also refer to the operation manual for your computer. Some computers may not have all of the following setting items.

1. Click the Windows Start button, and select Settings | Control Panel to open the Control Panel.

2. In Control Panel, double-click System to open the System Properties dialog box.

3. Click the Device Manager tab.

4. Double-click System Devices to display the list of devices.

5. From the list, select Advanced Power Management Support. Then click Properties to open the Advanced Power Management Support Properties dialog box.

6. Click the Settings tab, and in Troubleshooting, place a check in the check box for Dont Poll Power Supply Status. Then click [OK].

7. In the System Properties dialog box, click [OK].

8. Restart Windows.

If you are using the special driver, you can solve this problem in the BOSS GT-PRO Driver Settings dialog box.

For details, refer to the section Something is wrong with playback; sound is interrupted or notes are missing within the Readme_E.htm file located in the folder in which you installed the CD-ROM.

Depending on the virtual memory setting or network- related settings, noise may occur.

Please make the following settings before use.

In Chooser of the Apple menu, set AppleTalk to Inactive. (This setting is not changed as a result of turning off AppleTalk, as requested by OMS when sequencer software is started up. You must change the setting yourself using the Chooser.)

In the Memory Control Panel, set Virtual Memory to Off.

Depending on the way in which you connect to the Internet, use the GT-PRO with the following settings.

If you connect to the Internet via a LAN cable Use while the LAN cable is connected.

If you connect to the Internet via the internal modem port, or are not connected to the Internet

In the TCP/IP Control Panel, set Connect via to PPP.

After you have made the settings, restart your Macintosh.

* Do not use software that accesses the network (such as a Web browser) at the same time that you are using sequencer software or audio editing software.

149

Troubleshooting

Try increasing the Buffer Size in the ASIO Driver control panel. The name of the settings dialog box will differ depending on your software.

* If you change the buffer size, you must exit the software and then restart it.

* BOSS/Roland can make no guarantee of, nor provide support regarding the operation of sequencer software and audio editing software made by another manufacturer. Please contact the manufacturer of the software you are using.

Digitally recorded sound is distorted, is at the wrong pitch, or contains noise

Is the applications sampling frequency set to 44.1 kHz?

Set the application's sampling frequency to 44.1 kHz.

Playback or recording halts midway through, and then becomes impossible

Was a heavy processing load experienced while using the GT-PRO, such as accessing the CD-ROM drive or a network?

If an operation involving a heavy processing load is performed while the GT-PRO is in use, it may not operate correctly. If this occurs, stop playback/ recording, and then try resuming playback/recording. If you are still unable to play back/record, exit all applications that use the GT-PRO, switch off the GT- PRO, then turn it on again.

Recording produces a silent (blank) file

Is the USB/DGT: Out Lev (p. 89) set correctly?

In your operating system, is the audio data input destination set correctly?

On your recording software, is the audio data input destination set correctly?

Sound becomes distorted or noisy when you apply an effect Adjust the volume of the effects.

Recorded sound is too low Adjust the volume of the effects.

A loud buzz is present in the guitar signal

Does the buzz decrease when you lower the volume of your guitar?

If the buzz decreases when you lower the volume of your guitar, it is possible that the pickup of your guitar is receiving noise from a computer or a display screen. Move as far away from the computer as possible. Sometimes this problem can be solved by grounding the chassis of your computer, or the grounding connector of your computers AC power supply. You should also check whether there is a device nearby that produces a strong magnetic field, such as a television or a microwave oven. (p. 5)

150

Troubleshooting

Deleting the Special Driver If you were unable to install the special driver according to the procedure given, the GT-PRO may not be recognized correctly by the computer. In this case, use the following procedure to delete the special driver, and then follow the procedure in Driver installation and settings (Windows, p. 110; Macintosh, p. 126) to install the driver once again.

Windows XP/2000 users In order to delete (uninstall) the driver, a user with administrative privileges such as Administrator must be logged onto Windows. For details, contact the system administrator of your computer.

1. Start Windows with all USB cables disconnected.

(except the keyboard and mouse)

2. Log on to Windows as one of the following users:

a user whose account type is Computer Administrator

the Administrator or other user with the privileges of the Administrators group

* For more information regarding this, consult your computer system administrator.

3. In the Driver\USB_XP2k\ folder of the CD-ROM, double-click Uninstal.exe.

4. The display will indicate This program uninstalls the BOSS GT-PRO USB Driver installed, and click the OK button.

5. The display will indicate Uninstallation completed, and click the Yes button. Windows will restart.

Windows Me/98 users 1. Start Windows with all USB cables disconnected.

(except the keyboard and mouse)

2. Exit all applications before performing the uninstallation.

3. In the Driver\USB_Me98\ folder of the CD-ROM, double-click Uninstal.exe.

4. The display will indicate This program uninstalls the BOSS GT-PRO USB Driver installed, and click the OK button.

5. The display will indicate Uninstallation completed, and click the Yes button. Windows will restart.

Mac OS X users 1. Start Macintosh with all USB cables disconnected.

(except the keyboard and mouse)

2. Double-click GTPRO_Uninstaller (found in the Driver (Mac OS X) of the CD-ROM).

3. The display will indicate This uninstalls BOSS GT- PRO driver from this Macintosh.; click [Uninstall].

* If any other message appears, proceed as directed by that message.

4. The display will indicate Are you sure to uninstall the driver?; click [OK].

5. The Authenticate dialog box will appear; enter the password and click [OK].

6. The display will indicate Uninstllation is completed.; click [Restart].

Your computer will then restart.

Mac OS 9 users 1. Disconnect the USB cable (by which the GT-PRO is

connected) from your Macintosh.

2. From the system extensions folder, drag USB GT-PRO Driver into the trash to delete it.

3. Delete GT-PRO from the OMS Folder inside the System folder, or drag GT-PRO Driver from the FreeMIDI Folder to the trash.

4. Drag the ASIO driver that you installed in Installing the ASIO driver (p. 135) into the trash to delete it.

5. Restart the Macintosh.

151

15

Patch List

User Patch

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type U 1- 1 STACK DRIVE - Single (Ch.A) MS HiGain Power Stack

U 1- 2 HEAVY METAL DRV - Single (Ch.A) R-FIER Vnt1 R-FIER Mdn1

U 1- 3 MS1959 LEAD - Single (Ch.A) MS1959(I) MS HiGain

U 1- 4 5150 LEAD - Single (Ch.A) 5150 Drive 5150 Drive

U 1- 5 TWEED CRUNCH - Single (Ch.A) Tweed JC-120

U 1- 6 STACK CRUNCH - Single (Ch.A) StackCrunch MS HiGain

U 1- 7 CLEAN+DD+CH - Single (Ch.A) Warm Clean SmoothDrive

U 1- 8 TIGHT CLEAN - Single (Ch.A) Warm Clean JC-120

U 1- 9 CRUNCH ROTARY - Single (Ch.A) Crunch JC-120

U 1-10 MELLOW FRETLESS - Dual L/R JC-120 JC-120

U 2- 1 OD-1 + MS1959 OD-1 Single (Ch.A) MS1959(I) MS1959(I)

U 2- 2 R-FIER MODERN - Single (Ch.A) R-FIER Mdn1 R-FIER Mdn1

U 2- 3 HiGAIN COMBO - Single (Ch.A) MATCH Lead VO Lead

U 2- 4 PLEX + EDGE LEAD - Dual L/R MS1959(I) Edge Lead

U 2- 5 METAL STACK - Single (Ch.A) Metal Stack Metal Stack

U 2- 6 FAT MATCH DRIVE - Single (Ch.A) Fat MATCH MATCH Lead

U 2- 7 OD-1 + TWEED OD-1 Single (Ch.A) Tweed MS1959(I)

