GCS 8 Parameter

Parameter Guide
© 2023 Roland Corporation 01

Contents
CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
CHANNEL1–4 (CH1–4). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 EFFECTS CATEGORY: GUITAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 DISTORTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
MOBILE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 PREAMP (AMP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
BLUETOOTH®. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
SOUND PAD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 NOISE SUPPRESSOR (NS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
PEDAL FX (PDL). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
PAD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 FX1–3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
SOUND (SOUND PAD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 DELAY/REVERB (DLY/REV). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
EFFECTS (EFFECTS PAD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 MASTER (MST). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
EFFECTS CATEGORY: SING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
FOOT SW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 ENHANCE (EH). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
NOISE SUPPRESSOR (NS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
CTL/EXP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
PITCH CORRECT (PCR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
GA-FC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
HARMONY (HRM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
GENERAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
FX1–3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
DELAY/REVERB (DLY/REV). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
MAIN OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 MASTER (MST). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
PHONES (PHONES1–4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 EFFECTS CATEGORY: TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
USB MAIN, USB MONITOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 ENHANCE (EH). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
USB AUX IN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 NOISE SUPPRESSOR (NS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
TALKBACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 FX1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
GENERAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 MASTER (MST). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
EFFECTS CATEGORY: CONSOLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 COMPRESSOR (COMP) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 ENHANCE (EH). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
SD CARD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 NOISE SUPPRESSOR (NS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
GENERAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 MASTER (MST). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Dedicated Effects for USB/MOBILE/BLUETOOTH Channels . . . . . 78
ENHANCE (EH). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
NOISE SUPPRESSOR (NS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
MASTER (MST). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Dedicated Effects for SOUND PAD Channel. . . . . . . . . . . . . . . . . . . 84
DIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
RADIO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
LO-FI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
T.WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
RING MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
TREMOLO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
PHASER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
SLICER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
ISOLATOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
VIBRATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
FREEZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
GRANULAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
GCS-8 Audio Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
2
CHANNEL
CHANNEL1–4 (CH1–4)
INPUT
Parameter Value (Bold: default) Explanation
Selects the input source.
Guitar connected to the Guitar jack
GTR
** Only for channel 1
CH1–4 Mic, keyboard or audio equipment connected to the channel 1–4 jacks
Select these when you want to use channels 1/2 or 3/4 as a stereo link.
INPUT
1&2, 3&4 When stereo link is turned on, the same settings apply to both channels.
** Turning on stereo link also automatically turns one of the channels off.
INT MIC Built-in mic ** You can set either “INT MIC” or “HEADSET” for just
HEADSET Headset mic one channel.
OFF Off (no used)
INPUT: GTR, INT MIC, HEADSET
GAIN -20–0–+20 dB Adjusts the input gain.
INPUT: CH1–4, 1&2, 3&4
Turns the phantom power on/off.
+48V OFF, ON ** Always turn the phantom power “OFF” when connecting any device other than condenser
microphones that require phantom power.
EQ
(ON/OFF) OFF, ON Turns EQ on/off.
LOW -20–0–+20 dB Adjusts the gain for the low frequency range.
LOW MID -20–0–+20 dB Adjusts the gain for the low-middle frequency range.
FREQ 20.0–500 Hz–16.0 kHz Specifies the center of the frequency range that will be adjusted by the LO MID.
Adjusts the width of the area affected by the EQ centered at the LO MID FREQ.
Q 0.5–1–16
Higher values will narrow the area.
HIGH MID -20–0–+20 dB Adjusts the gain for the high-middle frequency range.
FREQ 20.0–500 Hz–16.0 kHz Specifies the center of the frequency range that will be adjusted by the HI MID.
Adjusts the width of the area affected by the EQ centered at the HI MID FREQ.
Q 0.5–1–16
HIGH -20–0–+20 dB Adjusts the gain for the high frequency range.
Specifies the frequency at which the low cut filter begins to take effect.
LOW CUT FLAT, 20.0–80 Hz–16.0 kHz
When “FLAT” is selected, the low cut filter will have no effect.
Specifies the frequency at which the high cut filter begins to take effect.
HIGH CUT 20.0 Hz–16.0 kHz, FLAT
When “FLAT” is selected, the high cut filter will have no effect.
PAN L50–CENTER–R50 Sets the stereo location (pan) of the sound.
3
CHANNEL
EFFECTS
(ON/OFF) OFF, ON Turns EFFECTS on/off.
Selects an effect category.
Selects effect patches for guitars.
GUITAR
** Only for channel 1
EFFECTS
Selects effect patches for vocals.
CATEGORY SING
** Only for channel 1, 2
TALK Selects effect patches for conversations.
CONSOLE This effect is shared between channels 1–4.
When the effects category is “GUITAR”, “SING” or “TALK”
This shows the edit screen for the effect patch.
ØØ “Effect Parameters” (p. 31)
EFFECTS CATEGORY: GUITAR

PRESET: P001–100
PATCH Selects the effect patch.
USER: U001–200
Configures the typical parameters for the effects that are switched to “ON”, for the currently
selected effect patch.
Effect parameters
** A Ï mark is shown in “Effect Parameters” > “EFFECTS CATEGORY: GUITAR” (p. 31) for the
typical parameters of each effect.
EFFECTS CATEGORY: SING
PRESET: P001–030
USER: U001–200
Effect parameters
** A Ï mark is shown in “Effect Parameters” > “EFFECTS CATEGORY: SING” (p. 54) for the
EFFECTS CATEGORY: TALK
PRESET: P001–030
USER: U001–200
Effect parameters
** A Ï mark is shown in “Effect Parameters” > “EFFECTS CATEGORY: TALK” (p. 64) for the
EFFECTS CATEGORY: CONSOLE
ØØ Effect Parameters Edits the effect. The parameters can be configured for each channel.
“EFFECTS CATEGORY: CONSOLE” (p. 72)
** Edited settings are saved as-is.
GENERAL
Sets whether to input USB audio signals as auxiliary input (AUX IN) for each channel (ON) or
USB AUX IN OFF, ON
not (OFF).
Configures the input position for the USB audio signal.
INPUT Inputs at the position before the signal passes through the EQ/effects.
INSERT
PRE FADER Inputs before the channel fader.
POST FADER Inputs after the channel fader.
LEVEL -INF, -85.0–0.0–+15.0 dB Configures the input level for the USB audio signal.
REVERB SEND 0–20–100 Sets the level of the signal sent to reverb from each channel.
NOTE
This function is enabled when the effect category is set to anything besides “GUITAR”.
DYNAMICS When this is set to “ON”, ENHANCE/COMP/NS also stay on, even when the EFFECTS button is
OFF, ON OFF.
REMAIN
When DYNAMICS REMAIN is enabled
When the EFFECTS button is OFF, this lights up blue.
4
CHANNEL
USB
INPUT
EQ
Q 0.5–1–16
Q 0.5–1–16
PAN L50– CENTER–R50 Sets the stereo location (pan) of the sound.
EFFECTS
(ON/OFF) OFF, ON Turns the dedicated effect for the USB channel on/off.
ØØ Effect Parameters Edits the dedicated effect for the USB channel.
“Dedicated Effects for USB/MOBILE/BLUETOOTH
Channels” (p. 78) ** Edited settings are saved as-is.
GENERAL
Turns the ducking function on/off.
Ducking:
When the audio from a performance or conversation is playing (through channels 1–4), this
DUCK OFF, ON function makes the sound of the performance or conversation more prominent by making
all other sounds quieter. This works by automatically bringing down the volume of the music
(such as background music) while the narrator is talking or while other participants are having
a chat.
DUCK DEPTH -20–-10–0 dB Sets how much the other sounds are attenuated when ducking is active.
DUCK DECAY 0–100 Sets how long it takes for the levels to return to their previous volume after ducking is activated.
Turns the MIX MINUS function on/off.
** The MIX MINUS function is enabled while AUDIO MODE (p. 29) is operating in multitrack
(MTK-RECORD, MTK-STREAM). The audio signal is sent to the computer as USB MONITOR
output (p. 27).
MIX MINUS OFF, ON
MIX MINUS function:
This function returns the audio mix to your computer, without the audio from the USB
channel itself. This helps to suppress feedback, such as when you’re having an online
conversation on your computer.
REVERB SEND 0–20–100 Sets the level of the signal sent to reverb from the USB channel.
When this is set to “ON”, ENHANCE/COMP/NS also stay on, even when the EFFECTS button is OFF.
DYNAMICS
OFF, ON When DYNAMICS REMAIN is enabled:
REMAIN
5
CHANNEL
MOBILE
INPUT
Selects the input source.
MOB Smartphone or plug-in mic connected to the Mobile jack
INPUT INT MIC Built-in mic ** You can set either “INT MIC” or “HEADSET” for just
HEADSET Headset mic one channel.
OFF Off (no used)
PLUG-IN POWER OFF, ON Set this to “ON” when using a plug-in mic.
EQ
Q 0.5–1–16
Q 0.5–1–16
EFFECTS
(ON/OFF) OFF, ON Turns the dedicated effect for the MOBILE channel on/off.
ØØ Effect Parameters Edits the dedicated effect for the MOBILE channel.
6
CHANNEL
GENERAL
Ducking:
DUCK OFF, ON function makes the sound of the performance or conversation more prominent by making all
other sounds quieter.
This works by automatically bringing down the volume of the music (such as background
music) while the narrator is talking or while other participants are having a chat.
Sets how long it takes for the levels to return to their previous volume after ducking is
DUCK DECAY 0–100
activated.
MIX MINUS function:
MIX MINUS OFF, ON This function returns the audio mix to the Mobile jack, without the audio from the MOBILE
channel itself.
This helps to suppress feedback, such as when you’re having a conversation on your
smartphone with wired connection.
Sets the volume when sending a mix sound to a device connected to the Mobile jack.
ON Returns the mixed sound at the normal volume.
TRRS RETURN
-6 dB, -12 dB Returns the mixed sound at a lower volume.
OFF The mixed sound is not returned.
REVERB SEND 0–20–100 Sets the level of the signal sent to reverb from the MOBILE channel.
When this is set to “ON”, ENHANCE/COMP/NS also stay on, even when the EFFECTS button is
DYNAMICS OFF.
OFF, ON
REMAIN When DYNAMICS REMAIN is enabled:
7
CHANNEL
BLUETOOTH®
INPUT
PAIR – Pairs this unit with your mobile device.
EQ
Q 0.5–1–16
Q 0.5–1–16
EFFECTS
(ON/OFF) OFF, ON Turns the dedicated effect for the BLUETOOTH channel on/off.
ØØ Effect Parameters Edits the dedicated effect for the BLUETOOTH channel.
GENERAL
Ducking:
DUCK OFF, ON When the audio from a performance or conversation is playing (through channels 1–4), this
function makes the sound of the performance or conversation more prominent by making all
other sounds quieter. This works by automatically bringing down the volume of the music (such
as background music) while the narrator is talking or while other participants are having a chat.
DUCK DECAY 0–100 Sets how long it takes for the levels to return to their previous volume after ducking is activated.
MIX MINUS function:
MIX MINUS OFF, ON This function returns the audio mix to your mobile device, without the audio from the BLUETOOTH
channel itself. This helps to suppress feedback, such as when you’re having a conversation on your
smartphone.
REVERB SEND 0–20–100 Sets the level of the signal sent to reverb from the BLUETOOTH channel.
When this is set to “ON”, ENHANCE/COMP/NS also stay on, even when the EFFECTS button is OFF.
DYNAMICS
OFF, ON When DYNAMICS REMAIN is enabled:
REMAIN
BLUETOOTH SW OFF, ON Turns the Bluetooth function on/off.
8
CHANNEL
SOUND PAD
EFFECTS
(ON/OFF) OFF, ON Turns the dedicated effect for the SOUND PAD channel on/off.
Selects the effect type and configures the parameters.
** The parameters to set depend on the selected effect type.
FX TYPE
** Edited settings are saved as-is.
ØØ Effect Parameters “Dedicated Effects for SOUND PAD Channel” (p. 84)
GENERAL
Ducking:
DUCK OFF, ON function makes the sound of the performance or conversation more prominent by making all
other sounds quieter.
This works by automatically bringing down the volume of the music (such as background
music) while the narrator is talking or while other participants are having a chat.
Sets how long it takes for the levels to return to their previous volume after ducking is
DUCK DECAY 0–100
activated.
REVERB SEND 0–20–100 Sets the level of the signal sent to reverb from the SOUND PAD channel.
9
PAD
SOUND (SOUND PAD)
BANK1-1–8-8
FILE – Selects the audio file (.WAV) to assign to the pad.
This specifies how the audio plays back.
One-shot playback
1SHOT
MODE The audio file plays back only once and then stops.
Loop playback
LOOP
The audio keeps playing back repeatedly until you make it stop.
These settings configure how the pads operate.
MOMENT Plays back audio while the pad is pressed.
TOGGLE Toggles between playback and stop each time you press the pad.
Toggles between playback and pause each time you press the pad.
PAUSE The audio resumes playback from where it last stopped.
(TYPE) To make the audio stop during playback, long-press the pad.
Plays back from the beginning each time you press the pad.
REPLAY
To make the audio stop during playback, long-press the pad.
When you press a pad to start playback and then press a pad during playback, the audio plays
PLAY back to the end and stops.
To make the audio stop during playback, long-press the pad.
LEVEL 0–50–100 Sets the playback volume.
Sets whether to apply the effect that’s configured for the SOUND PAD channel (ON) or not
EFFECT SEND OFF, ON
(OFF).
REVERSE OFF, ON Sets whether to play back in reverse (ON) or in the normal direction (OFF).
Sets the audio playback speed.
SPEED 50–100–150%
This is specified as a ratio of the original.
PITCH -12–0–+12 Shifts the audio playback pitch in semitones.
FINE -50–0–+50 Fine-tunes the pitch of the audio playback.
Sets the fade-in time used when starting playback with a fade-in.
FADE IN OFF, 0.1–10.0s
When fade-in is not being used, set this to “OFF”.
Sets the fade-out time used when the audio fades out and stops.
FADE OUT OFF, 0.1–10.0s
When fade-out is not being used, set this to “OFF”.
When the audio is playing back on a pad for which this is set to “ON”, all other audio sources
CUT IN OFF, ON (the sound pads, channels 1–4 and the USB through BLUETOOTH channels) are muted.
** Effects are not applied to the audio of pads for which this is set to “ON”.
RED, ORANGE, YELLOW,
COLOR GREEN, CYAN, LIGHT BLUE, Sets the color of the pad illumination.
BLUE, PURPLE, PINK, WHITE
Sets the MIDI controller number (CC#) that’s transmitted when the pad is pressed.
MIDI CC OFF, CC#0–CC#127
Set this to “OFF” if you don’t want to transmit this data.
10
PAD
EFFECTS (EFFECTS PAD)

BANK1-1–8-8
(FUNCTION) A–D Selects the group.
Select the category. The functions you can select are different for each category.
CH1–4, USB, MOBILE, Controls the functions for the specified channel.
BLUETOOTH, SOUND CH SOUND CH: SOUND PAD channel
OUTPUT Controls the output function.
CATEGORY
TUNER Controls the tuner function.
RECORDER Controls the recorder function.
SOUND PAD Controls the sound pad function.
MIDI Controls the MIDI function.
Specifies the function that’s assigned to the pads.
FUNCTION The functions you can select are different for FUNCTION A and for FUNCTION B–D.
ØØ “FUNCTION List (EFFECTS PAD)” (p. 11)
These settings configure how the pads operate.

This setting lets you toggle between MIN and MAX values each time you press a pad.
TOGGLE
MODE The pad lights up for the MAX value.
The MAX value is used while you are pressing the pad.
MOMENT
The pad lights up for the MAX value.
MIN – Sets the lower limit (MIN) and the upper limit (MAX) of the variable range for the parameter.
MAX – ** The value changes depending on the function assigned.
RED, ORANGE, YELLOW, Sets the color of the pad illumination.
COLOR GREEN, CYAN, LIGHT BLUE, ** FUNCTION A only.
BLUE, PURPLE, PINK, WHITE ** When FUNCTION A is “OFF”, the pads do not light up.
ÃÃ FUNCTION List (EFFECTS PAD)

FUNCTION A Explanation
CATEGORY: CH1–4
OFF No function is assigned.
PATCH INC Switches between effect patches in numerical order from lowest to highest.
PATCH DEC Switches between effect patches in numerical order from highest to lowest.
Each time you press the pad, the effect patch toggles between the one that’s set for MIN and the one that’s
PATCH TOGGLE
set for MAX.
PATCH NUMBER When you press a pad, the effect patch switches to the one that’s set for MAX.
Press the pad once to switch to the effects patch that’s set for MAX. Each time you subsequently press the
PATCH NUM+FX ON/OFF
pad, the EFFECTS buttons switches on/off.
EFFECT ON/OFF Toggles the EFFECTS button on/off.
GUITAR DIST ON/OFF *1 Toggles “DISTORTION” on/off for effect patches in EFFECTS CATEGORY: GUITAR.
GUITAR PREAMP ON/OFF *1 Toggles “PREAMP” on/off for effect patches in EFFECTS CATEGORY: GUITAR.
SING PCR ON/OFF *2 Toggles “PITCH CORRECT” on/off for effect patches in EFFECTS CATEGORY: SING.
SING HARMONY ON/OFF *2 Toggles “HARMONY” on/off for effect patches in EFFECTS CATEGORY: SING.
EQ ON/OFF Toggles “EQ” on/off for effect patches in EFFECTS CATEGORY: GUITAR/SING/TALK.
NS ON/OFF Toggles “NS” on/off for effect patches in EFFECTS CATEGORY: GUITAR/SING/TALK.
FX1–3 ON/OFF Toggles “FX1–3” on/off for effect patches in EFFECTS CATEGORY: GUITAR/SING/TALK.
DLY/REV ON/OFF Toggles “DELAY/REVERB” on/off for effect patches in EFFECTS CATEGORY: GUITAR/SING.
CTL1–4 Toggles the CTL1–4 function on/off that was set in the effect patch.
CHANNEL EQ ON/OFF Toggles “EQ” for the specified channel on/off.
CONSOLE COMP ON/OFF Toggles “COMP” on/off for effects in EFFECTS CATEGORY: CONSOLE.
CONSOLE ENHANCE ON/OFF Toggles “ENHANCE” on/off for effects in EFFECTS CATEGORY: CONSOLE.
CONSOLE NS ON/OFF Toggles “NS” on/off for effects in EFFECTS CATEGORY: CONSOLE.
CONSOLE MFX ON/OFF Toggles “FX” on/off for effects in EFFECTS CATEGORY: CONSOLE.
11
PAD
USB AUX IN ON/OFF Toggles “USB AUX IN” (GENERAL parameter) on/off.
CHANNEL MUTE Toggles mute on/off for the specified channel.
CHANNEL LEVEL +12 Raises the level for the specified channel by 12 dB.
CHANNEL LEVEL -6 Lowers the level for the specified channel by 6 dB.
CATEGORY: USB, MOBILE, BLUETOOTH
NS ON/OFF Toggles “NS” on/off for the dedicated effect.
FX1 ON/OFF Toggles “FX” on/off for the dedicated effect.
CONSOLE ENHANCE ON/OFF Toggles “ENHANCE” on/off for the dedicated effect.
CONSOLE NS ON/OFF Toggles “NS” on/off for the dedicated effect.
CONSOLE MFX ON/OFF Toggles “FX” on/off for the dedicated effect.
CHANNEL DUCK ON/OFF Toggles “DUCK” (GENERAL parameter) on/off.
CATEGORY: SOUND CH
CATEGORY: OUTPUT
KEY Switches “KEY” (in EFFECTS, GENERAL) between the value set for MIN and the value set for MAX.
BPM TAP Sets the “BPM” (in EFFECTS, GENERAL) according to the tempo at which you strike the pad.
OUTPUT EQ ON/OFF Toggles “EQ” on/off in MAIN OUT.
USB MAIN EQ ON/OFF Toggles “EQ” on/off in USB MAIN.
USB MONITOR EQ ON/OFF Toggles “EQ” on/off in USB MONITOR.
Toggles “EQ” for Headphones jacks 1–4 on/off.
PHONES 1–4 EQ ON/OFF
** This is disabled when the EQ (p. 28) in OUTPUT > GENERAL is set to “COMMON”.
TALKBACK ON/OFF Toggles the talkback on/off.
CATEGORY: TUNER
ON/OFF Toggles the tuner on/off.
Toggles mute on/off.
TUNER MUTE
** The channels that are turned off in the TUNER screen are disabled.
CATEGORY: RECORDER
REC Starts recording.
PAUSE Pauses recording.
MARK Adds a mark at the location where you press a pad.
12
PAD
CATEGORY: SOUND PAD
SOUND BANK UP Switches between sound pad banks in sequential order, from 1 to 8.
SOUND BANK DOWN Switches between sound pad banks in sequential order, from 8 to 1.
SOUND PAD 1–8 Plays the audio of the specified pad in the current bank.
CATEGORY: MIDI
MIDI CC#0–127 Pad operations are transmitted using the specified controller number.
*1 Shown when CATEGORY is “CH1”.