U 2- 8 DRIVE DISTORTION Drive DS Single (Ch.A) JC-120 Warm Clean

U 2- 9 FAT LEAD STACK - Single (Ch.A) Lead Stack Lead Stack

U 2-10 POWER COMBO Booster Single (Ch.A) Fat MATCH MATCH Lead

U 3- 1 POWER STACK - Single (Ch.A) Power Stack Power Stack

U 3- 2 TIGHT STACK - Single (Ch.A) MS HiGain MS1959(I)

U 3- 3 SMOOTH DRIVE - Single (Ch.A) SmoothDrive Mild Drive

U 3- 4 STEREO DRIVE Crunch Dual L/R MS1959(I) StackCrunch

U 3- 5 DRIVE STACK - Single (Ch.A) Drive Stack Lead Stack

U 3- 6 DYNAMIC STACK - Dynamic StackCrunch MS HiGain

U 3- 7 BOTTOM COMBO DRV Warm OD Single (Ch.A) MATCH Drive Fat MATCH

U 3- 8 HEAVY RECT DRIVE - Single (Ch.A) R-FIER Vnt1 SLDN

U 3- 9 LEAD STACK - Single (Ch.A) Lead Stack Lead Stack

U 3-10 HiGAIN TWEED - Single (Ch.A) Tweed JC-120

U 4- 1 PLEX/T-AMP - Dual L/R MS1959(I) T-Amp Lead

U 4- 2 STEREO STACK - Dual L/R StackCrunch MS HiGain

U 4- 3 POWER STACK DRV - Single (Ch.A) Power Stack Power Stack

U 4- 4 DIST+CRUNCH Distortion Single (Ch.A) Crunch Crunch

U 4- 5 NATURAL SPEED - Single (Ch.A) T-Amp Lead Lead Stack

U 4- 6 WARM OVERDRIVE Fat OD Single (Ch.A) JC-120 JC-120

U 4- 7 VINTAGE 1959 - Single (Ch.A) MS1959(I) MS1959(I)

U 4- 8 TREAD AMP - Single (Ch.A) R-FIER Vnt1 R-FIER Mdn1

U 4- 9 FAT MS HiGAIN - Single (Ch.A) MS HiGain Drive Stack

U 4-10 WHOLE STACK - Single (Ch.A) MS1959(I) MS1959(I)

U 5- 1 WEST COAST DRIVE Booster Single (Ch.A) Blues Tweed

U 5- 2 BLUES DRIVE - Single (Ch.A) Blues Tweed

U 5- 3 FOXY DRIVE 60s FUZZ Single (Ch.A) MS1959(I) MS1959(I)

U 5- 4 SCHOOL DRIVE - Single (Ch.A) MS1959(I) MS1959(I)

U 5- 5 MS1959 ch MIX - Dual Mono MS1959(I) MS1959(II)

U 5- 6 POWER MS - Single (Ch.A) MS1959(I) Power Stack

U 5- 7 MechaDS+CRUNCH Mechanical Single (Ch.A) Wild Crunch StackCrunch

U 5- 8 STEREO MODERN - Dual L/R R-FIER Mdn1 R-FIER Mdn2

U 5- 9 MID DISTORTION Mid DS Single (Ch.A) JC-120 Clean TWIN

U 5-10 HOT BRIT COMBO - Single (Ch.A) VO Lead BG Drive

2

Patch List

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type U 6- 1 AMERICAN DS RAT Single (Ch.A) MS1959(I) MS HiGain

U 6- 2 HEAVY STACK - Single (Ch.A) Power Stack Metal Stack

U 6- 3 BLUES+MS1959 MIX - Dual Mono Blues MS1959(II)

U 6- 4 SMOOTH DETUNE - Single (Ch.A) SmoothDrive SmoothDrive

U 6- 5 WAH FUZZ 60s FUZZ Single (Ch.B) MS1959(I) MS1959(I)

U 6- 6 L:HvyLEAD R:5150 - Dual L/R Heavy Lead 5150 Drive

U 6- 7 MASSIVE - Single (Ch.A) MS HiGain MS HiGain

U 6- 8 WIDE STACK - Single (Ch.A) MS HiGain MS HiGain

U 6- 9 DOUBLE TRACK - Dual L/R MS HiGain BG Drive

U 6-10 HiGAIN VO DRIVE - Single (Ch.A) VO Drive VO Drive

U 7- 1 R-FIER SCREAM - Single (Ch.A) R-FIER Vnt1 SLDN

U 7- 2 70s 1959 STACK - Single (Ch.A) MS1959(I) Power Stack

U 7- 3 DOUBLE AMP - Dual L/R Clean TWIN MS1959(II)

U 7- 4 5150/1959 DUAL - Dual L/R 5150 Drive MS1959(I+II)

U 7- 5 DUAL DRY 1959 - Dual Mono MS HiGain MS1959(I+II)

U 7- 6 HEAVY 5150 - Single (Ch.A) 5150 Drive 5150 Drive

U 7- 7 MILD 1959 - Single (Ch.B) Warm Clean MS1959(II)

U 7- 8 ROCK WOMAN R-MAN Single (Ch.A) JC-120 JC-120

U 7- 9 STEREO MS HiGAIN - Single (Ch.A) MS HiGain Power Stack

U 7-10 HEAVY BTM METAL - Single (Ch.A) Metal Stack Metal Stack

U 8- 1 R-FIER LEAD - Single (Ch.A) R-FIER Vnt1 R-FIER Mdn2

U 8- 2 T-AMP LEAD - Single (Ch.A) T-Amp Lead T-AmpCrunch

U 8- 3 MILD DRIVE LEAD - Single (Ch.A) Mild Drive Mild Drive

U 8- 4 FAT OD LEAD Fat OD Single (Ch.A) JC-120 JC-120

U 8- 5 STADIUM ROCK - Dual L/R T-Amp Lead MS HiGain

U 8- 6 SLDN LEAD SOLO - Single (Ch.B) SLDN Drive Stack

U 8- 7 METAL ZONE LEAD Metal Zone Single (Ch.A) JC-120 StackCrunch

U 8- 8 TWEED LEAD - Single (Ch.A) Tweed StackCrunch

U 8- 9 OVERDRIVE LEAD Fat OD Single (Ch.A) Crunch JC-120

U 8-10 POWER STACK LEAD - Single (Ch.A) Power Stack SLDN

U 9- 1 BG LEAD SOLO - Single (Ch.A) BG Lead BG Lead

U 9- 2 70s 335 LEAD - Dual Mono MS HiGain MS1959(I+II)