*2 Shown when CATEGORY is “CH1” or CH2”.
FUNCTION B–D Explanation

CATEGORY: CH1–4
Each time you press the pad, the effect patch toggles between the one that’s set for MIN and the one that’s
PATCH TOGGLE set for MAX.
PATCH NUMBER When you press a pad, the effect patch switches to the one that’s set for MAX.
CATEGORY: SOUND CH
CATEGORY: OUTPUT
BPM TAP Sets the “BPM” (in EFFECTS, GENERAL) according to the tempo at which you strike the pad.
13
PAD

CATEGORY: TUNER
TUNER MUTE
CATEGORY: RECORDER
MARK Adds a mark at the location where you press a pad.
CATEGORY: SOUND PAD
CATEGORY: MIDI
MIDI CC#0–127 Pad operations are transmitted using the specified controller number.
14
FOOT SW
CTL/EXP
CTL1, 2
CATEGORY
Specifies the function that’s assigned to the footswitches.
ØØ “FUNCTION List (CTL1, 2)” (p. 15)
Sets how the footswitch works.

MODE TOGGLE This setting lets you toggle between MIN and MAX values each time you press the footswitch.
MOMENT The MAX value is used while you are pressing the footswitch.
ÃÃ FUNCTION List (CTL1, 2)

CATEGORY: CH1–4
Each time you press the footswitch, the effect patch toggles between the one that’s set for MIN and the
PATCH TOGGLE
one that’s set for MAX.
PATCH NUMBER When you press the footswitch, the effect patch switches to the one that’s set for MAX.
Press the footswitch once to switch to the effects patch that’s set for MAX. Each time you subsequently
PATCH NUM+FX ON/OFF
press the footswitch, the EFFECTS buttons switches on/off.
15
FOOT SW
FX1 ON/OFF Toggles “FX” on/off for the dedicated effect.
CATEGORY: SOUND CH
CATEGORY: OUTPUT
BPM TAP Sets the “BPM” (in EFFECTS, GENERAL) according to the tempo at which press the footswitch.
CATEGORY: TUNER
TUNER MUTE
CATEGORY: RECORDER
MARK Adds a mark at the location where you press the footswitch.
CATEGORY: SOUND PAD
16
FOOT SW
CATEGORY: MIDI
MIDI CC#0–127 Footswitch operations are transmitted using the specified controller number.


CATEGORY: CH1–4
Each time you press the footswitch, the effect patch toggles between the one that’s set for MIN and the
PATCH TOGGLE
one that’s set for MAX.
PATCH NUMBER When you press the footswitch, the effect patch switches to the one that’s set for MAX.
CATEGORY: SOUND CH
CATEGORY: OUTPUT
BPM TAP Sets the “BPM” (in EFFECTS, GENERAL) according to the tempo at which press the footswitch.
CATEGORY: TUNER
TUNER MUTE
17
FOOT SW

CATEGORY: RECORDER
MARK Adds a mark at the location where you press the footswitch.
CATEGORY: SOUND PAD
CATEGORY: MIDI
MIDI CC#0–127 Footswitch operations are transmitted using the specified controller number.
EXP
CATEGORY BLUETOOTH, SOUND CH SOUND CH: SOUND PAD channel
Specifies the function that’s assigned to the expression pedal.
ØØ “FUNCTION List (EXP)” (p. 18)
Sets the lower limit (MIN) and the upper limit (MAX) of the variable range for the parameter.
MIN –
The MIN setting is for when the pedal is fully raised, and the MAX setting is for when the pedal
is fully advanced.
MAX –
** The value changes depending on the function assigned.
ÃÃ FUNCTION List (EXP)

CATEGORY: CH1–4
PATCH LEVEL Controls “LEVEL” for the effect patch.
EXP1, 2 Controls the functions set for “EXP 1, 2” in the effect patch.
CHANNEL EQ PAN Controls “PAN” for the EQ of the specified channel.
CHANNEL REVERB SEND Controls “REVERB SEND” in GENERAL for the specified channel.
CHANNEL LEVEL Controls the volume for the specified channel.
CATEGORY: SOUND CH
18
FOOT SW
CATEGORY: OUTPUT
KEY Controls “KEY” in EFFECTS, GENERAL.
BPM Controls “BPM” in EFFECTS, GENERAL.
USB AUX IN LEVEL Controls “LEVEL” for USB AUX IN.
EFFECT COMP COMP Controls “COMP” in EFFECTS, COMP.
EFFECT COMP TONE Controls “TONE” in EFFECTS, COMP.
EFFECT COMP NATURAL Controls “NATURAL” in EFFECTS, COMP.
EFFECT REVERB TONE Controls “TONE” in EFFECTS, REVERB.
EFFECT REVERB LEVEL Controls “LEVEL” in EFFECTS, REVERB.
GENERAL STREAM DELAY Controls “STREAM DELAY” in GENERAL.
CATEGORY: MIDI
MIDI CC#0–127 Expression pedal operations are transmitted using the specified controller number.

CATEGORY: CH1–4
CATEGORY: SOUND CH
CATEGORY: OUTPUT
CATEGORY: MIDI
19
FOOT SW
GA-FC
PEDAL1–6
CATEGORY
Specifies the function that’s assigned to the switches.
ØØ “FUNCTION List (PEDAL1–6)” (p. 20)
Sets how the footswitch works.

MODE TOGGLE This setting lets you toggle between MIN and MAX values each time you press a switch.
MOMENT The MAX value is used while you are pressing the switch.
ÃÃ FUNCTION List (PEDAL1–6)

CATEGORY: CH1–4
Each time you press the switch, the effect patch toggles between the one that’s set for MIN and the one
PATCH TOGGLE
that’s set for MAX.
PATCH NUMBER When you press the switch, the effect patch switches to the one that’s set for MAX.
PATCH NUM+FX ON/OFF
press the switch, the EFFECTS buttons switches on/off.
20
FOOT SW
FX ON/OFF Toggles “FX” on/off for the dedicated effect.
CATEGORY: SOUND CH
CATEGORY: OUTPUT
BPM TAP Sets the “BPM” (in EFFECTS, GENERAL) according to the tempo at which you press the switch.
CATEGORY: TUNER
TUNER MUTE
CATEGORY: RECORDER
MARK Adds a mark at the location where you press the switch.
CATEGORY: SOUND PAD
21
FOOT SW
CATEGORY: MIDI
MIDI CC#0–127 Switch operations are transmitted using the specified controller number.


CATEGORY: CH1–4
Each time you press the switch, the effect patch toggles between the one that’s set for MIN and the one
PATCH TOGGLE that’s set for MAX.
PATCH NUMBER When you press the switch, the effect patch switches to the one that’s set for MAX.
USB AUX IN ON/OFF press the switch, the EFFECTS buttons switches on/off.
CATEGORY: SOUND CH
CATEGORY: OUTPUT
BPM TAP Sets the “BPM” (in EFFECTS, GENERAL) according to the tempo at which you press the switch.
CATEGORY: TUNER
TUNER MUTE
22
FOOT SW

CATEGORY: RECORDER
MARK Adds a mark at the location where you press the switch.
CATEGORY: SOUND PAD
CATEGORY: MIDI
MIDI CC#0–127 Switch operations are transmitted using the specified controller number.
EXP1, 2
CATEGORY BLUETOOTH, SOUND CH SOUND CH: SOUND PAD channel
Specifies the function that’s assigned to the expression pedals.
ØØ “FUNCTION List (EXP1, 2)” (p. 23)
Sets the lower limit (MIN) and the upper limit (MAX) of the variable range for the parameter.
MIN –
The MIN setting is for when the pedal is fully raised, and the MAX setting is for when the pedal
is fully advanced.
MAX –
** The value changes depending on the function assigned.
ÃÃ FUNCTION List (EXP1, 2)

CATEGORY: CH1–4
PATCH LEVEL Controls “LEVEL” for the effect patch.
EXP1, 2 Controls the functions set for “EXP 1, 2” in the effect patch.
CATEGORY: SOUND CH
23
FOOT SW
CATEGORY: OUTPUT
CATEGORY: MIDI

CATEGORY: CH1–4
CATEGORY: SOUND CH
CATEGORY: OUTPUT
CATEGORY: MIDI
24
FOOT SW
GENERAL
Here’s how to specify which foot controller (footswitch, expression pedal or GA-FC) is connected to the FOOT SW jack.
FOOT SW CTL/EXP Select this when connecting a footswitch or expression pedal.
GA-FC Select this when connecting a GA-FC.
FOOT SW: GA-FC
Specifies the PAD LINK on/off.
Use pad link to control the functions that are assigned to pads 1–8 by operating the GA-FC.
You can control the sound pads and the effect pads.
OFF Controls the functions assigned to each switch/expression pedal on the GA-FC.
Controls the functions assigned to the sound pads or to the effect pads 1–8 with the GA-FC.
PAD LINK
NOTE
ON When using pad link, the settings for the function that’s assigned to each switch on the GA-FC
(PEDAL 1–6) are disabled, and you can only control the functions assigned to pads 1–8.
The functions assigned to the expression pedals (EXP 1, 2) connected to the GA-FC are
enabled.
25
OUTPUT
MAIN OUT
EQ
Q 0.5–1–16
Q 0.5–1–16
GENERAL
LEVEL -INF–0 dB–+15 dB Sets the signal output level.
PHONES (PHONES1–4)
** This is shown when EQ (p. 28) of GENERAL is set to “INDIVIDUAL”.
EQ
Q 0.5–1–16
Q 0.5–1–16
26
OUTPUT
USB MAIN, USB MONITOR

EQ
Q 0.5–1–16
Q 0.5–1–16
GENERAL
LEVEL -INF–0 dB–+15 dB Sets the signal output level.
MONOMIX OFF, ON Switches the signal output from USB to mono.
USB AUX IN
LEVEL -INF–0 dB–+15 dB Sets the signal input level.
TALKBACK
Turns TALKBACK on/off.
(ON/OFF) OFF, ON
You can also press the [ ] (talkback) button on the top panel to turn it on/off.
CH1–4, USB, MOBILE, Selects the channel for the talkback audio.
CHANNEL
BLUETOOTH You can select multiple channels.
Selects the input source (built-in mic or headset mic) used exclusively for talkback.
Set this to “OFF” if you don’t want to specify a function.
AUX IN INT MIC, HEADSET, OFF
When the same input source is set in the channel settings (p. 3, p. 6), this is
automatically set to “OFF” and the channel settings are enabled.
AUX GAIN -20–0–+20 dB Adjusts the input gain for when AUX IN is used.
Sets the MAIN OUT output level for the channels not used for talkback.
THRU OUT OFF, -20–0 dB The channels that aren’t used for talkback can be used to play background music.
When this is “OFF”, all output audio from MAIN OUT is muted when talkback is used.
Sets the output destination for the talkback audio.
MAIN Outputs to the MAIN OUT jacks and USB MAIN.
OUTPUT
MONITOR Outputs to the Headphones 1–4 jacks and USB MONITOR.
MAIN+MONITOR Outputs to the MAIN OUT jacks, USB MAIN, the Headphones 1–4 jacks and USB MONITOR.
27
OUTPUT
EFFECTS
COMP
Sets the compressor depth.
COMP OFF, 1–40
When this is “OFF”, no compressor effect is applied.
TONE -50–0–50 Adjusts the tonal character of the compressor.
NATURAL -50–0–50 Larger values make the compressor take effect in a more natural way.
REVERB
TIME 0.1–2.6–10s Adjusts the length (time) of reverberation.
TONE -50–0–50 Adjusts the tonal character of the reverb.
LEVEL 0–100 Adjusts the volume of the reverb sound.
GENERAL
A common KEY is set for the effect patches (channels 1–4) and for the dedicated effects (USB
KEY C(Am)–C–B(C#m)
through BLUETOOTH channels).
A common BPM is set for the effect patches (channels 1–4) and for the dedicated effects (USB
BPM -50–0–50
through BLUETOOTH channels).
Selects whether to set the KEY as GENERAL (SYSTEM) settings, or whether to use the effect
KEY PREF SYSTEM, CH1
patch settings for CH1.
Selects whether to set the BPM as GENERAL (SYSTEM) settings, or whether to use the effect
BPM PREF SYSTEM, CH1
patch settings for CH1.
GENERAL
STREAM DELAY OFF, 1–2000 ms Use this to adjust any delays that occur between the video and audio.
Sets the output destination for the audio that’s adjusted in STREAM DELAY.
MAIN Outputs to MAIN OUT.
DELAYED OUT
USB Outputs to USB MAIN.
MAIN+USB Outputs to MAIN OUT and USB MAIN.
Sets the output for which volume adjustment is enabled for the OUTPUT fader.
MAIN Adjusts the MAIN OUT volume (LEVEL).
FADER
USB Adjusts the USB MAIN volume (LEVEL).
MAIN+USB Adjusts the MAIN OUT and USB MAIN volume (LEVEL).
Determines whether to use the same EQ settings for the MAIN OUT and Headphones 1–4
jacks, or whether to set them individually.
When this is set to “INDIVIDUAL”, “<PHONES>” (p. 26) is shown in the OUTPUT screen, and
you can individually set the EQ on the PHONES screen for the Headphones 1–4 jacks.
EQ COMMON, INDIVIDUAL
Sets whether to enable or disable volume adjustment of each channel fader, for the audio
MONITOR PRE FADER, POST FADER
that’s output from the Headphones jacks 1–4 and USB MONITOR.
HEDSET MIX Sets whether to return the input sound from the headset mic to Headphones jack 1 (ON) or
OFF, ON
MINUS not (OFF).
28
SETUP
DISPLAY
BRIGHTNESS
LCD 1–10 Adjusts the brightness of the display.
LED ON 1–10 Adjusts the brightness of the buttons and pads when the buttons and pads are on.
LED OFF 1–5–10 Adjusts the brightness of the buttons and pads when the buttons and pads are off.
Sets how the channel edit buttons (channel 1–SOUND PAD channel) and the OUTPUT edit button lights up.
Makes the channel edit buttons and the OUTPUT edit button light up or go dark when you
CH COLOR
EDIT SW press them.
For the channel edit buttons: the buttons light up according to the levels for each channel.
LEVEL
For the OUTPUT edit button: the button lights up according to the output level.
CLIP LEVEL -15, -12, -9, -6, -3, 0 dBfs Sets the clip display level for the level meter shown on the home screen.
SD CARD
PLAYBACK – The PLAYBACK screen is shown, letting you play back or delete the recorded data (WAV file).
Selects the recording method.
OFF Records a two-channel mix.
Records in multitrack.
DIRECT
The signal that’s adjusted by the input gain (without EQ or effects applied) is recorded.
MULTITRACK
The signal before being adjusted by each channel fader is recorded.
PRE FADER
Use this when you want to adjust the mix balance of the recorded data using your DAW or
other software.
POST FADER
The signal for which the mix balance is adjusted by each channel fader is recorded.
CARD REMAIN – Shows the available capacity on the microSD card (how much recording time is left).
BACKUP – Backs up the recorded data as a WAV file.
FORMAT – Formats the microSD card that’s inserted.
USB
This specifies the operating mode for the audio.
Operates with stereo input/output.
2 MIX
This uses the standard driver of the respective OS.
Operates with multitrack input/output.
This uses a dedicated driver.
MTK-RECORD
AUDIO MODE This is a mode for recording that lets you switch between different sampling rates.
Useful when recording with a DAW or other software.
Operates with multitrack input/output.
This uses a dedicated driver.
MTK-STREAM
When using this unit with a Mac, this mode lets you select each channel individually.
This is handy when using apps for conversation and the like.
When outputting in multitrack, this sets which signal to output.
DIRECT The signal that’s adjusted by the input gain (without EQ or effects applied) is output.
MULTITRACK
PRE FADER The signal before being adjusted by each channel fader is output.
POST FADER The signal for which the mix balance is adjusted by the channel faders is recorded.
MIDI CH 1–16 Specifies the transmit/receive channel for MIDI data.
29
SETUP
GENERAL
VERSION – Displays the version of the system program.
DATE & TIME – Sets the date and time.
BACKUP – Backs up the GCS-8’s data to your computer.
FACTORY RESET – Returns the unit to its factory defaults.
30
Effect Parameters
: This effect sound is mono.
: This effect sound is output with two channels.
: These effects take a mono input and output it on two channels.
** Company names and product names appearing in this document are registered trademarks or trademarks of their respective owners. In this
manual, company names and product names of the respective owners are used because it is the most practical way of describing the sounds
that are emulated using DSP technology.
EFFECTS CATEGORY: GUITAR

MEMO
Parameters marked with a are shown in the EFFECTS settings screen for each channel, when the effect switch is “ON” for the currently
DISTORTION Type Explanation