U 9- 3 MATCH LEAD - Single (Ch.A) MATCH Lead Fat MATCH

U 9- 4 CLASSIC DS LEAD DST+ Single (Ch.A) Clean TWIN JC-120

U 9- 5 EDGE LEAD - Single (Ch.A) Edge Lead Edge Lead

U 9- 6 METAL LEAD - Single (Ch.A) Metal Lead Metal Lead

U 9- 7 FAT COMP LEAD - Single (Ch.A) StackCrunch Tweed

U 9- 8 5150 DRIVE - Single (Ch.A) 5150 Drive 5150 Drive

U 9- 9 HiGAIN MILD LEAD - Single (Ch.A) Mild Drive BG Lead

U 9-10 L:RECT R:5150 - Dual L/R R-FIER Vnt1 5150 Drive

U10- 1 COMP + OD-1 OD-1 Single (Ch.A) Crunch StackCrunch

U10- 2 2 AMPS RECT&PRO - Dual L/R R-FIER Vnt2 Pro Crunch

U10- 3 FAT STEREO LEAD - Dual L/R R-FIER Vnt1 5150 Drive

U10- 4 HEAVY EDGE LEAD - Single (Ch.A) Edge Lead Edge Lead

U10- 5 T-SCREAM+MS1959 T-Scream Single (Ch.A) MS1959(I) Power Stack

U10- 6 METAL ZONE CHO Metal Zone Single (Ch.A) Clean TWIN JC-120

U10- 7 FAT BOY Natural OD Single (Ch.A) R-FIER Vnt2 R-FIER Mdn2

U10- 8 PINK ECHO Booster Single (Ch.A) MS1959(I) MS1959(I)

U10- 9 DIST + MS HiGAIN Distortion Single (Ch.A) MS HiGain Power Stack

U10-10 MILD LEAD - Single (Ch.A) Mild Drive SmoothDrive

153

Patch List

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type U11- 1 DEEP STACK LEAD - Single (Ch.A) MS HiGain MS HiGain

U11- 2 BIG LEAD T-Scream Single (Ch.A) StackCrunch JC-120

U11- 3 LONG SUSTAIN DRV Fat OD Single (Ch.A) SLDN StackCrunch

U11- 4 MILKY WAY T-Scream Single (Ch.A) Power Stack Drive Stack

U11- 5 COMP + TURBO OD Turbo OD Single (Ch.A) Clean TWIN Warm Clean

U11- 6 DAYDREAM Turbo OD Single (Ch.A) MATCH Drive JC-120

U11- 7 MID DS+BG LEAD Mid DS Single (Ch.A) BG Lead SmoothDrive

U11- 8 HiGAIN WAH LEAD - Single (Ch.A) MS HiGain MS1959(I)

U11- 9 DYNA LEAD/CLEAN - Dynamic StackCrunch MS HiGain

U11-10 DYNA LEAD/DRIVE - Dynamic Drive Stack Drive Stack

U12- 1 WARM CRUNCH - Single (Ch.A) Warm Crunch Mild Drive

U12- 2 DEEP COMP CRUNCH - Dual L/R StackCrunch VO Drive

U12- 3 MATCH CRUNCH - Single (Ch.A) MATCH Drive VO Drive

U12- 4 CRUNCH SOLO - Single (Ch.A) Crunch StackCrunch

U12- 5 DRIVE YOUR CAR - Single (Ch.A) VO Lead VO Drive

U12- 6 T-AMP CRUNCH - Single (Ch.A) T-AmpCrunch T-AmpCrunch

U12- 7 VOODOO WAH - Single (Ch.A) MS1959(I) MS1959(I)

U12- 8 DYNA AMP CRUNCH - Dynamic Tweed StackCrunch

U12- 9 50s ROCKNROLL - Single (Ch.A) Pro Crunch Tweed

U12-10 NASHVILLE TWANG - Dual Mono T-AmpCrunch MATCH Drive

U13- 1 COMP TWEED - Single (Ch.A) Tweed Pro Crunch

U13- 2 DUAL AMP BLUES Distortion Dual Mono BrightClean Clean TWIN

U13- 3 BLUES LEAD T-Scream Single (Ch.A) Tweed StackCrunch

U13- 4 BRIGHT CRUNCH - Single (Ch.B) StackCrunch Tweed

U13- 5 TREMOLO CRUNCH - Single (Ch.A) VO Drive Tweed

U13- 6 DRY MATCH - Single (Ch.A) MATCH Drive Fat MATCH

U13- 7 TWIN CRUNCH - Single (Ch.A) Clean TWIN Pro Crunch

U13- 8 BLUES OD CRUNCH Blues OD Single (Ch.A) Crunch StackCrunch

U13- 9 60s TWEED - Single (Ch.B) Clean TWIN Tweed

U13-10 TWEED ANALOG DLY - Single (Ch.A) Tweed StackCrunch

U14- 1 COMP CRUNCH - Single (Ch.A) StackCrunch Warm Clean

U14- 2 BIG CRUNCH - Dual L/R StackCrunch BG Rhythm

U14- 3 ANOTHER BRICK - Single (Ch.A) MATCH Drive MATCH Drive

U14- 4 CHORUS CRUNCH - Single (Ch.A) StackCrunch MS1959(I)

U14- 5 CRUNCH WAH - Single (Ch.A) StackCrunch Tweed

U14- 6 COUNTRY CRUNCH - Single (Ch.B) JC-120 Warm Clean

U14- 7 LIQUID CRUNCH 60s FUZZ Single (Ch.B) MATCH Lead JC-120

U14- 8 DUAL COMBO CRNCH - Dual L/R VO Drive Fat MATCH

U14- 9 MILD CRUNCH - Single (Ch.A) Warm Crunch Crunch

U14-10 PHASE CRUNCH - Single (Ch.A) StackCrunch Warm Clean

U15- 1 NATURAL CLEAN - Single (Ch.A) Full Range Full Range

U15- 2 SHARP CLEAN - Single (Ch.A) BrightClean JC-120

U15- 3 FAT CLEAN TWIN - Single (Ch.A) Clean TWIN Pro Crunch

U15- 4 VO CLEAN - Single (Ch.A) VO Clean VO Lead

U15- 5 MILD CLEAN - Single (Ch.A) Warm Clean Warm Crunch

U15- 6 MELLOW HOLLOW - Single (Ch.A) Warm Clean Warm Crunch

U15- 7 BRIGHT CLEAN - Single (Ch.A) BrightClean StackCrunch

U15- 8 JAZZ HOLLOW - Single (Ch.A) Clean TWIN Warm Clean

U15- 9 JC-120 + TWIN - Dual L/R JC-120 Clean TWIN

U15-10 MODULATED CLEAN - Single (Ch.A) Full Range Warm Clean

154

Patch List

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type U16- 1 60s CLEAN - Single (Ch.A) VO Clean VO Drive

U16- 2 FAT CLEAN - Single (Ch.A) Warm Clean JC-120

U16- 3 BIG HALL CLEAN - Single (Ch.A) JC-120 Warm Clean

U16- 4 LOW TONE JAZZ - Single (Ch.A) Jazz Combo Warm Clean

U16- 5 SMALL WING - Single (Ch.A) MS1959(I+II) MS1959(I)

U16- 6 MOD HEAVEN - Dual L/R Full Range Full Range

U16- 7 NEW YORK CLEAN Warm OD Dual Mono Jazz Combo Full Range

U16- 8 JAZZ COMBO - Single (Ch.A) Jazz Combo Warm Clean

U16- 9 COUNTRY TWIN - Single (Ch.A) Clean TWIN JC-120

U16-10 CLEAN MOD - Single (Ch.A) Warm Clean Warm Clean

U17- 1 FUNKY RHYTHM - Single (Ch.B) Clean TWIN Clean TWIN

U17- 2 FUNKY FREAK - Single (Ch.A) Clean TWIN Clean TWIN

U17- 3 CLEAN DLY CHORUS - Single (Ch.A) Clean TWIN JC-120

U17- 4 ROCKABILLY - Single (Ch.A) StackCrunch Blues

U17- 5 CLEAN SCREAM - Single (Ch.A) JC-120 MS HiGain

U17- 6 ACOUSTIC GUITAR - Dual L/R Full Range Full Range

U17- 7 JUMBO FAKE ! - Dual L/R Full Range Jazz Combo

U17- 8 A.Gt SIMULATOR - Dual L/R Full Range Full Range

U17- 9 PIEZO -> ACOUSTIC - Single (Ch.A) Full Range Full Range

U17-10 for ACOUSTIC Gt - Single (Ch.A) Full Range Full Range

U18- 1 COOL SITAR - Single (Ch.A) JC-120 Full Range

U18- 2 WAVE SYNTH - Single (Ch.A) Full Range JC-120

U18- 3 PANNING PHASER - Single (Ch.A) Full Range BrightClean

U18- 4 PANNING WAH - Single (Ch.A) Tweed JC-120

U18- 5 E.PIANO GUITAR - Single (Ch.A) Warm Clean Full Range

U18- 6 MOD SLDN DRIVE Loud Single (Ch.A) SLDN JC-120

U18- 7 SLOW GEAR PS - Dual L/R JC-120 BrightClean

U18- 8 LIGHT PHASER - Single (Ch.A) BG Rhythm JC-120

U18- 9 OCTAVE FLANGE GUV DS Single (Ch.A) BG Lead BG Drive

U18-10 OCTAVE SLICE - Single (Ch.A) StackCrunch Warm Clean

U19- 1 SYNTH SEQUENCE Distortion - - -

U19- 2 SLICER&FLANGER - Single (Ch.A) 5150 Drive 5150 Drive

U19- 3 PAD - Dual L/R Full Range Clean TWIN

U19- 4 REVERSE - Single (Ch.A) Full Range Crunch

U19- 5 PHASE FLANGER - Single (Ch.A) Warm Clean JC-120

U19- 6 AUTO PAD - Single (Ch.A) JC-120 Full Range

U19- 7 LOVELY - Single (Ch.A) JC-120 Warm Crunch

U19- 8 SPEAKER KILLER - Single (Ch.A) Full Range Warm Clean

U19- 9 OCTIVIOUS - Single (Ch.A) JC-120 JC-120

U19-10 RISING WAH - Single (Ch.B) BG Rhythm JC-120

U20- 1 STEREO SITAR - Dual L/R Full Range Full Range

U20- 2 FRETLESS OCT - Single (Ch.A) JC-120 Full Range

U20- 3 FUNK FOOD - Single (Ch.B) JC-120 Pro Crunch

U20- 4 FAR FROM HUMAN - Dual Mono VO Lead JC-120

U20- 5 SYNTH BRASS - Dual L/R Clean TWIN Clean TWIN

U20- 6 SYNCHRO PAN - Single (Ch.B) Full Range Warm Clean

U20- 7 RING MOD - Single (Ch.A) Clean TWIN R-FIER Cln

U20- 8 HEAVY OCT - Dual L/R MS HiGain BG Drive

U20- 9 STEP PHASE Natural OD Single (Ch.A) Tweed JC-120

U20-10 GUITAR + PAD - Single (Ch.A) MATCH Drive Full Range

155

Patch List

Preset Patch

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type P21- 1 STACK DRIVE - Single (Ch.A) MS HiGain Power Stack

P21- 2 HEAVY METAL DRV - Single (Ch.A) R-FIER Vnt1 R-FIER Mdn1

P21- 3 MS1959 LEAD - Single (Ch.A) MS1959(I) MS HiGain

P21- 4 5150 LEAD - Single (Ch.A) 5150 Drive 5150 Drive

P21- 5 TWEED CRUNCH - Single (Ch.A) Tweed JC-120

P21- 6 STACK CRUNCH - Single (Ch.A) StackCrunch MS HiGain

P21- 7 CLEAN+DD+CH - Single (Ch.A) Warm Clean SmoothDrive

P21- 8 TIGHT CLEAN - Single (Ch.A) Warm Clean JC-120

P21- 9 CRUNCH ROTARY - Single (Ch.A) Crunch JC-120

P21-10 MELLOW FRETLESS - Dual L/R JC-120 JC-120

P22- 1 OD-1 + MS1959 OD-1 Single (Ch.A) MS1959(I) MS1959(I)

P22- 2 R-FIER MODERN - Single (Ch.A) R-FIER Mdn1 R-FIER Mdn1

P22- 3 HiGAIN COMBO - Single (Ch.A) MATCH Lead VO Lead

P22- 4 PLEX + EDGE LEAD - Dual L/R MS1959(I) Edge Lead

P22- 5 METAL STACK - Single (Ch.A) Metal Stack Metal Stack

P22- 6 FAT MATCH DRIVE - Single (Ch.A) Fat MATCH MATCH Lead

P22- 7 OD-1 + TWEED OD-1 Single (Ch.A) Tweed MS1959(I)

P22- 8 DRIVE DISTORTION Drive DS Single (Ch.A) JC-120 Warm Clean

P22- 9 FAT LEAD STACK - Single (Ch.A) Lead Stack Lead Stack

P22-10 POWER COMBO Booster Single (Ch.A) Fat MATCH MATCH Lead

P23- 1 POWER STACK - Single (Ch.A) Power Stack Power Stack

P23- 2 TIGHT STACK - Single (Ch.A) MS HiGain MS1959(I)

P23- 3 SMOOTH DRIVE - Single (Ch.A) SmoothDrive Mild Drive

P23- 4 STEREO DRIVE Crunch Dual L/R MS1959(I) StackCrunch

P23- 5 DRIVE STACK - Single (Ch.A) Drive Stack Lead Stack

P23- 6 DYNAMIC STACK - Dynamic StackCrunch MS HiGain

P23- 7 BOTTOM COMBO DRV Warm OD Single (Ch.A) MATCH Drive Fat MATCH

P23- 8 HEAVY RECT DRIVE - Single (Ch.A) R-FIER Vnt1 SLDN

P23- 9 LEAD STACK - Single (Ch.A) Lead Stack Lead Stack

P23-10 HiGAIN TWEED - Single (Ch.A) Tweed JC-120

P24- 1 PLEX/T-AMP - Dual L/R MS1959(I) T-Amp Lead

P24- 2 STEREO STACK - Dual L/R StackCrunch MS HiGain

P24- 3 POWER STACK DRV - Single (Ch.A) Power Stack Power Stack

P24- 4 DIST+CRUNCH Distortion Single (Ch.A) Crunch Crunch

P24- 5 NATURAL SPEED - Single (Ch.A) T-Amp Lead Lead Stack

P24- 6 WARM OVERDRIVE Fat OD Single (Ch.A) JC-120 JC-120

P24- 7 VINTAGE 1959 - Single (Ch.A) MS1959(I) MS1959(I)

P24- 8 TREAD AMP - Single (Ch.A) R-FIER Vnt1 R-FIER Mdn1

P24- 9 FAT MS HiGAIN - Single (Ch.A) MS HiGain Drive Stack

P24-10 WHOLE STACK - Single (Ch.A) MS1959(I) MS1959(I)

P25- 1 WEST COAST DRIVE Booster Single (Ch.A) Blues Tweed

P25- 2 BLUES DRIVE - Single (Ch.A) Blues Tweed

P25- 3 FOXY DRIVE 60s FUZZ Single (Ch.A) MS1959(I) MS1959(I)