This is a crunch sound of the BOSS BD-2.
BLUES OD This produces distortion that faithfully reproduces the nuances
This effect distorts the sound to create long sustain.
of picking.
This models the sound of the BOSS OD-1.
Parameter Value (Bold: default) Explanation OD-1
This produces sweet, mild distortion.
SW OFF, ON Turns this effect on/off.
T-SCREAM This models an Ibanez TS-808.
Selects the type of distortion.
TYPE TURBO OD This is the high-gain overdrive sound of the BOSS OD-2.
ØØ “DISTORTION TYPE”
DIST This gives a basic, traditional distortion sound.
DRIVE Ï 0–50–120 Adjusts the depth of distortion. CENTA OD This models a KLON CENTAUR.
TONE -50–0–+50 Adjusts the tone. RAT This models a Proco RAT.
LEVEL 0–50–100 Adjusts the volume of the effect sound. GUV DS This models a Marshall GUV’ NOR.
Adjusts the tone for the low frequency DIST+ This models the sound of the MXR DISTORTION+.
range. Turning this to the left
BOTTOM -50–0–+50 (counterclockwise) produces a sound with This models the sound of the BOSS MT-2.
the low end cut; turning it to the right METAL ZONE It produces a wide range of metal sounds, from old style to slash
boosts the low end in the sound. metal.
DIRECT MIX 0–100 Adjusts the volume of the direct sound. This models the sound of the BOSS HM-2.
SOLO SW OFF, ON The tone to one suitable for solos. HM-2 It produces distinctive cranked-up distortion sound with
compression.
Adjusts the volume level when the SOLO
SOLO LEVEL 0–70–100 This is the sound of the BOSS ML-2 which is ideal for high speed
SW is ON. METAL CORE
metal riffs.
This models a FUZZFACE.
60S FUZZ
DISTORTION TYPE It produces a fat fuzz sound.
MUFF FUZZ This models an Electro-Harmonix Big Muff π.
Type Explanation
BASS OD Overdrive tuned especially for use with basses.
This is a booster with unique characteristics in the midrange.
BASS DS Distortion tuned especially for use with basses.
MID BOOST Making the connection before the PREAMP produces sound
suitable for solos. BASS MT Wild, radical distortion sound.
This not only functions as a booster, but also produces a clean BASS FUZZ Fuzz tuned especially for use with basses.
CLEAN BOOST
tone that has punch even when used alone. With this effect, distortion is applied only to the high frequency
HI BAND
TREBLE BOOST This is a booster that has bright characteristics. sounds, and not to the sounds in the low frequency range.
A lustrous crunch sound with an added element of amp This effect uses MDP to provide ideal distortion in all pitch
CRUNCH X-BASS
distortion. ranges of the bass, from low to high.
This is an overdrive sound that provides distortion with a natural BASS DRV This models a TECH21 SANSAMP BASS DRIVER DI.
NATURAL OD
feeling. BASS DI This models a MXR Bass D.I.+.
WARM OD This is a warm overdrive.
FAT DS A distortion sound with thick distortion.
Produces a distortion sound with both the smoothness of an
LEAD DS
overdrive along with a deep distortion.
This is a distortion sound that is ideal for performances of heavy
METAL DS
riffs.
OCT FUZZ A fuzz sound with rich harmonic content.
This uses MDP technology to obtain ideal distortion in all ranges
A-DIST
of the guitar, from low to high.
This is an overdrive that uses MDP to obtain the distortion that’s
X-OD
most appropriate in each pitch range.
This is a distortion that uses MDP to obtain the distortion that’s
X-DIST
31
Effect Parameters
PREAMP TYPE
PREAMP (AMP)
Type Explanation
This is an amp that uses BOSS’s proprietary cutting-edge AIRD (Augmented An amp with a broad frequency range and an extremely flat
TRANSPARENT
Impulse Response Dynamics) technology to simulate every detail of a guitar response. Good for acoustic guitar.
amp as a unified instrument, including the response and operation of the An unembellished, clean sound that minimizes the amp’s
NATURAL
guitar amp’s circuit and the interactions between all parts that affect the idiosyncrasies, such as its trebly character and boomy low end.
sound. Crunch sound that allows the nuances of your picking to be
BOUTIQUE
expressed even more faithfully than on conventional combo amps.
Great-feeling crunch sound that responds to the nuances of your
SW OFF, ON Turns this effect on/off. SUPREME picking while taking advantage of the distinctive character of a
Selects the type of preamp. 4x12” speaker cabinet.
TYPE
ØØ “PREAMP TYPE” An amp that delivers the distinctively great response and tone of
MAXIMUM
GAIN Ï 0–50–120 Adjusts the distortion of the amp. a vintage Marshall, while making it even higher gain.
Adjusts the amount by which compression A large stack sound that has been tweaked extensively in the
SAG -10–0–+10 JUGGERNAUT
changes in response to the power amp. pursuit of the ultimate metal sound.
Adjusts the amount by which dynamics is X-CRUNCH Crunch sound that uses MDP to deliver a crisp tone from all strings.
RESONANCE -10–0–+10 affected by the interaction between the High-gain sound that uses MDP to obtain high-gain sound with a
power amp and the speaker transformer. X-HI GAIN
wide range and a great-feeling sense of separation.
Adjusts the volume of the entire preamp. Core sound that uses MDP to preserve the definition of the
X-MODDED
LEVEL Ï 0–50–100 ** Be careful not to raise the Level setting sound even with extreme gain.
too high. JC-120 This models the sound of the Roland JC-120.
Adjusts the tone for the low frequency TWIN COMBO This models a Fender Twin Reverb.
BASS Ï 0–50–100
range.
DELUXE COMBO This models a Fender Deluxe Reverb.
Adjusts the tone for the middle frequency
MIDDLE Ï 0–50–100 TWEED COMBO This models a Fender Bassman 4 x 10” Combo.
range.
DIAMOND AMP This models a VOX AC30.
Adjusts the tone for the high frequency
TREBLE Ï 0–50–100
range. BRIT STACK This models a Marshall 1959.
Adjusts the tone for the ultra high Models the sound of the Channel 2 MODERN Mode on the MESA/
PRESENCE 0–50–100 RECTI STACK
frequency range. Boogie DUAL Rectifier.
Turns the bright setting on/off. MATCH COMBO This models the sound input to left input on a Matchless D/C-30.
BRIGHT OFF, ON ** The BRIGHT setting is available only BG COMBO This models the sound of the MESA/Boogie combo amp.
when certain AIRD PREAMP TYPE
ORNG STACK This models the dirty channel of an ORANGE ROCKERVERB.
settings are selected.
This models the sound that models the high-gain channel of a
Provides for selection from three levels BGNR UB METAL
Bogner Uberschall.
of distortion: LOW, MIDDLE, and HIGH.
Distortion will successively increase for NATURAL BASS Uncolored clean sound for bass.
LOW, MIDDLE,
GAIN SW settings of LOW, MIDDLE and HIGH. High-gain sound for bass, using MDP to provide wide range and
HIGH X-DRIVE BASS
** The sound of each Type is created on a good-sounding sense of separation.
the basis that the Gain is set to MIDDLE. CONCERT This models the Ampeg SVT.
So, normally set it to MIDDLE.
SOLO SW OFF, ON The tone to one suitable for solos.
SOLO LEVEL 0–70–100

Adjusts the volume level when the SOLO SP TYPE
SW is ON.
Type Explanation
Selects the speaker type.
SP TYPE
ØØ “SP TYPE” OFF This turns off the speaker simulator.
Selects the simulated mic type. This is the built-in speaker of the amp you selected with AIRD
MIC TYPE ORIGINAL
ØØ “MIC TYPE” PREAMP TYPE.
This is a compact open-back speaker cabinet with one 8-inch
Simulates the distance between the mic 1x8”
speaker.
SHORT, MEDIUM, and speaker.
MIC DISTANCE This is a compact open-back speaker cabinet with one 10-inch
LONG The distance from the speakers is farther in 1x10”
the order of SHORT<MEDIUM<LONG. speaker.
This simulates the mic position. This is a compact open-back speaker cabinet with one standard
1x12”
12-inch speaker.
Simulates the condition that the mic is set
CENTER This is a general open-back speaker cabinet with two standard
in the middle of the speaker cone. 2x12”
MIC POSITION 12-inch speakers.
Simulates the condition that the mic
1–10 cm is moved away from the center of the This is an optimal speaker cabinet for a large open-back with four
4x10”
speaker cone. standard 10-inch speakers.
This is an optimal speaker cabinet for a large enclosed amp with
MIC LEVEL 0–100 Adjusts the volume of the mic. 4x12”
four standard 12-inch speakers.
DIRECT MIX 0–100 Adjusts the volume of the direct sound. This is a double stack of two cabinets, each with four 12-inch
8x12”
speakers.
B1x15”
speaker.
B1x18”
speaker.
This is a general open-back speaker cabinet with two 15-inch
B2x15”
speakers.
This is an optimal speaker cabinet for a large enclosed amp with
B4x10”
four 10-inch speakers.
This is a double stack of two cabinets, each with four 10-inch
B8x10”
speakers.
32
Effect Parameters
MIC TYPE
NOISE SUPPRESSOR (NS)
Type Explanation
This is the sound of the SHURE SM-57. This effect reduces the noise and hum picked up by guitar pickups.
DYN57 General dynamic mic used for instruments and vocals. Optimal Since it suppresses the noise in synchronization with the envelope of
for use in miking guitar amps. the guitar sound (the way in which the guitar sound decays over time), it
This is the sound of the SENNHEISER MD-421. has very little effect on the guitar sound, and does not harm the natural
DYN421
Dynamic mic with extended low end. character of the sound.
This is the sound of the AKG C451B.
CND451 Parameter Value (Bold: default) Explanation
Small condenser mic for use with instruments.
This is the sound of the NEUMANN U87.
CND87 Adjust this parameter as appropriate for
Condenser mic with flat response.
the volume of the noise.
Simulates a mic with perfectly flat response.
FLAT If the noise level is high, a higher setting is
Produces a sonic image close to that of listening to the sound
appropriate.
directly from the speakers (on site).
If the noise level is low, a lower setting is
appropriate.
THRESHOLD 0–30–100
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
EQ volume turned down.
Adjusts the time from when the noise
RELEASE 0–100 suppressor begins to function until the
Adjusts the tone. noise level reaches “0”.
This specifies the input volume used for activating the noise
suppressor.
Input volume from Guitar jack.
Adjusts the tone for the low frequency INPUT ** Ordinarily, DETECT should be set to
LOW GAIN -20–0–+20 dB
range. “INPUT”.
Adjusts the low-middle frequency range Noise suppressor input volume.
LOW-MID GAIN -20–0–+20 dB
tone.
DETECT ** When connected as illustrated below,
Specifies the center of the frequency and you want to prevent a spatial-type
20–500 Hz–
LOW-MID FREQ range that will be adjusted by the LOW- effects sound (such as a delay sound)
16.0 kHz
MID GAIN. from being eradicated by the NS, you
NS INPUT
Adjusts the width of the area affected by should set DETECT to “NS INPUT”.
LOW-MID Q 0.5–1–16 the EQ centered at the LOW-MID FREQ.
DLY NS
Adjusts the low-middle frequency range (Spatial-type effect)
HIGH-MID GAIN -20–0–+20 dB
tone.
Specifies the center of the frequency
20–500 Hz–
HIGH-MID FREQ range that will be adjusted by the HIGH-
16.0 kHz
MID GAIN.
Adjusts the width of the area affected by
HIGH-MID Q 0.5–1–16 the EQ centered at the HIGH-MID FREQ.
Adjusts the tone for the high frequency
HIGH GAIN -20–0–+20 dB
range.
Sets the frequency at which the low cut
FLAT, 20.0–80 Hz– filter begins to take effect.
LOW CUT
16.0 kHz When “FLAT” is selected, the low cut filter
will have no effect.
Sets the frequency at which the high cut
20.0 Hz–16.0 kHz, filter begins to take effect.
HIGH CUT
FLAT When “FLAT” is selected, the high cut filter
LEVEL -20–0–+20 dB Adjusts the overall volume level of the EQ.
33
Effect Parameters
PEDAL FX (PDL) FOOT VOLUME

You can control the wah effect or get a pitch bend effect in real time by Parameter Value (Bold: default) Explanation
adjusting the expression pedal connected to the FOOT SW jack. You can select how the actual volume
changes relative to the amount the pedal
Parameter Value (Bold: default) Explanation is pressed.
SW OFF, ON Turns this effect on/off. Volume
Selects the type of PEDAL FX.
This lets you use the pedal to get a pitch
bend effect. ST
FA
PEDAL BEND ** Because of the need to analyze the pitch, SLOW1, SLOW2,
TYPE VOLUME CURVE AL
NORMAL, FAST
chords (two or more sounds played RM
simultaneously) cannot be played. NO 2
OW
WAH An effect that creates a wah effect. SL
1
FOOT VOLUME This is a volume control effect. OW
SL
When the pedal is When the pedal is

fully raised fully advanced
PEDAL BEND Sets the volume when the heel of the
PEDAL MIN 0–100
expression pedal is depressed.
Sets the volume when the toe of the
PEDAL MAX 0–100
Specifies the pitch when the pedal is expression pedal is depressed.
PITCH MIN -24–0–+24
returned.
Adjusts the pedal position for volume
Sets the pitch at the point where the pedal.
PITCH MAX -24–0–+24
expression pedal is all the way down. PEDAL POSITION 0–100 ** This parameter is used after it’s been
Adjusts the pedal position for pedal bend. assigned to an expression pedal or
** This parameter is used after it’s been similar controller.
PEDAL POSITION 0–100
assigned to an expression pedal or
similar controller.
EFFECT LEVEL 0–100 Adjusts the volume of the pitch bend sound.
DIRECT MIX 0–100 Adjusts the volume of the direct sound.
PEDAL WAH
Selects the type of wah.
This models the sound of the CRY BABY
CRY WAH
wah pedal popular in the ‘70s.
VO WAH This models the sound of the VOX V846.
FAT WAH This is a wah sound featuring a bold tone.
This wah has a refined sound with no
LIGHT WAH
unusual characteristics.
This expanded wah features a variable
WAH TYPE 7STRING WAH range compatible with seven-string and
baritone guitars.
This completely original effect offers
RESO WAH enhancements on the characteristic
resonances produced by analog synth filters.
This wah has been specially adapted for
use in the bass registers.
BASS WAH Inclusion of the low-frequency range in
the wah sound produces a robust wah
effect, with no dilution of the sound.
Adjusts the position of the wah pedal.
PEDAL POSITION 0–100 This parameter is used after it’s been
assigned to an expression pedal or similar
controller.
Selects the tone produced when the heel
PEDAL MIN 0–100
of the EXP Pedal is depressed.
Selects the tone produced when the toe of
PEDAL MAX 0–100
the expression pedal is depressed.
EFFECT LEVEL 0–100 Adjusts the volume of the effect sound.
34
Effect Parameters
FX1–3 Type
SLOW GEAR
Explanation
This produces a volume-swell effect (“violin-like”

With FX1, FX2, and FX3, you can select the effect to be used from the SLOW GEAR BASS sound).
following. You can have sound played on the guitar be held
You can select the same effect for FX1, FX2, and FX3. continuously. This effect allows you to perform the
SOUND HOLD
melody in the upper registers while holding a note
Parameter Value (Bold: default) Explanation in the lower registers.
SW OFF, ON Turns this effect on/off. S-BEND Applies intense bending.
You can produce a wah effect with the filter
Selects the effects to use for FX1–3. TOUCH WAH
FX TYPE changing in response to the guitar level.
ØØ “FX TYPE”
You can produce a wah effect with the filter
TOUCH WAH BASS
changing in response to the bass level.
Tremolo is an effect that creates a cyclic change in
FX TYPE TREMOLO
volume.
Type Explanation This effect creates vibrato by slightly modulating
VIBRATO
the pitch.
AC GUITAR SIM This effect simulates the tonal character of an
This effect adds delayed sound to the direct sound,
Acoustic guitar simulator acoustic guitar.
DELAY giving more body to the sound or creating special
This processor allows you to change the sound effects.
produced by the pickup on an acoustic electric
AC RESONANCE
guitar, creating a richer sound similar to that
Acoustic resonance
obtained with a microphone placed close to the
guitar.
This changes the filtering over a periodic cycle,
AC GUITAR SIM
AUTO WAH
providing an automatic wah effect.
This effect simulates the tonal character of an acoustic guitar.
CHORUS
In this effect, a slightly detuned sound is added to Parameter Value (Bold: default) Explanation
the original sound to add depth and breadth. BODY Ï 0–50–100 Adjusts the body resonance.
CHORUS BASS
Specifies the sense of volume for the low-
LOW -50–0–+50
Although this resembles a phaser effect, it also frequency range.
CLASSIC-VIBE provides a unique undulation that you can’t get Specifies the sense of volume for the
with a regular phaser. HIGH -50–0–+50
high-frequency range.
This is an effect that produces a long sustain by LEVEL 0–50–100 Specifies the volume of the effect.
evening out the volume level of the input signal.
COMPRESSOR
You can also use it as a limiter to suppress only the
sound peaks and prevent distortion.
DEFRETTER
DEFRETTER BASS
This simulates a fretless guitar.
This simulates a fretless bass.
AC RESONANCE
This effect distorts the sound to obtain long This processor allows you to change the sound produced by the pickup on
DISTORTION
sustain.
an acoustic electric guitar, creating a richer sound similar to that obtained
FEEDBACKER Generates feedback performance. with a microphone placed close to the guitar.
FLANGER Parameter Value (Bold: default) Explanation

The flanging effect gives a twisting, jet-airplane-like
character to the sound. Selects the type of acoustic resonance.
FLANGER BASS
NATURAL A natural and uncolored sound.
Harmonist is an effect where the amount of shifting
TYPE Mellow sound that emphasizes the body
is adjusted according to an analysis of the guitar WIDE
HARMONIST resonance
input, allowing you to create harmony based on
diatonic scales. Brilliant sound with an extended high-
BRIGHT
frequency range
HUMANIZER This can create human vowel-like sounds.
Use this knob to adjust the balance
OCTAVE This adds a note one octave lower and a note two between the body resonance effect of the
RESONANCE Ï 0–50–100
OCTAVE BASS octaves lower, creating a richer sound. acoustic guitar and the direct sound of
the pickup.
This effect uses MDP technology to add new
OVERTONE harmonics to the sound, producing resonance and TONE -50–0–+50 Adjusts the tone.
richness that was not present in the original sound. LEVEL 0–50–100 Specifies the volume of the effect.
With the volume level of the left and right sides
alternately changing, when playing sound in stereo,
PAN
you can get an effect that makes the guitar sound
appear to fly back and forth between the speakers.
By adding varied-phase portions to the direct
PHASER sound, the phaser effect gives a whooshing,
swirling character to the sound.
This effect changes the pitch of the original sound
PITCH SHIFTER
(up or down) within a range of two octaves.
This creates a bell-like sound by ring-modulating
RING MOD the guitar sound with the signal from the internal
Ring modulator oscillator. The sound can be unmusical and lack
distinctive pitches.
This produces an effect like the sound of a rotary
ROTARY
speaker.
SITAR SIM
This simulates the sound of the sitar.
Sitar simulator
This consecutively interrupts the sound to create

SLICER the impression that a rhythm backing phrase is
being played.
35
Effect Parameters
AUTO WAH Parameter Value (Bold: default) Explanation

Adjusts the time needed for the effect
This changes the filtering over a periodic cycle, providing an automatic wah sound to be output after the direct sound
effect. has been output.
PRE-DELAY 0.0–4.0–40.0 ms By setting a longer pre delay time, you
Parameter Value (Bold: default) Explanation can obtain an effect that sounds like
Selects the filter mode. more than one sound is being played at
the same time (doubling effect).
Low pass filter.
LPF Selects a wave type.
Passes only the low-frequency region.
Produces a typical chorus effect.
FILTER High pass filter.
HPF TRI
Passes only the high-frequency region.
Band pass filter. WAVEFORM
BPF Produces a deeper sense of modulation.
Passes only the specified frequency region.
Adjusts the frequency (speed) of the SINE
change.
** If this value is set as a note length, the
effect operates according to the “BPM” FLAT, filter begins to take effect.
value in MASTER (p. 52). This makes it LOW CUT 20.0–31.5 Hz–
RATE 0–50–100, ŀ– Ō easier to achieve effect sound settings 16.0 kHz When “FLAT” is selected, the low cut filter
that match the tempo of the song. will have no effect.
** If, due to the tempo, the time is longer Sets the frequency at which the high cut
than the range of allowable settings, it 20 Hz–6.30 kHz– filter begins to take effect.
HI CUT
is then synchronized to a period either 16.0 kHz, FLAT When “FLAT” is selected, the high cut filter
1/2 or 1/4 of that time. will have no effect.
DEPTH Ï 0–50–100 Adjusts the depth of the effect. DIRECT LEVEL 0–100
Adjusts the volume of the direct sound.
Setting this to “0” cuts the direct sound.
EFFECT LEVEL 0–50–100 Adjusts the volume of the effect sound.
Adjusts the center frequency of the Wah TYPE: DUAL
FREQUENCY 0–50–100
effect. Adjusts the rate of the chorus effect.
Adjusts the way in which the wah effect ** If this value is set as a note length,
RESONANCE 0–50–100 applies to the area around the center the effect operates according to the
frequency. “BPM” value in MASTER (p. 52). This
RATE1 makes it easier to achieve effect sound
WAVEFORM TRI, SINE Selects a wave type.
0–50–100, ŀ– Ō settings that match the tempo of the
DIRECT MIX 0–100 Selects a wave type. RATE2 song.
** If, due to the tempo, the time is longer
than the range of allowable settings, it
is then synchronized to a period either
CHORUS 1/2 or 1/4 of that time.
Adjusts the depth of the chorus effect.
DEPTH1
In this effect, a slightly detuned sound is added to the original sound to add 0–40–100 ** To use it for doubling effect, set the
DEPTH2
depth and breadth. value to “0”.
EFFECT LEVEL1 Ï
Parameter Value (Bold: default) Explanation 0–100 Adjusts the volume of the effect sound.
EFFECT LEVEL2 Ï
Adjusts the time needed for the effect
Selects the chorus mode. sound to be output after the direct sound
MONO has been output.
This chorus effect outputs the same sound PRE-DELAY1
from both L channel and R channel. 0.0–4.0–40.0 ms By setting a longer pre delay time, you
PRE-DELAY2
can obtain an effect that sounds like
This stereo chorus uses spatial synthesis, more than one sound is being played at
STEREO1 with the direct sound output in the L the same time (doubling effect).
TYPE channel and the effect sound output in Selects a wave type.
the R channel.
Produces a typical chorus effect.
STEREO2 This is a stereo chorus effect that adds
different chorus sounds to L channel and TRI
WAVEFORM1
R channel.
DUAL WAVEFORM2
This lets you apply chorus independently Produces a deeper sense of modulation.
to the L and R channels. SINE
TYPE: MONO, STEREO1–2
Adjusts the rate of the chorus effect. Sets the frequency at which the low cut
LOW CUT1 FLAT, filter begins to take effect.
** If this value is set as a note length, 20.0–31.5 Hz–
the effect operates according to the LOW CUT2 16.0 kHz When “FLAT” is selected, the low cut filter
“BPM” value in MASTER (p. 52). This will have no effect.
makes it easier to achieve effect sound Sets the frequency at which the high cut
RATE 0–50–100, ŀ–Ō settings that match the tempo of the HI CUT1 20 Hz–6.30 kHz– filter begins to take effect.
song. HI CUT2 16.0 kHz, FLAT When “FLAT” is selected, the high cut filter
** If, due to the tempo, the time is longer will have no effect.
than the range of allowable settings, it Adjusts the volume of the direct sound.
is then synchronized to a period either DIRECT LEVEL 0–100
Setting this to “0” cuts the direct sound.
1/2 or 1/4 of that time.
Selects the output mode.
DEPTH 0–40–100 This setting is appropriate for mono
** To use it for doubling effect, set the MONO
OUTPUT MODE output.
value to “0”.
Produces a rich spaciousness when stereo
EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound. STEREO
output is used.
36
Effect Parameters
CHORUS BASS CLASSIC-VIBE