P25- 4 SCHOOL DRIVE - Single (Ch.A) MS1959(I) MS1959(I)

P25- 5 MS1959 ch MIX - Dual Mono MS1959(I) MS1959(II)

P25- 6 POWER MS - Single (Ch.A) MS1959(I) Power Stack

P25- 7 MechaDS+CRUNCH Mechanical Single (Ch.A) Wild Crunch StackCrunch

P25- 8 STEREO MODERN - Dual L/R R-FIER Mdn1 R-FIER Mdn2

P25- 9 MID DISTORTION Mid DS Single (Ch.A) JC-120 Clean TWIN

P25-10 HOT BRIT COMBO - Single (Ch.A) VO Lead BG Drive

156

Patch List

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type P26- 1 AMERICAN DS RAT Single (Ch.A) MS1959(I) MS HiGain

P26- 2 HEAVY STACK - Single (Ch.A) Power Stack Metal Stack

P26- 3 BLUES+MS1959 MIX - Dual Mono Blues MS1959(II)

P26- 4 SMOOTH DETUNE - Single (Ch.A) SmoothDrive SmoothDrive

P26- 5 WAH FUZZ 60s FUZZ Single (Ch.B) MS1959(I) MS1959(I)

P26- 6 L:HvyLEAD R:5150 - Dual L/R Heavy Lead 5150 Drive

P26- 7 MASSIVE - Single (Ch.A) MS HiGain MS HiGain

P26- 8 WIDE STACK - Single (Ch.A) MS HiGain MS HiGain

P26- 9 DOUBLE TRACK - Dual L/R MS HiGain BG Drive

P26-10 HiGAIN VO DRIVE - Single (Ch.A) VO Drive VO Drive

P27- 1 R-FIER SCREAM - Single (Ch.A) R-FIER Vnt1 SLDN

P27- 2 70s 1959 STACK - Single (Ch.A) MS1959(I) Power Stack

P27- 3 DOUBLE AMP - Dual L/R Clean TWIN MS1959(II)

P27- 4 5150/1959 DUAL - Dual L/R 5150 Drive MS1959(I+II)

P27- 5 DUAL DRY 1959 - Dual Mono MS HiGain MS1959(I+II)

P27- 6 HEAVY 5150 - Single (Ch.A) 5150 Drive 5150 Drive

P27- 7 MILD 1959 - Single (Ch.B) Warm Clean MS1959(II)

P27- 8 ROCK WOMAN R-MAN Single (Ch.A) JC-120 JC-120

P27- 9 STEREO MS HiGAIN - Single (Ch.A) MS HiGain Power Stack

P27-10 HEAVY BTM METAL - Single (Ch.A) Metal Stack Metal Stack

P28- 1 R-FIER LEAD - Single (Ch.A) R-FIER Vnt1 R-FIER Mdn2

P28- 2 T-AMP LEAD - Single (Ch.A) T-Amp Lead T-AmpCrunch

P28- 3 MILD DRIVE LEAD - Single (Ch.A) Mild Drive Mild Drive

P28- 4 FAT OD LEAD Fat OD Single (Ch.A) JC-120 JC-120

P28- 5 STADIUM ROCK - Dual L/R T-Amp Lead MS HiGain

P28- 6 SLDN LEAD SOLO - Single (Ch.B) SLDN Drive Stack

P28- 7 METAL ZONE LEAD Metal Zone Single (Ch.A) JC-120 StackCrunch

P28- 8 TWEED LEAD - Single (Ch.A) Tweed StackCrunch

P28- 9 OVERDRIVE LEAD Fat OD Single (Ch.A) Crunch JC-120

P28-10 POWER STACK LEAD - Single (Ch.A) Power Stack SLDN

P29- 1 BG LEAD SOLO - Single (Ch.A) BG Lead BG Lead

P29- 2 70s 335 LEAD - Dual Mono MS HiGain MS1959(I+II)

P29- 3 MATCH LEAD - Single (Ch.A) MATCH Lead Fat MATCH

P29- 4 CLASSIC DS LEAD DST+ Single (Ch.A) Clean TWIN JC-120

P29- 5 EDGE LEAD - Single (Ch.A) Edge Lead Edge Lead

P29- 6 METAL LEAD - Single (Ch.A) Metal Lead Metal Lead

P29- 7 FAT COMP LEAD - Single (Ch.A) StackCrunch Tweed

P29- 8 5150 DRIVE - Single (Ch.A) 5150 Drive 5150 Drive

P29- 9 HiGAIN MILD LEAD - Single (Ch.A) Mild Drive BG Lead

P29-10 L:RECT R:5150 - Dual L/R R-FIER Vnt1 5150 Drive

P30- 1 COMP + OD-1 OD-1 Single (Ch.A) Crunch StackCrunch

P30- 2 2 AMPS RECT&PRO - Dual L/R R-FIER Vnt2 Pro Crunch

P30- 3 FAT STEREO LEAD - Dual L/R R-FIER Vnt1 5150 Drive

P30- 4 HEAVY EDGE LEAD - Single (Ch.A) Edge Lead Edge Lead

P30- 5 T-SCREAM+MS1959 T-Scream Single (Ch.A) MS1959(I) Power Stack

P30- 6 METAL ZONE CHO Metal Zone Single (Ch.A) Clean TWIN JC-120

P30- 7 FAT BOY Natural OD Single (Ch.A) R-FIER Vnt2 R-FIER Mdn2

P30- 8 PINK ECHO Booster Single (Ch.A) MS1959(I) MS1959(I)

P30- 9 DIST + MS HiGAIN Distortion Single (Ch.A) MS HiGain Power Stack

P30-10 MILD LEAD - Single (Ch.A) Mild Drive SmoothDrive

157

Patch List

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type P31- 1 DEEP STACK LEAD - Single (Ch.A) MS HiGain MS HiGain

P31- 2 BIG LEAD T-Scream Single (Ch.A) StackCrunch JC-120

P31- 3 LONG SUSTAIN DRV Fat OD Single (Ch.A) SLDN StackCrunch

P31- 4 MILKY WAY T-Scream Single (Ch.A) Power Stack Drive Stack

P31- 5 COMP + TURBO OD Turbo OD Single (Ch.A) Clean TWIN Warm Clean

P31- 6 DAYDREAM Turbo OD Single (Ch.A) MATCH Drive JC-120

P31- 7 MID DS+BG LEAD Mid DS Single (Ch.A) BG Lead SmoothDrive

P31- 8 HiGAIN WAH LEAD - Single (Ch.A) MS HiGain MS1959(I)

P31- 9 DYNA LEAD/CLEAN - Dynamic StackCrunch MS HiGain

P31-10 DYNA LEAD/DRIVE - Dynamic Drive Stack Drive Stack

P32- 1 WARM CRUNCH - Single (Ch.A) Warm Crunch Mild Drive

P32- 2 DEEP COMP CRUNCH - Dual L/R StackCrunch VO Drive

P32- 3 MATCH CRUNCH - Single (Ch.A) MATCH Drive VO Drive

P32- 4 CRUNCH SOLO - Single (Ch.A) Crunch StackCrunch

P32- 5 DRIVE YOUR CAR - Single (Ch.A) VO Lead VO Drive

P32- 6 T-AMP CRUNCH - Single (Ch.A) T-AmpCrunch T-AmpCrunch

P32- 7 VOODOO WAH - Single (Ch.A) MS1959(I) MS1959(I)