This is a chorus effect for bass. Although this resembles a phaser effect, it also provides a unique
undulation that you can’t get with a regular phaser.
SW OFF, ON Parameter Value (Bold: default) Explanation
Turns this effect on/off.
Selects the chorus mode. SW OFF, ON Turns this effect on/off.
MONO This chorus effect outputs the same Selects the classic-vibe mode.
sound from both L channel and R Direct sound and effect sound are mixed
MODE CHORUS
channel. and output.
This stereo chorus uses spatial synthesis, VIBRATO Only effect sound is output.
TYPE STEREO1 with the direct sound output in the L Adjusts the rate of the effect.
channel and the effect sound output in ** If this value is set as a note length,
the R channel. the effect operates according to the
STEREO2 This is a stereo chorus effect that adds “BPM” value in MASTER (p. 52). This
different chorus sounds to L channel and makes it easier to achieve effect sound
R channel. RATE 0–50–100, ŀ–Ō settings that match the tempo of the
Adjusts the rate of the chorus effect. song.
** If this value is set as a note length, ** If, due to the tempo, the time is longer
the effect operates according to the than the range of allowable settings, it
“BPM” value in MASTER (p. 52). This is then synchronized to a period either
makes it easier to achieve effect sound 1/2 or 1/4 of that time.
RATE 0–50–100, ŀ–Ō settings that match the tempo of the DEPTH 0–100 Adjusts the depth of the effect.
song. EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound.
COMPRESSOR
DEPTH 0–50–100 To use it for doubling effect, set the value This is an effect that produces a long sustain by evening out the volume
to “0”.
level of the input signal.
EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound.
FLAT,
filter begins to take effect. SW OFF, ON Turns this effect on/off.
LOW CUT 20.0–100 Hz–
16.0 kHz When “FLAT” is selected, the low cut filter Selects the type of compressor.
BOSS COMP
Sets the frequency at which the high cut This models a BOSS CS-3.
20 Hz–10.0 kHz– filter begins to take effect.
HI CUT
16.0 kHz, FLAT When “FLAT” is selected, the high cut filter This uses MDP (Multi-Dimensional
will have no effect. X-COMP Processing) to obtain a consistently natural
playing feel and sound that responds to
the pitch range and dynamics of your
phrase.
D-COMP
TYPE This models a MXR DynaComp.

ORANGE This is modeled on the sound of the Dan
Armstrong ORANGE SQUEEZER.
STEREO COMP
This selects a stereo compressor.

X-BASS COMP This is a compressor for bass that uses
MDP (Multi-Dimensional Processing).
Adjust this as appropriate for the input

signal.
THRESHOLD *1 0–50–100 When the input signal level exceeds
this threshold level, compression will be
applied.
Adjusts the range (time) over which low-
SUSTAIN *2 0–50–100 level signals are boosted.
Larger values will result in longer sustain.
Adjusts the strength of the attack when
ATTACK 0–50–100
picking.
LEVEL Ï 0–60–100 Adjusts the volume.
TONE 0–50–100 Adjusts the tone.
RATIO 0–50–100 Selects the compression ratio.
*1 This is shown if TYPE is set to “X-BASS COMP”.

*2 This is not shown if TYPE is set to “X-BASS COMP”.
37
Effect Parameters
DEFRETTER Type Explanation

Produces a distortion sound with both the smoothness of an
LEAD DS
This simulates a fretless guitar. overdrive along with a deep distortion.
Parameter Value (Bold: default) Explanation This is a distortion sound that is ideal for performances of heavy
METAL DS
riffs.
Controls the input sensitivity of the
SENS 0–50–100 OCT FUZZ A fuzz sound with rich harmonic content.
defretter.
This uses MDP technology to obtain ideal distortion in all ranges
DEPTH 0–50–100 Controls the rate of the harmonics. A-DIST
of the guitar, from low to high.
Adjusts the amount of blurring between
TONE -50–0–+50 This is an overdrive that uses MDP to obtain the distortion that’s
the notes. X-OD
EFFECT LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
This is a distortion that uses MDP to obtain the distortion that’s
ATTACK 0–70–100 Adjusts the attack of the picking sound. X-DIST
Adds a characteristically resonant quality This is a crunch sound of the BOSS BD-2.
RESONANCE 0–50–100
to the sound. BLUES OD This produces distortion that faithfully reproduces the nuances
DIRECT MIX 0–100 Adjusts the volume of the direct sound. of picking.
This models the sound of the BOSS OD-1.
OD-1
This produces sweet, mild distortion.
T-SCREAM This models an Ibanez TS-808.
TURBO OD This is the high-gain overdrive sound of the BOSS OD-2.
DEFRETTER BASS DIST This gives a basic, traditional distortion sound.
This simulates a fretless bass. CENTA OD This models a KLON CENTAUR.

RAT This models a Proco RAT.
GUV DS This models a Marshall GUV’ NOR.
Controls the input sensitivity of the
SENS 0–50–100 DIST+ This models the sound of the MXR DISTORTION+.
defretter.
Adjusts the amount of blurring between This models the sound of the BOSS MT-2.
TONE -50–0–+50 METAL ZONE It produces a wide range of metal sounds, from old style to slash
the notes.
metal.
EFFECT LEVELÏ 0–50–100 Adjusts the volume of the effect sound.
This models the sound of the BOSS HM-2.
ATTACK 0–70–100 Adjusts the attack of the picking sound.
HM-2 It produces distinctive cranked-up distortion sound with
DIRECT MIX 0–100 Adjusts the volume of the direct sound. compression.
This is the sound of the BOSS ML-2 which is ideal for high speed
METAL CORE
metal riffs.
DISTORTION 60S FUZZ

This models a FUZZFACE.
It produces a fat fuzz sound.
This effect distorts the sound to create long sustain. MUFF FUZZ This models an Electro-Harmonix Big Muff π.
BASS OD Overdrive tuned especially for use with basses.
Parameter Value (Bold: default) Explanation BASS DS Distortion tuned especially for use with basses.
SW OFF, ON Turns this effect on/off. BASS MT Wild, radical distortion sound.
Selects the type of distortion. BASS FUZZ Fuzz tuned especially for use with basses.
TYPE
ØØ “DISTORTION TYPE” With this effect, distortion is applied only to the high frequency
HI BAND
sounds, and not to the sounds in the low frequency range.
DRIVE Ï 0–50–120 Adjusts the depth of distortion.
This effect uses MDP to provide ideal distortion in all pitch
TONE -50–0–+50 Adjusts the tone. X-BASS
ranges of the bass, from low to high.
LEVEL 0–50–100 Adjusts the volume of the effect sound.
BASS DRV This models a TECH21 SANSAMP BASS DRIVER DI.
Adjusts the tone for the low frequency
BASS DI This models a MXR Bass D.I.+.
range.
Turning this to the left (counterclockwise)
BOTTOM -50–0–+50
produces a sound with the low end cut;
turning it to the right boosts the low end
in the sound.
SOLO SW OFF, ON The tone to one suitable for solos.
Adjusts the volume level when the SOLO
SOLO LEVEL 0–70–100 SW is “ON”.
DISTORTION TYPE
Type Explanation
This is a booster with unique characteristics in the midrange.
MID BOOST Making the connection before the PREAMP produces sound
suitable for solos.
This not only functions as a booster, but also produces a clean
CLEAN BOOST
tone that has punch even when used alone.
TREBLE BOOST This is a booster that has bright characteristics.
CRUNCH A lustrous crunch sound with an added element of amp distortion.
This is an overdrive sound that provides distortion with a natural
NATURAL OD
feeling.
WARM OD This is a warm overdrive.
FAT DS A distortion sound with thick distortion.
38
Effect Parameters
FEEDBACKER FLANGER/FLANGER BASS

Generates feedback performance. The flanging effect gives a twisting, jet-airplane-like character to the sound.
** Note that the notes you want to apply feedback to must be played singly and
cleanly.
Adjusts the rate of the flanging effect.
Parameter Value (Bold: default) Explanation ** If this value is set as a note length,
Selects the feedbacker mode. the effect operates according to the
Analyzes the pitch of the guitar sound “BPM” value in MASTER (p. 52). This
NORMAL being input, and then creates a feedback makes it easier to achieve effect sound
sound. RATE 0–25–100, ŀ–Ō settings that match the tempo of the
song.
An artificial feedback sound will be
created internally. ** If, due to the tempo, the time is longer
MODE than the range of allowable settings, it
When “OSC” is selected, the effect is
activated after a single note is played and
OSC the note stabilizes.
A feedback effect is created when Determines the depth of the flanging
DEPTH 0–60–100
the effect switches on; the feedback effect.
disappears when the OSC effect switches Determines the amount of resonance
off. (feedback).
TRIGGER OFF, ON Feedback is applied if this is turned ON. Increasing the value will emphasize the
effect, creating a more unusual sound.
Adjusts the ease with which feedback will
DEPTH Ï *1 0–50–100 Adjusts the center frequency at which to
occur when the FEEDBACKER is on. MANUAL 0–55–100
apply the effect.
This determines the time needed for the
volume of the feedback sound to reach If this is “ON”, a more intense effect is
RISE TIME *2 0–50–100 TURBO OFF, ON
its maximum from the moment the effect produced.
is turned on. Selects a wave type.
This determines the time needed for WAVEFORM TRI Produces a typical chorus effect.
the volume of the one octave higher
OCT RISE TIME *2 0–50–100 SINE Produces a deeper sense of modulation.
feedback sound to reach its maximum
from the moment the effect is turned on. Adjusts the rate of the step function
which varies the rotation in a step-wise
Adjusts the volume of the feedback
FEEDBACK Ï *2 0–50–100 STEP RATE OFF, 0–100, ŀ–Ō manner. Higher settings make the change
sound.
occur in smaller steps. Turn this “OFF” if
Adjusts the volume of the one octave you don’t want to use the step function.
OCT FEEDBACK *2 0–50–100
higher feedback sound.
0, 15, 30, 45, 60, 75,
Adjusts the rate of the vibrato when the Adjusts the diffusion. The diffusion
VIB RATE *2 0–50–100 SEPARATION 90, 105, 120, 135,
FEEDBACKER is on. increases as the value increases.
150, 165, 180
VIB DEPTH *2 0–50–100

Adjusts the depth of the vibrato when the EFFECT LEVEL Ï 0–100 Adjusts the volume of the flanger.
FEEDBACKER is on.
Adjusts the amount of feedback for the
LOW DAMP -100–-40–0
low-frequency region.
*1 This is shown if MODE is set to “NORMAL”. Adjusts the amount of feedback for the
HIGH DAMP -100–-40–0
*2 This is shown if MODE is set to “OSC”. high-frequency region.
FLAT, filter begins to take effect.
LOW CUT
20.0 Hz–*1–20.0 kHz When “FLAT” is selected, the low cut filter
20.0 Hz–*2–20.0 kHz, filter begins to take effect.
HIGH CUT
*1 FLANGER: 80.0 Hz, FLANGER BASS: 31.5 Hz

*2 FLANGER: 10.0 kHz, FLANGER BASS: 5.00 kHz
39
Effect Parameters
HARMONIST When HR1 (HR2): HARMONY is “USER”

Parameter Value
Harmonist is an effect where the amount of shifting is adjusted according
HR1 (HR2): C -24 (C)–+24 (C)
to an analysis of the guitar input, allowing you to create harmony based on
diatonic scales. HR1 (HR2): Db -24 (Db)–+24 (Db)
** Because of the need to analyze the pitch, chords (two or more sounds played HR1 (HR2): D -24 (D)–+24 (D)
simultaneously) cannot be played. Be sure to mute all the other strings and play HR1 (HR2): Eb -24 (Eb)–+24 (Eb)
only one note at a time.
HR1 (HR2): E -24 (E)–+24 (E)
** When you are to play the next string while a certain sound is still playing, mute the ** If the value is +12/-12, the harmony
previous sound and then play the next one with a clear attack. If the unit cannot HR1 (HR2): F -24 (F)–+24 (F) is one octave above/below; and if the
detect the attack, it may not sound correctly. HR1 (HR2): F# -24 (F#)–+24 (F#) value is +24/-24, the harmony is two
octaves above/below.
** The sensitivity may vary according to the guitar’s TONE knob and pickup type. HR1 (HR2): G -24 (G)–+24 (G)
Parameter Value (Bold: default) Explanation HR1 (HR2): Ab -24 (Ab)–+24 (Ab)
Selects the number of voices for the pitch shift sound. HR1 (HR2): A -24 (A)–+24 (A)
1VOICE HR1 (HR2): Bb -24 (Bb)–+24 (Bb)

One-voice pitch-shifted sound output
in mono. HR1 (HR2): B -24 (B)–+24 (B)

VOICE 2MONO Two-voice pitch-shifted sound (HR1, HR2)
output in mono.
2STEREO Two-voice pitch-shifted sound (HR1, HR2)

output through left and right channels.
VOICE: 1VOICE
This determines the pitch of the sound
added to the input sound, when you are
making a harmony.
-2oct–+3rd– It allows you to set it by up to 2 octaves
HR1:HARMONY
+2 oct, USER higher or lower than the input sound.
When the scale is set to “USER”, this
parameter sets the user scale number to
be used.
HR1:LEVEL Ï 0–100 Adjusts the volume of the harmony sound.
Adjusts the time from when the direct
sound is heard until the harmonist
sounds are heard. Normally you can leave
this set at 0 ms.
effect operates according to the “BPM”
HR1:PRE-DELAY 0–300 ms, Ō–ŀ value in MASTER (p. 52). This makes it
easier to achieve effect sound settings
that match the tempo of the song.
Adjusts the feedback amount of the
HR1:FEEDBACK 0–100
harmonist sound.
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
VOICE: 2MONO, 2STEREO
This determines the pitch of the sound
HR1:
added to the input sound, when you are
-2oct, –+3rd–
making a harmony.
+2oct, USER
HR1:HARMONY It allows you to set it by up to 2 octaves
HR2:HARMONY higher or lower than the input sound.
HR2:
When the scale is set to “USER”, this
-2oct–+5th–+2oct,
parameter sets the user scale number to
USER
be used.
HR1:LEVEL Ï Adjusts the volume of the harmony
0–100
HR2:LEVEL Ï sound.
sound is heard until the harmonist
sounds are heard. Normally you can leave
this set at 0 ms.
HR1:PRE-DELAY effect operates according to the “BPM”
0–300 ms, Ō–ŀ value in MASTER (p. 52). This makes it
HR2:PRE-DELAY easier to achieve effect sound settings
Adjusts the feedback amount of the
HR1:FEEDBACK 0–100
harmonist sound.
40
Effect Parameters
HUMANIZER OCTAVE
This can create human vowel-like sounds. This adds a note one octave lower and a note two octaves lower, creating a
richer sound.
Sets the mode that switches the vowels. Parameter Value (Bold: default) Explanation
It changes from VOWEL 1 to VOWEL 2 Adds a note one octave lower and a note
along with the picking. MONO two octaves lower than the input.
PICKING This supports mono input.
MODE The time spent for the change is adjusted
TYPE
with the rate. Adds a note one octave lower than the
By adjusting the rate and depth, two POLY input.
AUTO vowels (VOWEL 1 and VOWEL 2) can be This supports polyphonic input.
switched automatically. Adjusts the volume of the sound two
-2OCT*1 0–50–100
VOWEL1 a, e, i, o, u Selects the first vowel. octave below.
VOWEL2 a, e, i, o, u Selects the second vowel. Adjusts the volume of the sound one
-1OCT*1 0–50–100
octaves below.
Adjusts the sensitivity of the humanizer.
When it is set to a lower value, no effect DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
of the humanizer is obtained with weaker Selects the register to which the effect is
picking, while stronger picking produces RANGE*2 0–50–100
SENS*1 0–50–100 applied.
the effect.
Adjusts the volume of the sound one
When it is set to a higher value, the OCTAVE LEVELÏ *2 0–50–100
octave below.
effect of the humanizer can be obtained
whether the picking is weak or strong.
*1 This is shown if TYPE is set to “MONO”.
Adjusts the cycle for changing the two
vowels. *2 This is shown if TYPE is set to “POLY”.
** If this value is set as a note length,
the effect operates according to the
“BPM” value in MASTER (p. 52). This
makes it easier to achieve effect sound
RATE 0–50–100, ŀ–Ō
settings that match the tempo of the
song.
OCTAVE BASS
** If, due to the tempo, the time is longer This is an OCTAVE effect for bass.
is then synchronized to a period either Parameter Value (Bold: default) Explanation
Adjusts the volume of the sound two
DEPTH 0–50–100 Adjusts the depth of the effect. -2OCT 0–50–100
octave below.
This determines the point where the two Adjusts the volume of the sound one
vowels are switched. -1OCT 0–50–100
octaves below.
When it is set to “50”, VOWEL 1 and
VOWEL 2 are switched in the same length
MANUAL*2 0–50–100 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. OVERTONE
LEVEL Ï 0–50–100 Adjusts the volume.
This effect uses MDP technology to add new harmonics to the sound,
*1 This is shown if MODE is set to “PICKING”. producing resonance and richness that was not present in the original
*2 This is shown if MODE is set to “AUTO”.
sound.
Adjusts the volume of the harmonic one
LOWER LEVEL Ï 0–50–100
octave below.
Adjusts the volume of the harmonic one
UPPER LEVEL Ï 0–50–100
octave above.
Adjusts the volume of added sound
UNISON LEVEL Ï 0–50–100 whose pitch is slightly shifted relative to
the direct sound.
Adjusts the amount of the detune effect
DETUNE 0–35–100
that adds depth to the sound.
Adjusts the tonal character of the low-
LOW -50–+50
frequency range.
Adjusts the tonal character of the high-
HIGH -50–+50
frequency range.
Selects the output mode.
This setting is appropriate for mono
MONO
OUTPUT MODE output.
Produces a rich spaciousness when stereo
STEREO
output is used.
41
Effect Parameters
PAN Parameter Value (Bold: default) Explanation

Sets the cycle of the step function that
With the volume level of the left and right sides alternately changing, when changes the rate and depth.
playing sound in stereo, you can get an effect that makes the guitar sound When it is set to a higher value, the
appear to fly back and forth between the speakers. change will be finer.
Set this to “OFF” when not using the Step
Parameter Value (Bold: default) Explanation function.
Adjusts the frequency (speed) of the ** If this value is set as a note length,
change. STEP RATE *1 OFF, 0–100, ŀ–Ō the effect operates according to the
** If this value is set as a note length, “BPM” value in MASTER (p. 52). This
the effect operates according to the makes it easier to achieve effect sound
“BPM” value in MASTER (p. 52). This settings that match the tempo of the
makes it easier to achieve effect sound song.
RATE 0–50–100, ŀ–Ō
settings that match the tempo of the ** If, due to the tempo, the time is longer
song. than the range of allowable settings, it
** If, due to the tempo, the time is longer is then synchronized to a period either
than the range of allowable settings, it 1/2 or 1/4 of that time.
is then synchronized to a period either Specifies whether the two phase shift
1/2 or 1/4 of that time. BI-PHASE*1 OFF, ON circuits are connected in series (ON) or
DEPTH 0–50–100 Adjusts the depth of the effect. not (OFF).
Adjusts changes in volume level. 0, 15, 30, 45, 60, 75,
WAVEFORM 0–50–100 Adjusts the diffusion. The diffusion
SEPARATION*1 90, 105, 120, 135,
A higher value will steepen wave’s shape. increases as the value increases.
150, 165, 180
DIRECT MIX 0–100 Adjusts the volume of the direct sound. LOW DAMP *1 -100–-50–0
low-frequency region.
HIGH DAMP *1 -100–-50–0
high-frequency region.
LOW CUT *1
20.0 Hz–20.0 kHz
PHASER When “FLAT” is selected, the low cut filter
By adding varied-phase portions to the direct sound, the phaser effect gives 20.0 Hz–20.0 kHz, filter begins to take effect.
a whooshing, swirling character to the sound. HIGH CUT *1
Parameter Value (Bold: default) Explanation will have no effect.
Selects the type of phaser. EFFECT LEVEL 0–50–100 Adjusts the volume of the effect sound.
An original BOSS phaser. DIRECT MIX 0–100 Adjusts the volume of the direct sound.
PRIME
This provides modulation that is not
TYPE obtainable from previous units. *1 This is shown if TYPE is set to “PRIME”.
SCRIPT Models the MXR Phase 90 which was
manufactured during the ‘70s.
Selects the number of stages that the

STAGE *1 2, 4, 8, 16, 24STAGE
phaser effect will use.
Adjusts the rate of the phaser effect.
RATE 0–30–100, ŀ–Ō settings that match the tempo of the
song.
Determines the depth of the phaser
DEPTH Ï 0–70–100
effect.
Determines the amount of resonance
(feedback).
RESONANCE*1 0–30–100
Increasing the value will emphasize the
Adjusts the center frequency of the
MANUAL*1 0–50–100
phaser effect.
Selects a wave type.
WAVEFORM*1 TRI Produces a typical chorus effect.
SINE Produces a deeper sense of modulation.
42
Effect Parameters
PITCH SHIFTER Parameter Value (Bold: default) Explanation

This effect changes the pitch of the original sound (up or down) within a sound is heard until the pitch shifted
range of two octaves. sounds are heard.
Normally you can leave this set at “0 ms”.
Selects the number of voices for the pitch shift sound. the effect operates according to the
PS1:PRE-DELAY
0–300 ms, Ō–ŀ
1VOICE “BPM” value in MASTER (p. 52). This
One-voice pitch-shifted sound output in PS2:PRE-DELAY makes it easier to achieve effect sound
mono. settings that match the tempo of the
song.
VOICE 2MONO Two-voice pitch-shifted sound (PS1, PS2)
output in mono.
2STEREO is then synchronized to a period either
Two-voice pitch-shifted sound (PS1, PS2)
output through left and right channels.
PS1:LEVEL Ï
0–100 Adjusts the volume of the pitch shifter.
VOICE: 1VOICE PS2:LEVEL Ï
-24–-5–+24 Adjusts the amount of pitch shift (the Adjusts the feedback amount of the pitch
PS1:PITCH PS1:FEEDBACK 0–100
amount of interval) in semitone steps. shift sound.
Selects the pitch shifter mode.
The response is slower in the order
FAST, MEDIUM,
of FAST, MEDIUM and SLOW, but the
SLOW
modulation is lessened in the same order. RING MOD
PS1:MODE MONO is used for inputting single notes.
** You may be unable to produce This creates a bell-like sound by ring-modulating the guitar sound with the
MONO the intended effect when playing signal from the internal oscillator.
chords (two or more notes played The sound can be unmusical and lack distinctive pitches.
simultaneously).
Make fine adjustments to the interval.
PS1:FINE -50–-10–+50 The amount of the change in the FINE 100 If this is “ON”, the oscillator frequency
is equivalent to that of the PITCH. changes according to the pitch of the
input sound, producing a pitched sound.
sound is heard until the pitch shifted In this case, the expected effect does not
INTELLIGENT OFF, ON
sounds are heard. occur if the pitch of the guitar sound is
not detected correctly.
Normally you can leave this set at “0 ms”.
We recommend that you use this with
** If this value is set as a note length, single-note playing.
Adjusts the frequency of the internal
0–300 ms, Ō–ŀ
“BPM” value in MASTER (p. 52). This FREQUENCY 0–50–100
PS1:PRE-DELAY oscillator.
settings that match the tempo of the Adjusts the rate at which the internal
song. oscillator is modulated.
** If, due to the tempo, the time is longer ** If this value is set as a note length,
than the range of allowable settings, it the effect operates according to the
is then synchronized to a period either “BPM” value in MASTER (p. 52). This
1/2 or 1/4 of that time. makes it easier to achieve effect sound
FREQ MOD RATE 0–50–100, ŀ–Ō
PS1:LEVEL Ï 0–100 Adjusts the volume of the pitch shifter. settings that match the tempo of the
song.
Adjusts the feedback amount of the pitch
PS1:FEEDBACK 0–100 ** If, due to the tempo, the time is longer
shift sound.
VOICE: 2MONO, 2STEREO is then synchronized to a period either
PS1:PITCH PS1: -24–-5–+24 1/2 or 1/4 of that time.
Adjusts the amount of pitch shift (the
PS2:PITCH PS2: -24–+3–+24 amount of interval) in semitone steps. Adjusts the depth to which the internal
FREQ MOD DEPTH 0–50–100
oscillator is modulated.
Selects the pitch shifter mode.
The response is slower in the order
FAST, MEDIUM,
of FAST, MEDIUM and SLOW, but the
SLOW
modulation is lessened in the same order.
PS1:MODE
MONO is used for inputting single notes.
PS2:MODE
** You may be unable to produce
MONO the intended effect when playing
chords (two or more notes played
simultaneously).
Make fine adjustments to the interval.
PS1:FINE
-50–-10–+50 The amount of the change in the FINE 100
PS2:FINE
is equivalent to that of the PITCH.
43
Effect Parameters
ROTARY SLICER
This produces an effect like the sound of a rotary speaker. This consecutively interrupts the sound to create the impression that a
rhythm backing phrase is being played.
This parameter changes the simulated
SPEED SELECT SLOW, FAST Selects the slice pattern that will be used
speaker’s rotating speed (SLOW or FAST). PATTERN P1–P20 to cut the sound.
Adjusts the SPEED SELECT of rotation Adjust the rate at which the sound will
when set to “SLOW” or “FAST”. be cut.
SLOW RATE ** If this value is set as a note length, ** If this value is set as a note length,
the effect operates according to the the effect operates according to the
“BPM” value in MASTER (p. 52). This “BPM” value in MASTER (p. 52). This
0–50–100, ŀ– Ō RATE 0–50–100, ŀ– Ō
settings that match the tempo of the settings that match the tempo of the
song. song.
** If, due to the tempo, the time is longer ** If, due to the tempo, the time is longer
FAST RATE
than the range of allowable settings, it than the range of allowable settings, it
is then synchronized to a period either is then synchronized to a period either
1/2 or 1/4 of that time. 1/2 or 1/4 of that time.
EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound. When you switch this from OFF to ON, the
This parameter adjusts the time it takes rhythm pattern returns to its beginning.
TRIGGER OFF, ON
RISE TIME 0–50–100 for the rotation SPEED SELECT to change ¹¹ When the effect patch is written, the
when switched from “SLOW” to “FAST”. TRIGGER is stored in the “OFF” state.
This parameter adjusts the time it takes EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound.
FALL TIME 0–50–100 for the rotation SPEED SELECT to change
Adjusts the volume of the attacks for the
when switched from “FAST” to “SLOW”. ATTACK 0–100
slice pattern.
Adjusts the distance between the horn/
MIC DISTANCE 0–100 Adjusts the duration of the sound for the
rotor and the mic. DUTY 1–99
slice pattern.
Adjusts the volume balance between the DIRECT MIX 0–100
ROTOR/HORN 100:0–50:50–0:100 Adjusts the volume of the direct sound.
horn and rotor.
Adjusts the amount of distortion in the
DRIVE 0–100
preamp.
SLOW GEAR/SLOW GEAR BASS
This produces a volume-swell effect (“violin-like” sound).
SITAR SIM Parameter Value (Bold: default) Explanation

Adjusts the sensitivity of the slow gear.
This simulates the sound of the sitar. When it is set to a lower value, the effect
of the slow gear can be obtained only
Parameter Value (Bold: default) Explanation SENS 0–50–100 with a stronger picking, while no effect is
Adjusts the sensitivity of the sitar. obtained with a weaker picking.
When it is set to a lower value, no effect When the value is set higher, the effect is
of the sitar is obtained with weaker obtained even with a weak picking.
picking, while stronger picking produces Adjusts the time needed for the volume
SENS 0–50–100
the effect. RISE TIME 0–50–100 to reach its maximum from the moment
When it is set to a higher value, the effect you begin picking.
of the sitar can be obtained whether the LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
picking is weak or strong.
DEPTH 0–50–100 Adjusts the amount of effect applied.
Adjusts the tone.
TONE -50–0–+50 The high end is boosted as the value
increases.
SOUND HOLD
EFFECT LEVEL Ï 0–50–100 Adjusts the volume of the sitar sound. You can have sound played on the guitar be held continuously.
RESONANCE 0–50–100 Adjusts the undulation of the resonance. This effect allows you to perform the melody in the upper registers while
Adjusts the amount of characteristic buzz holding a note in the lower registers.
BUZZ 0–100 produced by the “buzz bridge” when the ** This function will not work properly when two or more notes are played
strings make contact with it. simultaneously.
Switches the hold sound on and off.
Normally, this is controlled with the
footswitches.
TRIGGER OFF, ON ¹¹ It is assumed that this parameter will
be assigned to the footswitch.
¹¹ When the effect patch is written, the
TRIGGER is stored in the “OFF” state.
Adjusts how rapidly the Sound Hold
RISE TIME 0–50–100
sound is produced.
44
Effect Parameters
S-BEND TOUCH WAH BASS

Applies intense bending. You can produce a wah effect with the filter changing in response to the
bass level.
The effect is applied when you switch this Parameter Value (Bold: default) Explanation
from OFF to ON. Selects the filter mode.
TRIGGER OFF, ON
¹¹ When the effect patch is written, the Low pass filter.
TRIGGER is stored in the “OFF” state. LPF
Passes only the low-frequency region.
-3oct–+2oct– Adjusts the amount of pitch shift in
PITCH FILTER MODE High pass filter.
+4oct octave steps. HPF
This parameter adjusts the amount of
RISE TIME Ï 0–100 time it is to take for the effect to transition Band pass filter.
to the maximum. BPF Passes only the specified frequency
This parameter adjusts the amount of region.
FALL TIME Ï 0–100 time it is to take for the effect to transition Selects the direction in which the filter will change in response
to the original. to the input.
POLARITY DOWN The frequency of the filter will fall.
UP The frequency of the filter will rise.

TOUCH WAH Specifies the sensitivity with which the
filter moves in the direction specified by
You can produce a wah effect with the filter changing in response to the the POLARITY setting.
guitar level. SENS 0–60–100 Higher values will result in a stronger
response.
Parameter Value (Bold: default) Explanation With a setting of “0”, the strength of
Selects the filter mode. picking will have no effect.
Low pass filter. Adjusts the center frequency of the Wah
LPF FREQUENCY 0–50–100
Passes only the low-frequency region. effect.
High pass filter. Adjusts the way in which the wah effect
FILTER MODE HPF applies to the area around the center
frequency.
Band pass filter. Higher values will produce a stronger
BPF Passes only the specified frequency RESONANCE 0–60–100
tone which emphasizes the wah effect
region. more.
Selects the direction in which the filter will change in response With a value of “50” a standard wah sound
to the input. will be produced.
POLARITY
DOWN The frequency of the filter will fall. Adjusts the rate at which the filter is
DECAY 0–50–100
UP The frequency of the filter will rise. moved.
Specifies the sensitivity with which the EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound.
filter moves in the direction specified by DIRECT MIX 0–100 Adjusts the volume of the direct sound.
the POLARITY setting.
SENS 0–50–100 Higher values will result in a stronger
response.
With a setting of “0”, the strength of
picking will have no effect.
TREMOLO
Adjusts the center frequency of the Wah Tremolo is an effect that creates a cyclic change in volume.
FREQUENCY 0–30–100
effect.
Adjusts the way in which the wah effect Parameter Value (Bold: default) Explanation
applies to the area around the center
frequency. Adjusts the frequency (speed) of the
change.
Higher values will produce a stronger
RESONANCE 0–70–100 ** If this value is set as a note length,
more. the effect operates according to the
With a value of “50” a standard wah sound
will be produced. RATE 0–75–100, ŀ– Ō
Adjusts the rate at which the filter is song.
DECAY 0–85–100
moved.
EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound. than the range of allowable settings, it
DIRECT MIX 0–100 Adjusts the volume of the direct sound. is then synchronized to a period either
DEPTH Ï 0–50–100 Adjusts the depth of the effect.
Adjusts changes in volume level.
WAVEFORM 0–50–100
A higher value will steepen wave’s shape.
EFFECT LEVEL 0–100 Adjusts the volume.
TRIGGER OFF, ON Turns the tremolo on/off.
Specifies the time from when trigger
RISE TIME 0–50–100 turns on until the specified tremolo effect
is obtained.
45
Effect Parameters
VIBRATO DELAY
This effect creates vibrato by slightly modulating the pitch. This effect adds delayed sound to the direct sound, giving more body to the
sound or creating special effects.
Adjusts the rate of the vibrato.
Selects the type of delay.
** If you switch patches with the Type set to DUAL and then
begin to play immediately after the patches change, you
may be unable to attain the intended effect in the first
0–80–100, ŀ– Ō
portion of what you perform.
RATE settings that match the tempo of the
song. ** The stereo effect is cancelled if a mono effect or PREAMP is
connected after a stereo delay effect.
than the range of allowable settings, it MONO
is then synchronized to a period either This is a simple mono delay.
This delay is specifically for stereo output.
DEPTH Ï 0–20–100 Adjusts the depth of the vibrato.
This allows you to obtain the tap delay
Higher settings produce a more complex effect that divides the delay time, then
COLOR 0–100
modulation. deliver them to L and R channels.
EFFECT LEVEL 0–100 Adjusts the volume of the effect sound. PAN
TRIGGER OFF, ON Selects on/off of the vibrato.
Sets the time passing from the moment
RISE TIME 0–30–100 the Trigger is turned on until the set
vibrato is obtained.
DIR MIX 0–100 Adjusts the volume of the direct sound.
STEREO1 The direct sound is output from the left
channel, and the effect sound is output
from the right channel.
STEREO2
This is a stereo-in/out delay.

ANALOG This gives a mild analog delay sound.
The delay time can be set within the
range of 12 to 1,200 ms.
This gives a mild analog delay sound.
TYPE The delay time can be set within the
ANALOG ST range of 12 to 1,200 ms.
The direct sound is output from the left
TAPE Provides the characteristic wavering
sound of the tape echo.
REVERSE This produces an effect where the sound

is played back in reverse.
SHIMMER
Delay with pitch-shifted sound mixed in.

DUAL A delay comprising two different delays
connected either in series or in parallel.
WARP
Produces a dream-like sound.

Produces an aggressive sense of rotation.
TWIST
Using this in conjunction with distortion
will produce an even wilder sense of
rotation.
SPACE ECHO This models the sound of the Roland
RE-201.
TAPE ECHO PX This models the sound of the Maestro

Echoplex.
BIN DRUM ECHO This models the sound of the Binson

Echorec2.
46
Effect Parameters
Settings common to all types SHIMMER

** This is not shown if TYPE is set to “TWIST”.
Parameter Value (Bold: default) Explanation Lets you freely specify the amount of
PITCH -24–+12–+24
Adjusts the delay time. pitch shift for the delay.
** If this value is set as a note length, Adjusts the balance between the pitch-
the effect operates according to the PITCH BAL 0–50–100 shifted sound that is input to the delay
“BPM” value in MASTER (p. 52). This and the direct sound.
makes it easier to achieve effect sound Adjusts the amount of feedback for the
1–400–2000 ms, PITCH FEEDBACK 0–50–100
Ō–ŀ
TIME settings that match the tempo of the delay that is applied to the direct sound.
song.
than the range of allowable settings, it DUAL
1/2 or 1/4 of that time. Parameter Value (Bold: default) Explanation
Sets the amount of delay sound returned Selects the DUAL mode.
to the input.
FEEDBBACK 0–30–100 This is a delay comprising two different
A higher value will increase the number delays connected in series.
of the delay repeats.
SERIES
20.0 Hz–6.30 kHz– filter begins to take effect.
HIGH CUT
20.0 kHz, FLAT When “FLAT” is selected, the high cut filter This is a delay comprising two delays
will have no effect. connected in parallel.
EFFECT LEVEL Ï 0–50–120 Adjusts the volume of the delay sound.
MODE PARALLEL
Adjusts the modulation rate of the delay
MOD RATE 0–50–100
sound.
Adjusts the modulation depth of the
MOD DEPTH 0–50–100
delay sound. This delay lets you specify the L and R
Adjusts the sensitivity at which the channels independently.
volume is automatically adjusted
L/R
DUCK SENS 0–50–100 according to the input.
Higher values allow the adjustment to
occur in response to lower volumes.
The volume being “input” to the delay is MODE: SERIES
automatically reduced when the input
DUCK PRE DEPTH 0–50–100 sound is loud. Selects the type of SERIES.
The amount of reduction increases as this MONO This is a simple mono delay.
setting approaches “100”. This delay is specifically for stereo output.
The volume being “output” to the delay This allows you to obtain the tap delay
PAN
is automatically reduced when the input D1:TYPE effect that divides the delay time, then
DUCK POST sound is loud.
0–50–100 deliver them to L and R channels.
DEPTH
The amount of reduction increases as this ANALOG This gives a mild analog delay sound.
setting approaches “100”.
This setting provides the characteristic
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. TAPE
wavering sound of the tape echo.
Adjusts the delay time.
PAN the effect operates according to the
Parameter Value (Bold: default) Explanation makes it easier to achieve effect sound
1–400–2000 ms,
Ō–ŀ
Adjusts the delay time of the right D1:TIME settings that match the tempo of the
channel delay. song.
TAP TIME 0–50–100% This setting adjusts the R channel delay ** If, due to the tempo, the time is longer
time relative to the L channel delay time than the range of allowable settings, it
(considered as 100%). is then synchronized to a period either
Adjusts the amount of feedback of the
REVERSE D1:FEEDBACK 0–30–100
D1.
A higher value will increase the number
Parameter Value (Bold: default) Explanation of the delay repeats.
When this is “ON”, the start position Sets the frequency at which the high cut
AUTO TRIG OFF, ON for reverse playback is adjusted 20.0 Hz–6.30 kHz– filter begins to take effect.
automatically. D1:HIGH CUT
20.0 kHz, FLAT When “FLAT” is selected, the high cut filter
D1:EFFECT LEVEL 0–120 Adjusts the volume of the D1.
TAPE MODE: PARALLEL, L/R
Parameter Value (Bold: default) Explanation Selects the type of PARALLEL or L/R.
Selects the combination playback heads. MONO This is a simple mono delay.
1, 1+2, 1+3, 2+3, Playback heads 2/3 provide delay times This delay is specifically for stereo output.
HEAD
1+2+3 that are two times or three times as long This allows you to obtain the tap delay
D1:TYPE PAN
as playback head 1. effect that divides the delay time, then
D2:TYPE
deliver them to L and R channels.
TAPE
47
Effect Parameters
Parameter Value (Bold: default) Explanation SPACE ECHO

Adjusts the delay time of the D1 (D2). Parameter Value (Bold: default) Explanation
D1: the effect operates according to the Selects the combination playback heads.
1–400–2000 ms, “BPM” value in MASTER (p. 52). This 1, 1+2, 1+3, 2+3, Playback heads 2/3 provide delay times
HEAD
Ō–ŀ makes it easier to achieve effect sound 1+2+3 that are two times or three times as long
D1:TIME
settings that match the tempo of the as playback head 1.
D2:TIME song.
D2: WOW & FLUTTER 0–50–100 Adjusts the wow & flutter.
1–300–2000 ms, ** If, due to the tempo, the time is longer
Ō–ŀ than the range of allowable settings, it
TAPE ECHO PX
Adjusts the amount of feedback of the Parameter Value (Bold: default) Explanation
D1:FEEDBACK D1 (D2).
0–30–100 WOW & FLUTTER 0–50–100 Adjusts the wow & flutter.
D2:FEEDBACK A higher value will increase the number
D1:HIGH CUT 20.0 Hz–6.30 kHz– filter begins to take effect.
BIN DRUM ECHO
D2:HIGH CUT 20.0 kHz, FLAT When “FLAT” is selected, the high cut filter Parameter Value (Bold: default) Explanation
1, 2, 3, 4, 1+2, 2+3,
D1:EFFECT LEVEL 3+4, 1+3, 2+4,
0–120 Adjusts the volume of the D1 (D2). HEAD Selects the combination playback heads.
D2:EFFECT LEVEL 1+2+3, 2+3+4,
1+2+3+4
Selects the operating mode of the delay.
ECHO, REPEAT,
WARP SELECTOR
SWELL Depending on mode that’s selected, the
FEEDBACK will not work in some cases.
WOW & FLUTTER 0–50–100 Adjusts the wow & flutter.
TRIGGER OFF, ON If this is “ON”, the WARP effect is applied.
LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
TWIST
Selects the TWIST mode.
Rotation stops when you switch TRIGGER
RISEÓFALL
from “ON” to “OFF”.
MODE
When you switch TRIGGER from “ON” to
RISEÓFADE “OFF”, fade-out occurs while continuing
the rotation.
The TWIST effect is applied when you
TRIGGER OFF, ON
turn this “ON”.
This parameter adjusts the amount of
RISE TIME 0–50–100 time it is to take for the effect to transition
to the maximum.
Adjusts the time for the rotation to stop
FALL TIME *1 0–50–100
when MODE is set to “RISEÓFALL”.
Adjusts the time to fade-out when MODE
FADE TIME *2 0–50–100
is set to “RISEÓFADE”.
LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
*1 This is shown if MODE is set to “RISEÓFALL”.