P32- 8 DYNA AMP CRUNCH - Dynamic Tweed StackCrunch

P32- 9 50s ROCKNROLL - Single (Ch.A) Pro Crunch Tweed

P32-10 NASHVILLE TWANG - Dual Mono T-AmpCrunch MATCH Drive

P33- 1 COMP TWEED - Single (Ch.A) Tweed Pro Crunch

P33- 2 DUAL AMP BLUES Distortion Dual Mono BrightClean Clean TWIN

P33- 3 BLUES LEAD T-Scream Single (Ch.A) Tweed StackCrunch

P33- 4 BRIGHT CRUNCH - Single (Ch.B) StackCrunch Tweed

P33- 5 TREMOLO CRUNCH - Single (Ch.A) VO Drive Tweed

P33- 6 DRY MATCH - Single (Ch.A) MATCH Drive Fat MATCH

P33- 7 TWIN CRUNCH - Single (Ch.A) Clean TWIN Pro Crunch

P33- 8 BLUES OD CRUNCH Blues OD Single (Ch.A) Crunch StackCrunch

P33- 9 60s TWEED - Single (Ch.B) Clean TWIN Tweed

P33-10 TWEED ANALOG DLY - Single (Ch.A) Tweed StackCrunch

P34- 1 COMP CRUNCH - Single (Ch.A) StackCrunch Warm Clean

P34- 2 BIG CRUNCH - Dual L/R StackCrunch BG Rhythm

P34- 3 ANOTHER BRICK - Single (Ch.A) MATCH Drive MATCH Drive

P34- 4 CHORUS CRUNCH - Single (Ch.A) StackCrunch MS1959(I)

P34- 5 CRUNCH WAH - Single (Ch.A) StackCrunch Tweed

P34- 6 COUNTRY CRUNCH - Single (Ch.B) JC-120 Warm Clean

P34- 7 LIQUID CRUNCH 60s FUZZ Single (Ch.B) MATCH Lead JC-120

P34- 8 DUAL COMBO CRNCH - Dual L/R VO Drive Fat MATCH

P34- 9 MILD CRUNCH - Single (Ch.A) Warm Crunch Crunch

P34-10 PHASE CRUNCH - Single (Ch.A) StackCrunch Warm Clean

P35- 1 NATURAL CLEAN - Single (Ch.A) Full Range Full Range

P35- 2 SHARP CLEAN - Single (Ch.A) BrightClean JC-120

P35- 3 FAT CLEAN TWIN - Single (Ch.A) Clean TWIN Pro Crunch

P35- 4 VO CLEAN - Single (Ch.A) VO Clean VO Lead

P35- 5 MILD CLEAN - Single (Ch.A) Warm Clean Warm Crunch

P35- 6 MELLOW HOLLOW - Single (Ch.A) Warm Clean Warm Crunch

P35- 7 BRIGHT CLEAN - Single (Ch.A) BrightClean StackCrunch

P35- 8 JAZZ HOLLOW - Single (Ch.A) Clean TWIN Warm Clean

P35- 9 JC-120 + TWIN - Dual L/R JC-120 Clean TWIN

P35-10 MODULATED CLEAN - Single (Ch.A) Full Range Warm Clean

158

Patch List

No. Patch Name OD/DS Type PRE Ch.Mode Ch.A Type Ch.B Type P36- 1 60s CLEAN - Single (Ch.A) VO Clean VO Drive

P36- 2 FAT CLEAN - Single (Ch.A) Warm Clean JC-120

P36- 3 BIG HALL CLEAN - Single (Ch.A) JC-120 Warm Clean

P36- 4 LOW TONE JAZZ - Single (Ch.A) Jazz Combo Warm Clean

P36- 5 SMALL WING - Single (Ch.A) MS1959(I+II) MS1959(I)

P36- 6 MOD HEAVEN - Dual L/R Full Range Full Range

P36- 7 NEW YORK CLEAN Warm OD Dual Mono Jazz Combo Full Range

P36- 8 JAZZ COMBO - Single (Ch.A) Jazz Combo Warm Clean

P36- 9 COUNTRY TWIN - Single (Ch.A) Clean TWIN JC-120

P36-10 CLEAN MOD - Single (Ch.A) Warm Clean Warm Clean

P37- 1 FUNKY RHYTHM - Single (Ch.B) Clean TWIN Clean TWIN

P37- 2 FUNKY FREAK - Single (Ch.A) Clean TWIN Clean TWIN

P37- 3 CLEAN DLY CHORUS - Single (Ch.A) Clean TWIN JC-120

P37- 4 ROCKABILLY - Single (Ch.A) StackCrunch Blues

P37- 5 CLEAN SCREAM - Single (Ch.A) JC-120 MS HiGain

P37- 6 ACOUSTIC GUITAR - Dual L/R Full Range Full Range

P37- 7 JUMBO FAKE ! - Dual L/R Full Range Jazz Combo

P37- 8 A.Gt SIMULATOR - Dual L/R Full Range Full Range

P37- 9 PIEZO -> ACOUSTIC - Single (Ch.A) Full Range Full Range

P37-10 for ACOUSTIC Gt - Single (Ch.A) Full Range Full Range

P38- 1 COOL SITAR - Single (Ch.A) JC-120 Full Range

P38- 2 WAVE SYNTH - Single (Ch.A) Full Range JC-120

P38- 3 PANNING PHASER - Single (Ch.A) Full Range BrightClean

P38- 4 PANNING WAH - Single (Ch.A) Tweed JC-120

P38- 5 E.PIANO GUITAR - Single (Ch.A) Warm Clean Full Range

P38- 6 MOD SLDN DRIVE Loud Single (Ch.A) SLDN JC-120

P38- 7 SLOW GEAR PS - Dual L/R JC-120 BrightClean

P38- 8 LIGHT PHASER - Single (Ch.A) BG Rhythm JC-120

P38- 9 OCTAVE FLANGE GUV DS Single (Ch.A) BG Lead BG Drive

P38-10 OCTAVE SLICE - Single (Ch.A) StackCrunch Warm Clean

P39- 1 SYNTH SEQUENCE Distortion - - -

P39- 2 SLICER&FLANGER - Single (Ch.A) 5150 Drive 5150 Drive

P39- 3 PAD - Dual L/R Full Range Clean TWIN

P39- 4 REVERSE - Single (Ch.A) Full Range Crunch

P39- 5 PHASE FLANGER - Single (Ch.A) Warm Clean JC-120

P39- 6 AUTO PAD - Single (Ch.A) JC-120 Full Range

P39- 7 LOVELY - Single (Ch.A) JC-120 Warm Crunch

P39- 8 SPEAKER KILLER - Single (Ch.A) Full Range Warm Clean

P39- 9 OCTIVIOUS - Single (Ch.A) JC-120 JC-120

P39-10 RISING WAH - Single (Ch.B) BG Rhythm JC-120

P40- 1 STEREO SITAR - Dual L/R Full Range Full Range

P40- 2 FRETLESS OCT - Single (Ch.A) JC-120 Full Range

P40- 3 FUNK FOOD - Single (Ch.B) JC-120 Pro Crunch

P40- 4 FAR FROM HUMAN - Dual Mono VO Lead JC-120

P40- 5 SYNTH BRASS - Dual L/R Clean TWIN Clean TWIN

P40- 6 SYNCHRO PAN - Single (Ch.B) Full Range Warm Clean

P40- 7 RING MOD - Single (Ch.A) Clean TWIN R-FIER Cln

P40- 8 HEAVY OCT - Dual L/R MS HiGain BG Drive

P40- 9 STEP PHASE Natural OD Single (Ch.A) Tweed JC-120

P40-10 GUITAR + PAD - Single (Ch.A) MATCH Drive Full Range

159

16

Index

Numerics 2 x 2 Chorus .............................................................................. 48 2CE ............................................................................................. 48