*2 This is shown if MODE is set to “RISEÓFADE”.
48
Effect Parameters
DELAY/REVERB (DLY/REV) Parameter Value (Bold: default)

SPACE ECHO
Explanation
This models the sound of the Roland

This effect can be used as either a delay or a reverb. RE-201.
TAPE ECHO PX This models the sound of the Maestro

Parameter Value (Bold: default) Explanation TYPE
Echoplex.
BIN DRUM ECHO This models the sound of the Binson
Selects the DELAY or REVERB.
Echorec2.
This effect adds delayed sound to the
DELAY direct sound, giving more body to the
TYPE
This effect adds reverberation to the Settings common to all types
REVERB
sound. ** This is not shown if TYPE is set to “TWIST”.

DELAY ** If this value is set as a note length,
This effect adds delayed sound to the direct sound, giving more body to the “BPM” value in MASTER (p. 52). This
sound or creating special effects. 1–400–2000 ms,
Ō–ŀ
TIME settings that match the tempo of the
Parameter Value (Bold: default) Explanation song.
Selects the type of delay. ** If, due to the tempo, the time is longer
** If you switch patches with the Type set to DUAL and then is then synchronized to a period either
begin to play immediately after the patches change, you 1/2 or 1/4 of that time.
may be unable to attain the intended effect in the first
portion of what you perform. Sets the amount of delay sound returned
to the input.
** The stereo effect is cancelled if a mono effect or PREAMP is FEEDBBACK 0–30–100
connected after a stereo delay effect. A higher value will increase the number
MONO
This is a simple mono delay. Sets the frequency at which the high cut
HIGH CUT
This delay is specifically for stereo output. 20.0 kHz, FLAT When “FLAT” is selected, the high cut filter
effect that divides the delay time, then EFFECT LEVEL Ï 0–50–120 Adjusts the volume of the delay sound.
deliver them to L and R channels. Adjusts the modulation rate of the delay
PAN MOD RATE 0–50–100
sound.
delay sound.
Adjusts the sensitivity at which the
STEREO1 The direct sound is output from the left Higher values allow the adjustment to
channel, and the effect sound is output occur in response to lower volumes.
from the right channel. The volume being “input” to the delay is
STEREO2 automatically reduced when the input
This is a stereo-in/out delay. DUCK PRE DEPTH 0–50–100 sound is loud.

The amount of reduction increases as this
TYPE ANALOG This gives a mild analog delay sound. setting approaches “100”.
The delay time can be set within the The volume being “output” to the delay
range of 12 to 1,200 ms. is automatically reduced when the input
DUCK POST sound is loud.
This gives a mild analog delay sound. 0–50–100
DEPTH
The delay time can be set within the The amount of reduction increases as this
ANALOG ST range of 12 to 1,200 ms. setting approaches “100”.
The direct sound is output from the left DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
TAPE Provides the characteristic wavering
sound of the tape echo.
PAN
REVERSE This produces an effect where the sound
is played back in reverse. Parameter Value (Bold: default) Explanation

Adjusts the delay time of the right
SHIMMER
channel delay.
Delay with pitch-shifted sound mixed in.
TAP TIME 0–50–100% This setting adjusts the R channel delay
time relative to the L channel delay time
DUAL A delay comprising two different delays (considered as 100%).
connected either in series or in parallel.
WARP
Produces a dream-like sound.

Produces an aggressive sense of rotation.
TWIST
Using this in conjunction with distortion
will produce an even wilder sense of
rotation.
49
Effect Parameters
REVERSE Parameter Value (Bold: default) Explanation
Parameter Value (Bold: default) Explanation Sets the frequency at which the high cut
20.0 Hz–6.30
filter begins to take effect.
When this is “ON”, the start position D1:HIGH CUT kHz–20.0 kHz,
AUTO TRIG OFF, ON for reverse playback is adjusted will have no effect.
automatically.
D1:EFFECT LEVEL 0–120 Adjusts the volume of the D1.
MODE: PARALLEL, L/R
TAPE Selects the type of PARALLEL or L/R.
MONO This is a simple mono delay.
Selects the combination playback heads.
D1:TYPE PAN This allows you to obtain the tap delay
1, 1+2, 1+3, 2+3, Playback heads 2/3 provide delay times
HEAD effect that divides the delay time, then
1+2+3 that are two times or three times as long D2:TYPE
deliver them to L and R channels.
as playback head 1.
TAPE
SHIMMER
Adjusts the delay time of the D1 (D2).
Lets you freely specify the amount of D1: the effect operates according to the
PITCH -24–+12–+24 1–400–2000 ms, “BPM” value in MASTER (p. 52). This
pitch shift for the delay.
Ō–ŀ makes it easier to achieve effect sound
Adjusts the balance between the pitch- D1:TIME
PITCH BAL 0–50–100 shifted sound that is input to the delay D2:TIME song.
D2:
and the direct sound.
1–300–2000 ms, ** If, due to the tempo, the time is longer
PITCH FEEDBACK 0–50–100
Adjusts the amount of feedback for the Ō–ŀ than the range of allowable settings, it
delay that is applied to the direct sound. is then synchronized to a period either
DUAL D1:FEEDBACK D1 (D2).
0–30–100
D2:FEEDBACK A higher value will increase the number
Selects the DUAL mode.
This is a delay comprising two different D1:HIGH CUT 20.0 Hz–6.30 kHz– filter begins to take effect.
delays connected in series. D2:HIGH CUT 20.0 kHz, FLAT When “FLAT” is selected, the high cut filter
SERIES will have no effect.
D1:EFFECT LEVEL
0–120 Adjusts the volume of the D1 (D2).
D2:EFFECT LEVEL
This is a delay comprising two delays
connected in parallel.
MODE PARALLEL WARP

TRIGGER OFF, ON If this is “ON”, the WARP effect is applied.
This delay lets you specify the L and R
channels independently. LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
L/R
TWIST
MODE: SERIES Selects the TWIST mode.
Selects the type of SERIES. Rotation stops when you switch TRIGGER
RISEÓFALL
MONO This is a simple mono delay. from “ON” to “OFF”.
MODE
This delay is specifically for stereo output. When you switch TRIGGER from “ON” to
This allows you to obtain the tap delay RISEÓFADE “OFF”, fade-out occurs while continuing
PAN the rotation.
D1:TYPE effect that divides the delay time, then
deliver them to L and R channels. The TWIST effect is applied when you
TRIGGER OFF, ON
ANALOG This gives a mild analog delay sound. turn this “ON”.
This setting provides the characteristic This parameter adjusts the amount of
TAPE RISE TIME 0–50–100 time it is to take for the effect to transition
to the maximum.
** If this value is set as a note length, Adjusts the time for the rotation to stop
FALL TIME *1 0–50–100
the effect operates according to the when MODE is set to “RISEÓFALL”.
“BPM” value in MASTER (p. 52). This Adjusts the time to fade-out when MODE
FADE TIME *2 0–50–100
makes it easier to achieve effect sound is set to “RISEÓFADE”.
1–400–2000 ms,
Ō–ŀ
D1:TIME settings that match the tempo of the LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
song.
than the range of allowable settings, it *1 This is shown if MODE is set to “RISEÓFALL”.
is then synchronized to a period either *2 This is shown if MODE is set to “RISEÓFADE”.
D1.
D1:FEEDBACK 0–30–100
50
Effect Parameters
SPACE ECHO REVERB

This effect adds reverberation to the sound.
Selects the combination playback heads.
1, 1+2, 1+3, 2+3, Playback heads 2/3 provide delay times Parameter Value (Bold: default) Explanation
HEAD
1+2+3 that are two times or three times as long
as playback head 1. This selects the reverb type.
WOW & FLUTTER 0–50–100 Adjusts the wow & flutter. Various different simulations of space are offered.
Simulates the reverberation in a
HALL1 concert hall. Provides clear and spacious
reverberations.
TAPE ECHO PX
Simulates the reverberation in a concert
Parameter Value (Bold: default) Explanation HALL2
hall. Provides mild reverberations.
WOW & FLUTTER 0–50–100 Adjusts the wow & flutter. Simulates plate reverberation (a reverb
unit that uses the vibration of a metallic
PLATE
plate). Provides a metallic sound with a
distinct upper range.
BIN DRUM ECHO
Simulates the reverberation in a small
Parameter Value (Bold: default) Explanation ROOM1
room. Provides warm reverberations.
1, 2, 3, 4, 1+2, 2+3, Simulates the reverberation of a room
3+4, 1+3, 2+4, TYPE ROOM2
HEAD Selects the combination playback heads. larger than ROOM1.
1+2+3, 2+3+4,
1+2+3+4 Simulates an ambience mic (off-mic,
placed at a distance from the sound
Selects the operating mode of the delay. source) used in recording and other
ECHO, REPEAT, AMBIENCE
SELECTOR Depending on mode that’s selected, the applications. Rather than emphasizing
SWELL
FEEDBACK will not work in some cases. the reverberation, this reverb is used to
WOW & FLUTTER 0–50–100 Adjusts the wow & flutter. produce a sense of openness and depth.
This simulates the sound of a guitar amp’s
SPRING
built-in spring reverb.
Simulates reverberation with a distinctively
SHIMMER
sparkling high-frequency range.
This effect uses MDP technology to create
a unique ambience and a spaciousness
TERA ECHO
that changes according to your picking
dynamics.
Settings common to all types

TIME*1 0.1–2.6–10.0s Adjusts the length (time) of reverberation.
TONE -50–0–+50 Adjusts the tonal character of the reverb.
DENSITY*1 1–8–10 Adjusts the density of the reverb sound.
EFFECT LEVEL Ï 0–25–100 Adjusts the volume of the reverb sound.
Adjusts the time until the reverb sound
PRE-DELAY*1 0–30–200 ms
appears.
FLAT, 20.0–125 Hz– filter begins to take effect.
LOW CUT *1
20.0 kHz When “FLAT” is selected, the low cut filter
HIGH CUT *1
16.0 kHz, FLAT When “FLAT” is selected, the high cut filter
Adjusts the amount of attenuation for the
LOW DAMP *1 -50–0–+50
low frequency region.
Adjusts the amount of attenuation for the
HIGH DAMP *1 -50–0–+50
high frequency region.
Adjusts the speed at which the reverb
MOD RATE *1 0–50–100
sound is modulated.
Adjusts the depth to which the reverb
MOD DEPTH *1 0–50–100
sound is modulated.
DUCK SNS *1 0–50–100 according to the input.
When the input sound is loud, this
automatically reduces the volume that is
DUCK PRE DEPTH being input to the reverb and delay.
0–100
*1
As this setting approaches 100, the input
volume reduction is applied more deeply.
51
Effect Parameters

MASTER (MST)
being output from the reverb and delay. These settings are applied to the overall effect patch.
DUCK POST
0–100
DEPTH*1 As this setting approaches 100, the Parameter Value (Bold: default) Explanation
output volume reduction is applied more
deeply. PATCH LEVEL 0–100–200 Adjusts the volume of the effect patch.
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. Sets the BPM of the effect patch.
BPM 40.0–120.0–250.0 ** BPM (beats per minute) indicates the
number of quarter note beats that
*1 This is not shown if TYPE is set to “TERA ECHO”. occur each minute.
Sets the key that’s used when you use
HARMONIST (p. 40) for FX1–3.
SHIMMER Major

PITCH1 -24–+12–+24 KEY C(Am)–C–B(C#m) Minor
Adjusts the amount of pitch shift.
PITCH2 -24–+24 Major
LEVEL1 Ï
0–100 Adjusts the volume of the pitch shifter.
LEVEL2 Ï Minor
If this is “ON”, effects that affect the pitch

BASS MODE OFF, ON
are optimized for bass.
TERA ECHO Sets the function that’s controlled by the effect pads, or by the
Parameter Value (Bold: default) Explanation CTL1–4 FUNCTION footswitch or GA-FC connected to the FOOT SW jack.
ØØ “CTL1–4 FUNCTION”
Selects the mode of the effect sound.
MONO Sets the lower limit (MIN) and the upper
The L and R channels will both output the CTL1–4 MIN limit (MAX) of the variable range for the
same sound.
– parameter.
MODE STEREO1 The R channel outputs the direct sound, CTL1–4 MAX ** The value changes depending on the
and the L channel outputs the effect function assigned.
sound.
Sets the function that’s controlled by the expression pedal
STEREO2 The effect is applied separately to the L EXP1, 2 FUNCTION connected to the FOOT SW jack or to the GA-FC.
and R channels. ØØ “EXP1, 2 FUNCTION”
SPREAD TIME 0–50–100 Adjusts the length of the effect sound. Sets the lower limit (MIN) and the upper
FEEDBACK 0–50–100 Adjusts the decay of the effect sound. EXP1, 2 MIN limit (MAX) of the variable range for the
parameter.
The MIN setting is for when the pedal is
TONE -50–0–+50 Adjusts the tone. –
fully raised, and the MAX setting is for
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. when the pedal is fully advanced.
EXP1, 2 MAX ** The value changes depending on the
The effect sound is held when you turn
this on. function assigned.
TRIGGER OFF, ON
** Patches are written with the parameter
set to “OFF”.
CTL1–4 FUNCTION
Function Explanation
DIST ON/OFF Switches the distortion on/off.
DIST SOLO ON/OFF Switches the distortion “SOLO SW” on/off.
PREAMP ON/OFF Switches the preamp on/off.
PREAMP SOLO ON/OFF Switches the preamp “SOLO SW” on/off.
EQ ON/OFF Switches the EQ on/off.
NS ON/OFF Switches the NS on/off.
PEDAL FX ON/OFF Switches the pedal fx on/off.
FX1–3 ON/OFF Switches the FX1–3 on/off.
FX1–3 DIST SOLO ON/OFF Switches the distortion “SOLO SW” on/off for FX1–3.
FX1–3 FEEDBACKER TRIGGER Switches the feedbacker “TRIGGER” on/off for FX1–3.
FX1–3 ROTARY SPEED SELECT Toggles the rotary effect’s SPEED SELECT setting
TRIGGER between “SLOW” and “FAST” for FX1–3.
FX1–3 SLICER TRIGGER Switches the slicer “TRIGGER” on/off for FX1–3.
FX1–3 SOUND HOLD TRIGGER Switches the sound hold “TRIGGER” on/off for FX1–3.
FX1–3 S-BEND TRIGGER Switches the s-bend “TRIGGER” on/off for FX1–3.
FX1–3 TREMOLO TRIGGER Switches the tremolo “TRIGGER” on/off for FX1–3.
FX1–3 VIBRATO TRIGGER Switches the vibrato “TRIGGER” on/off for FX1–3.
FX1–3 DELAY TRIGGER Switches the delay “TRIGGER” on/off for FX1–3.
DLY/REV ON/OFF Switches the delay/reverb on/off.
(When DELAY/REVERB is “DELAY”)
DLY/REV DELAY TRIGGER
Switches the delay “TRIGGER” on/off.
(When DELAY/REVERB is “REVERB”)
DLY/REV REVERB TRIGGER
Switches the tera echo “TRIGGER” on/off.
52
Effect Parameters
EXP1, 2 FUNCTION
PFX PEDAL POSITION Controls “PEDAL POSITION” for PEDAL FX.
FX1–3 AUTO WAH FREQ Controls the auto wah “FREQUENCY” for FX1–3.
FX1–3 AUTO WAH RATE Controls the auto wah “RATE” for FX1–3.
FX1–3 CHORUS RATE Controls the chorus “RATE” for FX1–3.
Controls “RATE1” for FX1–3 when the chorus
FX1–3 CHORUS RATE1
“TYPE” is set to “DUAL”.
Controls “RATE2” for FX1–3 when the chorus
FX1–3 CHORUS RATE2
“TYPE” is set to “DUAL”.
FX1–3 CHORUS BASS RATE Controls the chorus bass “RATE” for FX1–3.
FX1–3 CLASSIC VIBE RATE Controls the classic vibe “RATE” for FX1–3.
FX1–3 FLANGER RATE Controls the flanger “RATE” for FX1–3.
FX1–3 FLANGER STEP RATE Controls the flanger “STEP RATE” for FX1–3.
FX1–3 FLANGER BASS RATE Controls the flanger bass “RATE” for FX1–3.
FX1–3 FLANGER BASS STEP RATE Controls the flanger bass “STEP RATE” for FX1–3.
FX1–3 HUMANIZER RATE Controls the humanizer “RATE” for FX1–3.
FX1–3 PAN RATE Controls the pan “RATE” for FX1–3.
FX1–3 PHASER RATE Controls the phaser “RATE” for FX1–3.
FX1–3 PHASER STEP RATE Controls the phaser “STEP RATE” for FX1–3.
Controls the RING MOD “FREQ MOD RATE”
FX1–3 RING MOD FREQ MOD RATE
for FX1–3.
FX1–3 ROTARY SLOW RATE Controls the rotary “SLOW RATE” for FX1–3.
FX1–3 ROTARY FAST RATE Controls the rotary “FAST RATE” for FX1–3.
FX1–3 SLICER RATE Controls the slicer “RATE” for FX1–3.
FX1–3 TREMOLO RATE Controls the tremolo “RATE” for FX1–3.
FX1–3 VIBRATO RATE Controls the vibrato “RATE” for FX1–3.
PATCH LEVEL Controls “PATCH LEVEL” for MASTER.
53
Effect Parameters
EFFECTS CATEGORY: SING

MEMO
ENHANCE (EH) PITCH CORRECT (PCR)

ENHANCE is an effect that makes the sound more sharply defined. PITCH CORRECT suppresses instabilities in pitch.
It also contains COMP (COMPRESSOR) which makes the volume more You can also convert pitch changes to a stair-step form, producing a
consistent, DE-ESS (DE-ESSER) which suppresses sibilance. mechanical effect.
Parameter Value (Bold: default) Explanation Parameter Value (Bold: default) Explanation
SW OFF, ON Turns this effect on/off. SW OFF, ON Turns this effect on/off.
Adjusts the depth of ENHANCE. Selects the type of pitch correct.
ENHANCE Ï 0–30–100 The sound becomes more sharply SOFT The pitch will be corrected smoothly.
defined as this value is increased.
HARD The pitch will be corrected quickly.
Adjusts the depth of COMPRESSOR. TYPE Corrects pitch variation to a stair-step
COMP Ï 0–20–100 The volume becomes more consistent as ELECTRIC
change.
this value is increased.
Corrects the pitch to the specified note
Adjusts the depth of DE-ESSER. ROBOT
(Robot Voice).
DE-ESS 0–20–100 Sibilance is suppressed more strongly as
Selects how the pitch is corrected.
The pitch is corrected to the nearest
CHROMATIC
SCALE chromatic semitone.
The pitch is corrected according to the
NOISE SUPPRESSOR (NS) KEY
Key setting (p. 63).
Negative (–) settings give the voice a more
This effect reduces the noise. FORMANT -50–0–+50 masculine character, while positive (+)
settings make the voice more feminine.
Parameter Value (Bold: default) Explanation Specifies the amount by which the pitch
SHIFT -12–0–+12
is shifted.
Adjusts the speed of pitch change.
Adjust this parameter as appropriate for SPEED 0–5–10
Higher values produce faster change.
If the noise level is high, a higher setting is Adjusts the ease of pitch change.
THRESHOLD 0–30–100 STABILITY -10–0–+10
appropriate. Higher values make change more difficult.
If the noise level is low, a lower setting is
appropriate.
RELEASE 0–100
Adjusts the time from when the noise
suppressor begins to function until the HARMONY (HRM)
noise level reaches “0”.
This specifies the input volume used for activating the noise HARMONY can add natural harmony to your voice.
suppressor.
Input volume from Channel 1–4 jacks.
INPUT SW OFF, ON Turns this effect on/off.
** Ordinarily, DETECT should be set to
“INPUT”. Specifies the upper limit frequency at
which the harmony effect is applied.
Noise suppressor input volume.
NOTE SENS LOW, MID, HIGH ** In an environment in which acoustic
feedback is prone to occur, using the
and you want to prevent a spatial-type
“LOW” setting can suppress unwanted
effects sound (such as a delay sound)
sound.
NS INPUT from being eradicated by the NS, you
should set DETECT to “NS INPUT”. Adjusts the overall volume level of the
EFFECT LEVEL Ï 0–100
harmony.
DLY NS
Adjusts the volume of the sound of the
DIRECT LEVEL 0–100
(Spatial-type effect) mic.
This sets how the harmony is added.
OFF (HRM2) Turns the harmony part off.
This produces the impression that
UNISON (HRM1) another person is singing the same
HRM1:VOICE melody along with you.
HRM2:VOICE OCT- Adds sound an octave lower.
-6TH–-3RD*1 Adds lower sound based on 6th–3rd.
+3RD–+6TH*1 Adds higher sound based on 3rd–6th.
OCT+ Adds sound an octave higher.
HRM1:PAN
L100–CENTER–R100 Adjusts the panning of the harmony part.
HRM2:PAN
HRM1:LEVEL HRM1: 0–90–100
Adjusts the volume of the harmony part.
HRM2:LEVEL HRM2: 0–60–100
HRM1:DELAY HRM1: 0–5–10
Adjusts the delay of the harmony part.
HRM2:DELAY HRM2: 0–10
54
Effect Parameters

Raising this value makes the pitch of the
FX1–3
harmony more closely match the pitch of
the original vocal. With FX1, FX2, and FX3, you can select the effect to be used from the
** With the higher value, the harmony following.
HRM1:ACCURACY
0–5–10 is sounded at the precise pitch; this You can select the same effect for FX1, FX2, and FX3.
HRM2:ACCURACY
means that if the pitch of the original
vocal is not precise, the result might Parameter Value (Bold: default) Explanation
not sound harmonious. In such cases,
try decreasing this value. SW OFF, ON Turns this effect on/off.
Specifies how closely the vibrato will follow. Selects the effects to use for FX1–3.
FX TYPE
** If you want to decrease the ØØ “FX TYPE”
HRM1:VIBRATO
-10–0–+10 expressiveness of the harmony relative
HRM2:VIBRATO
to your own voice, use a setting in the
negative range. FX TYPE
HRM1:FORMANT Adjusts the vocal character of the
-50–0–+50 Type Explanation
HRM2:FORMANT harmony part.
DIST
HRM1:TONE Adjusts the tonal character of the Produces a distorted voice.
Distortion
-50–0–+50
HRM2:TONE harmony part.
RADIO Produces a radio voice.
Double-tracking is a popular recording studio technique in This effect intentionally degrades the sound to create a
which a vocalist records a melody, then overdubs a second LO-FI
distinctive character.
performance of the same melody along with the first recording.
When the two performances are played back together, it gives A filter modifies the brightness or thickness of the sound by
FILTER
HRM1:DOUBLE the effect of a thick and rich single voice. cutting a specific frequency range.
HRM2:DOUBLE OFF (HRM2) T.WAH You can produce a wah effect with the filter changing in
Touch wah response to level.
LIGHT (HRM1) Adjusts the intensity of the Double effect
RING MOD Gives a metallic character to the sound, creating the
NORMAL in three levels (Light/Normal/Deep).
Ring modulator impression that the sound is going out of focus.
DEEP In this effect, a slightly detuned sound is added to the original
CHORUS
sound to add depth and breadth.
*1 Depending on conditions, other intervals are also added. The flanging effect gives a twisting, jet-airplane-like character
FLANGER
to the sound.
EQ TREMOLO Tremolo is an effect that creates a cyclic change in volume.

By adding varied-phase portions to the direct sound, the
PHASER phaser effect gives a whooshing, swirling character to the
Adjusts the tone. sound.
ROTARY This produces an effect like the sound of a rotary speaker.
This consecutively interrupts the sound to create the
SW OFF, ON Turns this effect on/off. SLICER
impression that a rhythm backing phrase is being played.
Adjusts the tone for the low frequency Divides the audio input into three ranges (LO, MID, HI) and
LOW GAIN -20–0–+20 dB range. ISOLATOR cuts the specified region. You can cut in synchronization with
Adjusts the low-middle frequency range the tempo.
LOW-MID GAIN -20–0–+20 dB tone. VIBRATO This effect creates vibrato by slightly modulating the pitch.
Specifies the center of the frequency PAN Moves the stereo position (pan).
20–250 Hz– range that will be adjusted by the LOW-
LOW-MID FREQ
16.0 kHz MID GAIN. FREEZE This produces the Freeze function to hold sounds.
Adjusts the width of the area affected by GRANULAR Repeats a short portion of the input sound, giving it a buzzy
the EQ centered at the LOW-MID FREQ. Granular delay character or producing the effect of playing a roll.
LOW-MID Q 0.5–1–16
Higher values will narrow the area. This effect adds delayed sound to the direct sound, giving
DELAY
more body to the sound or creating special effects.
Adjusts the low-middle frequency range
HIGH-MID GAIN -20–0–+20 dB tone.
20–800 Hz– range that will be adjusted by the HIGH-
HIGH-MID FREQ
16.0 kHz MID GAIN. DIST
the EQ centered at the HIGH-MID FREQ. Produces a distorted voice.
HIGH-MID Q 0.5–1–16
Higher values will narrow the area. Parameter Value (Bold: default) Explanation
Adjusts the tone for the high frequency DIST Ï 0–30–100 Adjusts the degree of distortion.
HIGH GAIN -20–0–+20 dB range.
TONE -50–0–+50 Adjusts the tonal character.
FLAT, 20.0 Hz– filter begins to take effect. EFFECT LEVEL 0–40–100 Adjusts the volume of the effect sound.
LOW CUT
16.0 kHz When “FLAT” is selected, the low cut filter DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
20.0 Hz–16.0 kHz, filter begins to take effect.
HIGH CUT
LEVEL -20–0–+20 dB Adjusts the overall volume level of the EQ.
55
Effect Parameters
RADIO T.WAH
Produces a radio voice. You can produce a wah effect with the filter changing in response to level.
LO-FI Ï 1–7–10 Adjusts the amount of blurring. Selects the type of filter.
LEVEL 0–50–100 Adjusts the volume of the effect sound. Low pass filter.
LPF This creates a wah effect over a wide
TYPE frequency range.
Band pass filter.
LO-FI BPF This creates a wah effect in a narrow
frequency range.
This effect intentionally degrades the sound to create a distinctive Selects the direction in which the filter will change in response
character. to the input.
POLARITY
DOWN The frequency of the filter will fall.
BIT 32–24–1 BIT Specifies the bit depth.
Adjusts the sensitivity at which the filter
SAMPLE 1/1–1/16–1/32 Specifies the sampling rate. will change in the direction determined
Adjusts the volume balance between the SENS 0–50–100 by the polarity setting.
BALANCE Ï 0–100
direct sound and the effect sound. Higher values will result in a stronger
response.
Adjusts the center frequency of the Wah
FREQ 0–30–100
effect.
FILTER Adjusts the way in which the wah effect
A filter modifies the brightness or thickness of the sound by cutting a frequency.
specific frequency range. Higher values will produce a stronger
PEAK 0–50–100
Parameter Value (Bold: default) Explanation more.
Selects the type of filter. With a value of “50” a standard wah sound
will be produced.
This reduces the volume of all frequencies
LPF EFFECT LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
above the cutoff frequency.
This leaves only the frequencies in the DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
TYPE
BPF region of the cutoff frequency, and cuts
the rest.
This cuts the frequencies in the region
HPF
below the cutoff frequency. RING MOD
Adjusts the rate of modulation.
** If this value is set as a note length, Gives a metallic character to the sound, creating the impression that the
the effect operates according to the sound is going out of focus.
makes it easier to achieve effect sound Parameter Value (Bold: default) Explanation
RATE 0–50–100, ŀ– Ō settings that match the tempo of the Adjusts the frequency of the internal
song. FREQ 0–50–100
oscillator.
** If, due to the tempo, the time is longer EFFECT LEVEL Ï 0–100 Adjusts the volume of the effect sound.
is then synchronized to a period either DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
DEPTH 0–55–100 Adjusts the depth of modulation.
RESONANCE 0–50–100 Adjusts the intensity of the effect.
CUTOFF Ï 0–50–100 Adjusts the cutoff frequency of the filter.
LEVEL 0–100 Adjusts the volume of the effect sound.
Adjusts the frequency of the step
function that varies the modulation in
stairstep fashion.
When it is set to a higher value, the
change will be finer.
function.
STEP RATE OFF, 0–100, ŀ– Ō ** If this value is set as a note length, the
value in MASTER (p. 63). This makes it
Selects the filter mode.
The CUTOFF changes at the rate specified
MODE AUTO
by RATE.
MANUAL The effect is applied with a fixed CUTOFF.
56
Effect Parameters
CHORUS FLANGER
In this effect, a slightly detuned sound is added to the original sound to add The flanging effect gives a twisting, jet-airplane-like character to the sound.
depth and breadth.
Parameter Value (Bold: default) Explanation Adjusts the rate of the flanging effect.
Selects the type of chorus. ** If this value is set as a note length,
MONO This chorus effect outputs the same the effect operates according to the
sound from both L channel and R “BPM” value in MASTER (p. 63). This
TYPE channel. makes it easier to achieve effect sound
RATE 0–25–100, ŀ– Ō settings that match the tempo of the
STEREO This is a stereo chorus effect that adds song.
different chorus sounds to L channel and
R channel. ** If, due to the tempo, the time is longer
Adjust the speed of the chorus effect for is then synchronized to a period either
the high frequency range. 1/2 or 1/4 of that time.
Determines the depth of the flanging
the effect operates according to the DEPTH 0–50–100
effect.
makes it easier to achieve effect sound Adjusts the center frequency at which to
RATE 0–15–100, ŀ– Ō MANUAL 0–75–100
apply the effect.
song. Determines the amount of resonance
** If, due to the tempo, the time is longer (feedback).
than the range of allowable settings, it Increasing the value will emphasize the
is then synchronized to a period either effect, creating a more unusual sound.
1/2 or 1/4 of that time. Adjusts the diffusion. The diffusion
SEPARATION 0–100
Adjusts the depth of the chorus effect. increases as the value increases.
DEPTH 0–25–100 To use it for doubling effect, set the value Adjusts the frequency at which the low
to “0”. cut filter begins to take effect.
LOW CUT FLAT, 55–800 Hz
Adjusts the time needed for the effect When “FLAT” is selected, the low cut filter
sound to be output after the direct sound will have no effect.
has been output.
EFFECT LEVEL Ï 0–100 Adjusts the volume of the flanger.
PRE DELAY 0.0–30.0–60.0 ms By setting a longer pre delay time, you
can obtain an effect that sounds like DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
more than one sound is being played at Adjusts the frequency of the step
the same time (doubling effect). function that varies the modulation in
Sets the frequency at which the low cut stairstep fashion.
filter begins to take effect. When it is set to a higher value, the
LOW CUT FLAT, 20–800 Hz change will be finer.
When “FLAT” is selected, the low cut filter
will have no effect. Set this to “OFF” when not using the Step
function.
filter begins to take effect. ** If this value is set as a note length,
OFF, 0–100, ŀ–Ō
630 Hz–12.5 kHz,
HIGH CUT STEP the effect operates according to the
EFFECT LEVEL Ï 0–90–100 Adjusts the volume of the effect sound. settings that match the tempo of the
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. song.
TREMOLO
Tremolo is an effect that creates a cyclic change in volume.
WAVE 0–50–100
Adjusts the frequency (speed) of the
change.
RATE 0–85–100, ŀ–Ō
song.
LEVEL 0–50–100 Adjusts the volume.
57
Effect Parameters
PHASER ROTARY
By adding varied-phase portions to the direct sound, the phaser effect gives This produces an effect like the sound of a rotary speaker.
a whooshing, swirling character to the sound.
Parameter Value (Bold: default) Explanation Changes the simulated speaker’s rotating
SPEED SLOW, FAST
Selects the number of stages that the phaser effect will use. speed (SLOW or FAST).
This is a four-phase effect. Adjusts the SPEED of rotation when set to
4STAGE “SLOW” or “FAST”.
A light phaser effect is obtained.
This is an eight-phase effect. RATE SLOW ** If this value is set as a note length,
8STAGE the effect operates according to the
TYPE It is a popular phaser effect. SLOW:
0–30–100, ŀ–Ō “BPM” value in MASTER (p. 63). This
This is a twelve-phase effect. makes it easier to achieve effect sound
12STAGE
A deep phase effect is obtained. settings that match the tempo of the
FAST: song.
BiPHASE
This is the phaser with two phase shift 0–70–100, ŀ–Ō
circuits connected in series. ** If, due to the tempo, the time is longer
RATE FAST
Adjust the rate of the phaser effect.
** If this value is set as a note length, 1/2 or 1/4 of that time.
“BPM” value in MASTER (p. 63). This Adjusts the amount of depth in the rotary
DEPTH 0–50–100
makes it easier to achieve effect sound effect.
RATE 0–30–100, ŀ–Ō settings that match the tempo of the Adjusts the time it takes for the rotation
song. RISE TIME 0–50–100 SPEED to change when switched from
** If, due to the tempo, the time is longer “SLOW” to “FAST”.
than the range of allowable settings, it Adjusts the time it takes for the rotation
is then synchronized to a period either FALL TIME 0–50–100 SPEED to change when switched from
1/2 or 1/4 of that time. “FAST” to “SLOW”.
Determines the depth of the phaser EFFECT LEVEL Ï 0–80–100 Adjusts the volume of the effect sound.
DEPTH 0–50–100
effect.
(feedback).
RESONANCE 0–100
Increasing the value will emphasize the SLICER
Adjusts the center frequency of the This consecutively interrupts the sound to create the impression that a
MANUAL 0–50–100
phaser effect. rhythm backing phrase is being played.
Adjusts the cycle of the step function that
changes the rate and depth.
When it is set to a higher value, the Selects the slice pattern that will be used
PATTERN P01–P20
change will be finer. to cut the sound.
Set this to “OFF” when not using the Step Adjust the rate at which the sound will
function. be cut.
** If this value is set as a note length, ** If this value is set as a note length,
STEP OFF, 0–100, ŀ–Ō the effect operates according to the the effect operates according to the
“BPM” value in MASTER (p. 63). This “BPM” value in MASTER (p. 63). This
makes it easier to achieve effect sound makes it easier to achieve effect sound
RATE 0–50–100, ŀ–Ō
settings that match the tempo of the settings that match the tempo of the
song. song.
** If, due to the tempo, the time is longer ** If, due to the tempo, the time is longer
than the range of allowable settings, it than the range of allowable settings, it
is then synchronized to a period either is then synchronized to a period either
1/2 or 1/4 of that time. 1/2 or 1/4 of that time.
EFFECT LEVEL Ï 0–100 Adjusts the volume of the phaser. Adjusts the attack volume of the slice
ATTACK 0–35–100
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. pattern.
Adjusts the length of the sound for the
DUTY 1–50–99
slice pattern.
Adjusts the depth to which the slice
DEPTH 0–100
pattern is applied.
Resets the slicer pattern to its beginning.
58
Effect Parameters
ISOLATOR VIBRATO
Divides the audio input into three ranges (LO, MID, HI) and cuts the This effect creates vibrato by slightly modulating the pitch.
specified region. You can cut in synchronization with the tempo.
Parameter Value (Bold: default) Explanation Adjusts the rate of the vibrato.
BAND LOW, MID, HIGH Select the range that will be cut. ** If this value is set as a note length,
Adjusts the frequency that is cut. the effect operates according to the
This lets you cut the low- or high-
frequency range at intervals of the
specified note value in synchronization RATE 0–80–100, ŀ–Ō settings that match the tempo of the
song.
with the tempo.
** If this value is set as a note length, ** If, due to the tempo, the time is longer
the effect operates according to the than the range of allowable settings, it
RATE 0–30–100, ŀ–Ō “BPM” value in MASTER (p. 63). This is then synchronized to a period either
makes it easier to achieve effect sound 1/2 or 1/4 of that time.
settings that match the tempo of the DEPTH Ï 0–30–100 Adjusts the depth of the vibrato.
song. Adjusts the time passing from the
** If, due to the tempo, the time is longer moment the TRIGGER is turned on until
than the range of allowable settings, it the set vibrato is obtained.
is then synchronized to a period either ** When a patch with TRIGGER set to
1/2 or 1/4 of that time. “ON” is called up, the effect obtained
DEPTH Ï 0–50–100 Adjusts the depth of modulation. RISE TIME 0–50–100 is identical to what happens when
TRIGGER is switched from Off to On.
Adjusts the reference volume of the band
that is cut. ** If you want the vibrato effect to be
BAND LEVEL 0–80–100 produced immediately after the
The portion between BAND LEVEL and
DEPTH is cut at the rate specified by RATE. patches are switched, set RISE TIME
to “0”.
Adjusts the rate of the step function that
produces stairstep change in the amount Selects on/off of the vibrato.
that is cut. TRIGGER OFF, ON ¹¹ It is assumed that this parameter will
When it is set to a higher value, the be assigned to the footswitch.
change will be finer. LEVEL 0–50–100 Adjusts the volume.
function.
OFF, 0–100, ŀ–Ō
STEP the effect operates according to the
PAN
settings that match the tempo of the Moves the stereo position (pan).
song.
than the range of allowable settings, it Selects the type of pan.
is then synchronized to a period either This varies the volume level on the left
1/2 or 1/4 of that time. AUTO and right according to the settings for
TYPE
WAVE, RATE, and DEPTH.
Output uses the volume balance set with
MANUAL
POS.
L100–CENTER– This adjusts the volume balance between
POSITION*1
R100 L channel and R channel.
LEVEL 0–100 Adjusts the volume.
WAVE*2 0–100
change.
RATE*2 0–40–100, ŀ–Ō
song.
DEPTH Ï *2 0–100 Adjusts the depth of the effect.
Adjusts the PAN position.
INIT PHASE *2 0, 15, 30–345 Specifies the rotational angle of the
phase from the default (when the effect is
turned on) of 0 (center).
*1 This is shown if TYPE is set to “MANUAL”.