A AC .............................................................................................. 50 Acoustic Processor .................................................................. 50 ACS ............................................................................................ 37 Active Range ............................................................................ 69 Advanced .................................................................................. 88 Advanced Compressor ........................................................... 37 AF Method .............................................................................. 107 AFB ............................................................................................ 43 Amp ........................................................................................... 16 Amp Control ............................................................................ 54 AMP CTL .................................................................................. 54 AMP CTL 1 ................................................................... 1213, 54 AMP CTL 2 ................................................................... 1213, 54 Anti-feedback ........................................................................... 43 AR .............................................................................................. 48 ASIO ........................................................................................ 123 ASSIGN ......................................................................... 12, 22, 56 Assign ........................................................................................ 93 Assign Hold .............................................................................. 99 Audio devices ........................................................................ 123 Auto Riff ................................................................................... 48 Auto Wah .................................................................................. 38 AW ............................................................................................. 38

B Background Services ............................................................. 116 background services ............................................................. 113 BANK ........................................................................................ 19 BASS .................................................................................... 11, 20 Bulk Dump ............................................................................... 75 Bulk Load .................................................................................. 76 Bypass ..................................................................................... 102

C CAPS ............................................................................. 23, 27, 56 CC#1 .................................................................................... 6465 CC#7 .................................................................................... 6465 CC#7 FV .................................................................................... 65 CC#80 ........................................................................................ 64 CHANNEL ............................................................................... 11 Channel ..................................................................................... 27 CHANNEL A ........................................................................... 27 CHANNEL B ............................................................................ 27 CHORUS ............................................................................. 12, 34 COMP .................................................................................. 12, 35 Compressor .............................................................................. 35 Connection ................................................................................ 15 Contrast ..................................................................................... 96 Control Change ............................................................ 72, 7879 Copy .......................................................................................... 24 COSM ........................................................................................ 10 CTL 1/2 ..................................................................................... 13 CTL 3/4 ..................................................................................... 13 Current .................................................................................... 102 Customize ................................................................................. 57

D DEL ................................................................................ 23, 27, 56 DELAY .......................................................................... 12, 3233 DGT ........................................................................................... 22 DIGITAL OUT ......................................................................... 13 Digital Signature .................................................................... 115 Direct Monitor .......................................................................... 89 DIRECT OUT ........................................................................... 13 Direct Sound ............................................................................. 28 Driver Mode ............................................................................. 88 Driver Signing ................................................................ 114115 Driver Signing Options ......................................................... 111 Dynamic Mode ........................................................................ 92 Dynamic Sens ........................................................................... 92

E Effect .......................................................................................... 28 Effect Chain ........................................................................ 22, 56 Effect Sound ............................................................................. 28 EQ ........................................................................................ 12, 51 Equalizer ................................................................................... 51 Error Message ........................................................................ 143 Exclusive ................................................................................... 79 EXIT ........................................................................................... 12 EXP Pedal ........................................................................... 63, 68 EXP PEDAL 1 ........................................................................... 13 EXP PEDAL 2 ........................................................................... 13 EXP1 FV .................................................................................... 65 Expression Pedal ...................................................................... 16 External Effects .................................................................. 16, 18 External Effects Loop .............................................................. 52 EZ Tone ..................................................................................... 26

F Factory Reset .......................................................................... 103 Factory Settings ...................................................................... 103 FB ............................................................................................... 42 FC-200 ........................................................................................ 81 FC-200 Bank Change ............................................................... 82 FC-200 Bank Limit ................................................................... 81 FC-200 CTL ............................................................................... 69 FC-200 CTL Pedal .................................................................... 81 FC-200 EXP ............................................................................... 69 FC-200 Mode ............................................................................ 81 FC-200 Program Change Out ................................................. 82 Feedbacker ................................................................................ 42 FL ............................................................................................... 40 Flanger ...................................................................................... 40 Foot Switch ......................................................................... 16, 68 Foot Volume ........................................................... 22, 55, 61, 65 Fretless Guitar .......................................................................... 41 FV ............................................................................................... 55 FX CHAIN ................................................................................ 56 FX-1 ...................................................................................... 12, 36 FX-2 ................................................................................ 12, 36, 45

G GAIN ................................................................................... 11, 20 Global ........................................................................................ 94 GND LIFT ................................................................................. 13

0

Index

GS ............................................................................................... 38 GT-PRO Editor ......................................................................... 88 GT-PRO Librarian ................................................................... 88 Guitar Amp ........................................................................ 18, 54 Guitar In .............................................................................. 90, 96 Guitar Simulator ...................................................................... 38 Guitar Synth ............................................................................. 49

H Harmonist ................................................................................. 45 Harmonist Scale ....................................................................... 46 HR .............................................................................................. 45 HU ............................................................................................. 43 Humanizer ................................................................................ 43

I Initialize .............................................................................. 2526 INPUT ................................................................................. 11, 13 INPUT LEVEL .......................................................................... 11 Input Level ............................................................................... 97 Input Presence .......................................................................... 97 Input Select ......................................................................... 90, 96 Input Sens ................................................................................. 93 INS ................................................................................. 23, 27, 56 Insert Disk ............................................................................... 112 Internal Pedal ........................................................................... 70 Internal Pedal System ............................................................. 70

K Knob Mode ............................................................................... 99

L LCD Contrast ........................................................................... 96 LEVEL ................................................................................. 11, 20 Level Meter ............................................................................. 100 Limiter ....................................................................................... 37 LINE/PHONES ................................................................. 1718 LM .............................................................................................. 37 LOOP ......................................................................................... 52 LOOP 1/2 ..................................................................... 1213, 52 LOOP 1/2 RETURN Level ................................................... 100 LOOP 1/2 SEND Level ......................................................... 100

M MAIN ........................................................................................ 11 Main Global EQ ....................................................................... 94 MAIN OUT ............................................................................... 13 MAIN OUT Level .................................................................. 100 Manual Mode ........................................................................... 85 Manual Setting ......................................................................... 67 Map Select ........................................................................... 7778 MASTER ....................................................................... 12, 22, 54 Master BPM .............................................................................. 55 METER .................................................................................... 100 MIDDLE .............................................................................. 11, 20 MIDI .................................................................................... 72, 79 MIDI Channel .......................................................................... 79 MIDI devices .......................................................................... 123 MIDI Implementation ............................................................. 80 MIDI Implementation Chart ................................................ 105

MIDI IN ..................................................................................... 13 MIDI Map Select ...................................................................... 78 MIDI OUT ................................................................................. 13 MIDI Sequencer ................................................................. 7576 MIDI THRU .............................................................................. 13 MME ........................................................................................ 123 MODE Switch .......................................................................... 16 Mute ......................................................................................... 102

N NAME ....................................................................................... 56 NAME/FX CHAIN ..................................................... 12, 2223 Noise Suppressor ............................................................... 22, 54 NS .............................................................................................. 54 Number ..................................................................................... 19

O OC .............................................................................................. 47 Octave ........................................................................................ 47 On/Off ...................................................................................... 20 On/Off Button ....................................................... 2122, 57, 59 Original Phrase ........................................................................ 49 OS/DS ....................................................................................... 12 OUTPUT ................................................................................... 11 Output ....................................................................................... 55 Output Channel ....................................................................... 95 OUTPUT SELECT ........................................................ 12, 1718 OVERDRIVE/DISTORTION ........................................... 31, 59

P P.Chnge Mode .......................................................................... 97 PAN ........................................................................................... 40 Parameter ...................................................................... 19, 22, 28 Patch .................................................................................... 16, 19 Patch Change ........................................................................... 19 Patch Change Mode ................................................................ 97 Patch Copy ............................................................................... 24 Patch Exchange ........................................................................ 25 Patch Extent .............................................................................. 98 PATCH LEVEL ............................................................ 12, 20, 55 Patch Name ........................................................................ 23, 56 Patch Number .......................................................................... 78 Patch Write ............................................................................... 24 PATCH/VALUE ..................................................................... 11 PB ............................................................................................... 47 PEAK ......................................................................................... 11 Pedal .......................................................................................... 61 Pedal Bend ................................................................................ 47 Pedal Wah ................................................................................. 60 PH .............................................................................................. 39 Phaser ........................................................................................ 39 PHONES ................................................................................... 11 Pitch Shifter .............................................................................. 46 Play Screen ................................................................................ 16 POLARITY Switch ................................................................... 16 POWER ............................................................................... 12, 16 PRE LOOP .................................................................... 1213, 53 Preamp ...................................................................................... 92 Preamp Mode ........................................................................... 98 PREAMP/SPEAKER ................................. 11, 20, 2728, 5758

161

Index

Preamp/Speaker Simulator ................................................... 28 PRESENCE ......................................................................... 11, 20 Preset Bank ............................................................................... 19 Preset Patch .............................................................................. 19 Program Change ................................................................ 72, 79 Program Change Map ............................................................. 77 Program Map ........................................................................... 77 PS ............................................................................................... 46

Q Quick FX ................................................................................... 21 Quick Setting ...................................................................... 21, 66

R Reference Pitch ....................................................................... 102 RETURN ............................................................................. 13, 52 REVERB .............................................................................. 12, 35 Ring Modulator ....................................................................... 41 RM ............................................................................................. 41 Rotary ........................................................................................ 47 RT ............................................................................................... 47

S SDD ............................................................................................ 51 SEND ................................................................................... 13, 52 SEQ ............................................................................................ 44 SG ............................................................................................... 41 SH .............................................................................................. 51 SHIFT ........................................................................................ 12 Sitar ............................................................................................ 42 Sitar Simulator ......................................................................... 42 SL ............................................................................................... 43 Slicer .......................................................................................... 43 Slow Gear .................................................................................. 41 SOLO ......................................................................................... 11 Sound Hold .............................................................................. 51 Sound playback ..................................................................... 124 Sound recording .................................................................... 124 Source Mode ............................................................................. 69 SPEAKER ............................................................................ 11, 58 Speaker ................................................................................ 16, 58 Speaker Simulator ............................................................. 1718 Special Driver Mode ..................................................... 110, 126 Standard .................................................................................... 88 Standard Driver Mode .................................................. 110, 126 Store ........................................................................................... 24 STR ............................................................................................. 42 SUB ............................................................................................ 11 Sub Delay .................................................................................. 51 Sub Equalizer ........................................................................... 44 Sub Global EQ .......................................................................... 95 SUB OUT ................................................................................... 13 SUB OUT Level ...................................................................... 100 Swap .......................................................................................... 25 SYN ............................................................................................ 49 SYSTEM .................................................................................... 12

T Target ........................................................................................ 67 Target Range ............................................................................ 68 TM .............................................................................................. 38 Tone Modify ............................................................................. 38 Total NS .................................................................................... 94 Total REVERB .......................................................................... 94 Touch Wah ............................................................................... 37 TR ............................................................................................... 39 TREBLE ............................................................................... 11, 20 Tremolo ..................................................................................... 39 Tuner ................................................................................. 18, 101 TUNER OUT ............................................................................ 13 TUNER/BYPASS ..................................................................... 12 Tuning ............................................................................... 18, 101 TW ............................................................................................. 37 TYPE .................................................................................... 11, 20 TYPE VARIATION .................................................................. 11

U Uni-V ......................................................................................... 41 USB ...................................................................................... 13, 88 USB Direct Monitor ................................................................. 90 USB Driver .............................................................................. 109 USB In .................................................................................. 90, 96 USB Mix Channel .................................................................... 89 USB Mix Level .......................................................................... 89 USB Monitor Command ......................................................... 90 USB/Digital Out ...................................................................... 95 USB/Digital Out Channel ...................................................... 89 USB/Digital Out Level ........................................................... 89 User Bank .................................................................................. 19 User Patch ..................................................................... 19, 2425 User Phrase ............................................................................... 49 User Quick Setting ................................................................... 26 User Scale .................................................................................. 46 UV .............................................................................................. 41

V VB ............................................................................................... 40 Vibrato ....................................................................................... 40 Volume ...................................................................................... 16 Volume-swell Effect ................................................................ 41

W WAH ............................................................................. 12, 36, 60 Wave Pedal ............................................................................... 71 Wave Synth .............................................................................. 44 WDM ....................................................................................... 123 WRITE ........................................................................... 12, 2427 Write .......................................................................................... 24 WSY ........................................................................................... 44

162

This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.

For EU Countries

For EU Countries

Apparatus containing Lithium batteries

ADVARSEL! Lithiumbatteri - Eksplosionsfare ved fejlagtig hndtering. Udskiftning m kun ske med batteri af samme fabrikat og type. Levr det brugte batteri tilbage til leverandren.

VARNING Explosionsfara vid felaktigt batteribyte. Anvnd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvnt batteri enligt fabrikantens instruktion.

CAUTION Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type recommended by the manufacturer. Discard used batteries according to the manufacturers instructions.

ADVARSEL Eksplosjonsfare ved feilaktig skifte av batteri. Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten. Brukte batterier kasseres i henhold til fabrikantens instruks joner.

VAROITUS Paristo voi rjht, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

Cet appareil numrique de la classe B respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.

NOTICE

AVIS

For the USA

FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation.

Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

For the USA

DECLARATION OF CONFORMITY Compliance Information Statement

Model Name : Type of Equipment : Responsible Party :

Address : Telephone :

GT-PRO Guitar Effects Processor Roland Corporation U.S. 5100 S.Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700

CAUTION RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS SAVE THESE INSTRUCTIONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any of the ventilation openings. Install in

accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators,

heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE: BROWN:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

NEUTRAL LIVE

For the U.K.

WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

2

Owners Manual

03899334 05-3-1N

Printing Conventions in This Manual

Text or numerals enclosed in square brackets [ ] indicate bottons.

[WRITE]

WRITE button

[SYSTEM]

SYSTEM button

EXP pedal

is an abbreviation of Expression pedal.

Reference such as (p. **) indicate pages in this manual to which you can refer.

Thank you, and congratulations on your choice of the BOSS

GT-PRO

Guitar Effects Processor.

Before using this unit, carefully read the sections entitled:

IMPORTANT SAFETY INSTRUCTIONS (page 2)

USING THE UNIT SAFELY (page 34)

IMPORTANT NOTES (page 56)

These sections provide important information concerning the proper operation of the unit.

Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owners manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Copyright 2005 BOSS CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.

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