*2 This is shown if TYPE is set to “AUTO”.
59
Effect Parameters
FREEZE DELAY
This produces the Freeze function to hold sounds. This effect adds delayed sound to the direct sound, giving more body to the
Specifies the length to which FREEZE is Parameter Value (Bold: default) Explanation
LENGTH SHORT, MID, LONG
applied. Selects the type of delay.
Adjusts the fade time until the effect SINGLE This is a simple mono delay.
ATTACK 0–30–100
sound is output when FREEZE turns “ON”. This delay is specifically for stereo output.
Adjusts the fade time over which the This allows you to obtain the tap delay
RELEASE 0–30–100 effect sound disappears when FREEZE effect that divides the delay time, then
turns “OFF”. deliver them to L channel and R channel.
DECAY 0–30–100 Adjusts the decay of the effect sound.
PAN
SUSTAIN 0–30–100 Adjusts the sustain of the effect sound.
Adjusts the volume balance between the
BALANCE Ï 0–50–100
FREEZE sound and the direct sound.
When this turns “ON”, FREEZE is applied to
the original sound.
TRIGGER OFF, ON
¹¹ It is assumed that this parameter will STEREO This is a stereo-in/out delay.
be assigned to the footswitch. This is a delay comprising two different
delays connected in series.
DUAL-S
GRANULAR TYPE
This is a delay comprising two delays
Repeats a short portion of the input sound, giving it a buzzy character or connected in parallel.
producing the effect of playing a roll. DUAL-P
TIME Ï 0–60–100 Adjusts the delay time.
Adjusts the volume that is returned to This is a delay with individual settings
the input. available for L channel and R channel.
FEEDBACK 0–50–100
A higher value will increase the number DUAL-L/R
LEVEL 0–80–100 Adjusts the volume level of the effect.
This produces an effect where the sound

REVERSE
This delay adds a pleasant wavering
MOD
effect to the sound.
WARP Produces a dream-like sound.

1–400–2000 ms, easier to achieve effect sound settings
Ō–ŀ
TIME
Adjusts the volume that is returned to
the input.
630 Hz–12.5 kHz, filter begins to take effect.
HIGH CUT
60
Effect Parameters

DELAY/REVERB (DLY/REV)
DUCK DEPTH 0–100 being output from the delay. This effect can be used as either a delay or a reverb.
As this value is increased, the ducking
effect becomes deeper. Parameter Value (Bold: default) Explanation
Selects the DELAY or REVERB.
PAN This effect adds delayed sound to the direct
TYPE DELAY sound, giving more body to the sound or
creating special effects.
Adjusts the delay time of L channel delay. REVERB This effect adds reverberation to the sound.
TAP TIME 0–50–100 This setting adjusts L channel delay
time relative to R channel delay time
(considered as 100%).
DELAY
DUAL-S, DUAL-P, DUAL-L/R This effect adds delayed sound to the direct sound, giving more body to the
Parameter Value (Bold: default) Explanation sound or creating special effects.
Adjusts the delay time. Parameter Value (Bold: default) Explanation
** If this value is set as a note length, Selects the type of delay.
“BPM” value in MASTER (p. 63). This SINGLE This is a simple mono delay.
makes it easier to achieve effect sound This delay is specifically for stereo output.
1–500–2000 ms,
Ō–ŀ
TIME2 settings that match the tempo of the This allows you to obtain the tap delay
song. effect that divides the delay time, then
** If, due to the tempo, the time is longer deliver them to L channel and R channel.
is then synchronized to a period either PAN
EFFECT LEVEL2 0–60–120 Adjusts the volume of the delay sound.
the input.
FEEDBACK2 0–20–100
A higher value will increase the number STEREO This is a stereo-in/out delay.
This is a delay comprising two different
Sets the frequency at which the low cut delays connected in series.
filter begins to take effect. DUAL-S
LOW CUT2 FLAT, 20–800 Hz
will have no effect. TYPE
Sets the frequency at which the high cut This is a delay comprising two delays
630 Hz–12.5 kHz, filter begins to take effect. connected in parallel.
HIGH CUT2
will have no effect. DUAL-P
MOD This is a delay with individual settings

available for L channel and R channel.
Adjusts the modulation rate of the delay DUAL-L/R
sound.
delay sound.
This produces an effect where the sound
REVERSE
This delay adds a pleasant wavering
WARP MOD
effect to the sound.
Parameter Value (Bold: default) Explanation WARP Produces a dream-like sound.
When this turns “ON”, the WARP effect is
applied.
TRIGGER OFF, ON
¹¹ It is assumed that this parameter will Settings common to all types
LEVEL Ï 0–50–100 Adjusts the volume of the delay sound.
Ō–ŀ
TIME
FEEDBACK 0–20–100 the input. A higher value will increase the
number of the delay repeats.
61
Effect Parameters
Parameter Value (Bold: default) Explanation REVERB

filter begins to take effect. This effect adds reverberation to the sound.
will have no effect. Parameter Value (Bold: default) Explanation
Sets the frequency at which the high cut Selects the type of delay.
630 Hz–12.5 kHz, filter begins to take effect. Simulates an ambience mic (off-mic,
HIGH CUT
FLAT When “FLAT” is selected, the high cut filter placed at a distance from the sound
will have no effect. source) used in recording and other
AMBIENCE
applications. Rather than emphasizing
the reverberation, this reverb is used to
Adjusts the sensitivity at which the produce a sense of openness and depth.
Simulates the reverberation in a small
DUCK SENS 0–50–100 according to the input. ROOM
room. Provides warm reverberations.
REVERB TYPE Ï Simulates the reverberation in a concert
HALL hall. Provides clear and spacious
When the input sound is loud, this reverberations.
being output from the delay. Simulates plate reverberation (a reverb
DUCK DEPTH 0–100
unit that uses the vibration of a metallic
As this value is increased, the ducking PLATE
plate). Provides a metallic sound with a
effect becomes deeper.
distinct upper range.
This reverb adds the wavering sound
MOD found in hall reverb to provide an
PAN extremely pleasant reverb sound.
Parameter Value (Bold: default) Explanation TIME 0.1–3.1–10.0s Adjusts the length (time) of reverberation.
Adjusts the delay time of L channel delay. EFFECT LEVEL Ï 0–50–100 Adjusts the volume of the reverb sound.
TAP TIME 0–50–100 This setting adjusts L channel delay Adjusts the time until the reverb sound
time relative to R channel delay time PRE-DELAY 0–30–200 ms
appears.
DUAL-S, DUAL-P, DUAL-L/R will have no effect.
Parameter Value (Bold: default) Explanation Sets the frequency at which the high cut
Adjusts the delay time. 630 Hz–12.5 kHz, filter begins to take effect.
HIGH CUT
value in MASTER (p. 63). This makes it DENSITY 0–5–10 Adjusts the density of the reverb sound.
1–500–2000 ms, easier to achieve effect sound settings DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
Ō–ŀ
TIME2
the input.
HIGH CUT2
MOD
Adjusts the modulation rate of the delay
sound.
delay sound.
WARP
When this turns “ON”, the WARP effect is
applied.
TRIGGER OFF, ON
¹¹ It is assumed that this parameter will
LEVEL 0–50–100 Adjusts the volume of the delay sound.
62
Effect Parameters
EXP1, 2 FUNCTION
MASTER (MST)
FUNCTION Explanation
These settings are applied to the overall effect patch. OFF No function is assigned.
Parameter Value (Bold: default) Explanation FX1–3 FILTER RATE Controls the filter “RATE” for FX1–3.
PATCH LEVEL 0–100–200 Adjusts the volume of the effect patch. FX1–3 FILTER STEP RATE Controls the filter “STEP RATE” for FX1–3.
Sets the BPM of the effect patch. Controls “RATE1” for FX1–3 when the chorus “TYPE”
FX1–3 CHORUS RATE
is set to “DUAL”.
BPM 40.0–120.0–250.0 ** BPM (beats per minute) indicates the
number of quarter note beats that FX1–3 FLANGER RATE Controls the flanger “RATE” for FX1–3.
occur each minute. FX1–3 FLANGER STEP RATE Controls the flanger “STEP RATE” for FX1–3.
Sets the key for FX1–3 when you’re using FX1–3 TREMOLO RATE Controls the tremolo “RATE” for FX1–3.
HARMONY (p. 54) or PITCH CORRECT (p. FX1–3 PHASER RATE Controls the phaser “RATE” for FX1–3.
54) and when SCALE is set to “KEY”.
FX1–3 PHASER STEP RATE Controls the phaser “STEP RATE” for FX1–3.
Major
FX1–3 ROTARY FAST RATE Controls the rotary “FAST RATE” for FX1–3.
KEY C(Am)–C–B(C#m) FX1–3 ROTARY SLOW RATE Controls the rotary “SLOW RATE” for FX1–3.
Minor
FX1–3 SLICER RATE Controls the slicer “RATE” for FX1–3.
Major
FX1–3 ISOLATOR RATE Controls the isolator “RATE” for FX1–3.
FX1–3 ISOLATOR STEP RATE Controls the isolator “STEP RATE” for FX1–3.
Minor FX1–3 VIBRATO RATE Controls the vibrato “RATE” for FX1–3.
Sets the function that’s controlled by the effect pads, or by the FX1–3 PAN RATE Controls the pan “RATE” for FX1–3.
CTL1–4 FUNCTION footswitch or GA-FC connected to the FOOT SW jack. PATCH LEVEL Controls “PATCH LEVEL” for MASTER.
Sets the lower limit (MIN) and the upper

CTL1–4 MIN limit (MAX) of the variable range for the
– parameter.
CTL1–4 MAX ** The value changes depending on the
function assigned.
Sets the function that’s controlled by the expression pedal
EXP1, 2 FUNCTION connected to the FOOT SW jack or to the GA-FC.
ØØ “EXP1, 2 FUNCTION”
Sets the lower limit (MIN) and the upper

EXP1, 2 MIN limit (MAX) of the variable range for the
parameter.
–
when the pedal is fully advanced.
function assigned.
CTL1–4 FUNCTION
FUNCTION Explanation
PCR ON/OFF Switches the pitch correct on/off.
HARMONY ON/OFF Switches the harmony on/off.
EQ ON/OFF Switches the EQ on/off.
NS ON/OFF Switches the NS on/off.
FX1–3 ON/OFF Switches the FX1–3 on/off.
FX1–3 SLICER TRIGGER Switches the slicer “TRIGGER” on/off for FX1–3.
FX1–3 VIBRATO TRIGGER Switches the vibrato “TRIGGER” on/off for FX1–3.
FX1–3 FREEZE TRIGGER Switches the freeze “TRIGGER” on/off for FX1–3.
FX1–3 DELAY TRIGGER Switches the delay “TRIGGER” on/off for FX1–3.
DLY/REV ON/OFF Switches the delay/reverb on/off.
(When DELAY/REVERB is “DELAY”)
DLY/REV DELAY TRIGGER
Switches the delay “TRIGGER” on/off.
63
Effect Parameters
EFFECTS CATEGORY: TALK

MEMO
ENHANCE (EH) EQ
ENHANCE is an effect that makes the sound more sharply defined. Adjusts the tone.
It also contains COMP (COMPRESSOR) which makes the volume more
consistent, DE-ESS (DE-ESSER) which suppresses sibilance.
Adjusts the tone for the low frequency
SW OFF, ON Turns this effect on/off. LOW GAIN -20–0–+20 dB range.
Adjusts the depth of ENHANCE. Adjusts the low-middle frequency range
LOW-MID GAIN -20–0–+20 dB
ENHANCE Ï 0–70–100 The sound becomes more sharply tone.
defined as this value is increased. Specifies the center of the frequency
20–250 Hz– range that will be adjusted by the LOW-
Adjusts the depth of COMPRESSOR. LOW-MID FREQ
16.0 kHz
COMP Ï 0–20–100 The volume becomes more consistent as MID GAIN.
this value is increased. Adjusts the width of the area affected by
Adjusts the depth of DE-ESSER. LOW-MID Q 0.5–1–16 the EQ centered at the LOW-MID FREQ.
DE-ESS 0–20–100 Sibilance is suppressed more strongly as Higher values will narrow the area.
this value is increased. Adjusts the low-middle frequency range
HIGH-MID GAIN -20–0–+20 dB tone.
20–800 Hz– range that will be adjusted by the HIGH-
NOISE SUPPRESSOR (NS)
HIGH-MID FREQ
16.0 kHz MID GAIN.
This effect reduces the noise. HIGH-MID Q 0.5–1–16 the EQ centered at the HIGH-MID FREQ.
Parameter Value (Bold: default) Explanation Adjusts the tone for the high frequency
HIGH GAIN -20–0–+20 dB range.
Adjust this parameter as appropriate for Sets the frequency at which the low cut
the volume of the noise. FLAT, filter begins to take effect.
LOW CUT
If the noise level is high, a higher setting is 20.0 Hz–16.0 kHz When “FLAT” is selected, the low cut filter
THRESHOLD 0–30–100 will have no effect.
appropriate.
If the noise level is low, a lower setting is Sets the frequency at which the high cut
appropriate. 20.0 Hz–16.0 kHz, filter begins to take effect.
HIGH CUT
Adjusts the time from when the noise FLAT When “FLAT” is selected, the high cut filter
RELEASE 0–100 suppressor begins to function until the will have no effect.
noise level reaches “0”. LEVEL -20–+1–+20 dB Adjusts the overall volume level of the EQ.
This specifies the input volume used for activating the noise
suppressor.
Input volume from Channel 1–4 jacks.
INPUT ** Ordinarily, DETECT should be set to
“INPUT”.
should set DETECT to “NS INPUT”.
DLY NS
(Spatial-type effect)
64
Effect Parameters
FX1, 2 PITCH CORRECT

Suppresses instabilities in pitch.
With FX1 and FX2, you can select the effect to be used from the following.
You can also convert pitch changes to a stair-step form, producing a
You can select the same effect for FX1 and FX2.
mechanical effect.
SW OFF, ON Turns this effect on/off. Selects the type of pitch correct.
Selects the effects to use for FX1, 2. SOFT The pitch will be corrected smoothly.
FX TYPE
ØØ “FX TYPE” HARD The pitch will be corrected quickly.
TYPE Corrects pitch variation to a stair-step
ELECTRIC
change.
FX TYPE Corrects the pitch to the specified note
ROBOT
Type Explanation (Robot Voice).
FX1 only Selects how the pitch is corrected.

The pitch is corrected to the nearest
Suppresses instabilities in pitch. CHROMATIC
SCALE chromatic semitone.
PITCH CORRECT You can also convert pitch changes to a stair-step form,
producing a mechanical effect. The pitch is corrected according to the
KEY
Key setting (p. 71).
Common for FX1, 2
Negative (–) settings give the voice a more
DIST FORMANT Ï -50–0–+50 masculine character, while positive (+)
Produces a distorted voice.
Distortion
settings make the voice more feminine.
RADIO Produces a radio voice.
Specifies the amount by which the pitch
SHIFT -12–0–+12
This effect intentionally degrades the sound to create a is shifted.
LO-FI
Adjusts the speed of pitch change.
A filter modifies the brightness or thickness of the sound by SPEED 0–5–10
FILTER Higher values produce faster change.
cutting a specific frequency range.
Adjusts the ease of pitch change.
T.WAH You can produce a wah effect with the filter changing in STABILITY -10–0–+10
Higher values make change more difficult.
CHORUS
In this effect, a slightly detuned sound is added to the original
DIST
The flanging effect gives a twisting, jet-airplane-like character
FLANGER Produces a distorted voice.
to the sound.
TREMOLO Tremolo is an effect that creates a cyclic change in volume. Parameter Value (Bold: default) Explanation
By adding varied-phase portions to the direct sound, the DIST Ï 0–30–100 Adjusts the degree of distortion.
PHASER phaser effect gives a whooshing, swirling character to the TONE -50–0–+50 Adjusts the tonal character.
sound.
SLICER DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
Divides the audio input into three ranges (LO, MID, HI) and
ISOLATOR cuts the specified region. You can cut in synchronization with
the tempo.
VIBRATO This effect creates vibrato by slightly modulating the pitch. RADIO
PAN Moves the stereo position (pan).
Produces a radio voice.
FREEZE This produces the Freeze function to hold sounds.
GRANULAR Repeats a short portion of the input sound, giving it a buzzy Parameter Value (Bold: default) Explanation
Granular delay character or producing the effect of playing a roll. LO-FI Ï 1–7–10 Adjusts the amount of blurring.
This effect adds delayed sound to the direct sound, giving LEVEL 0–50–100 Adjusts the volume of the effect sound.
DELAY
LO-FI
This effect intentionally degrades the sound to create a distinctive
character.
BIT 32–24–1BIT Specifies the bit depth.
SAMPLE 1/1–1/16–1/32 Specifies the sampling rate.
BALANCE Ï 0–100
direct sound and the effect sound.
65
Effect Parameters
FILTER T.WAH
A filter modifies the brightness or thickness of the sound by cutting a You can produce a wah effect with the filter changing in response to level.
specific frequency range.
Parameter Value (Bold: default) Explanation Selects the type of filter.
Selects the type of filter. Low pass filter.
This reduces the volume of all frequencies LPF This creates a wah effect over a wide
LPF
above the cutoff frequency. TYPE frequency range.
TYPE This leaves only the frequencies in the Band pass filter.
BPF region of the cutoff frequency, and cuts BPF This creates a wah effect in a narrow
the rest. frequency range.
This cuts the frequencies in the region Selects the direction in which the filter will change in response
HPF
below the cutoff frequency. to the input.
Adjusts the rate of modulation. POLARITY
“BPM” value in MASTER (p. 71). This Adjusts the sensitivity at which the filter
makes it easier to achieve effect sound will change in the direction determined
RATE 0–50–100, ŀ–Ō settings that match the tempo of the SENS 0–50–100 by the polarity setting.
song. Higher values will result in a stronger
** If, due to the tempo, the time is longer response.
than the range of allowable settings, it Adjusts the center frequency of the Wah
is then synchronized to a period either FREQ 0–30–100
effect.
Adjusts the way in which the wah effect
DEPTH 0–55–100 Adjusts the depth of modulation. applies to the area around the center
RESONANCE 0–50–100 Adjusts the intensity of the effect. frequency.
Higher values will produce a stronger
CUTOFF Ï 0–50–100 Adjusts the cutoff frequency of the filter. PEAK 0–50–100
LEVEL 0–100 Adjusts the volume of the effect sound. more.
Adjusts the frequency of the step With a value of “50” a standard wah sound
function that varies the modulation in will be produced.
stairstep fashion. EFFECT LEVEL Ï 0–50–100 Adjusts the volume of the effect sound.
function.
STEP RATE OFF, 0–100, ŀ–Ō the effect operates according to the RING MOD
makes it easier to achieve effect sound Gives a metallic character to the sound, creating the impression that the
settings that match the tempo of the sound is going out of focus.
song.
** If, due to the tempo, the time is longer Parameter Value (Bold: default) Explanation
than the range of allowable settings, it Adjusts the frequency of the internal
is then synchronized to a period either FREQ 0–50–100
oscillator.
MODE AUTO
by RATE.
66
Effect Parameters
CHORUS FLANGER
depth and breadth.
STEREO This is a stereo chorus effect that adds
song.
Adjust the speed of the chorus effect for
the high frequency range.
effect.
RATE 0–15–100, ŀ–Ō MANUAL 0–75–100
apply the effect.
Adjusts the diffusion. The diffusion
Adjusts the depth of the chorus effect. SEPARATION 0–100
increases as the value increases.
has been output.
EFFECT LEVEL Ï 0–100 Adjusts the volume of the flanger.
function.
630 Hz–12.5 kHz, filter begins to take effect. ** If this value is set as a note length,
HIGH CUT STEP OFF, 0–100, ŀ–Ō the effect operates according to the
will have no effect. “BPM” value in MASTER (p. 71). This
EFFECT LEVEL Ï 0–90–100 Adjusts the volume of the effect sound. settings that match the tempo of the
TREMOLO
WAVE 0–50–100
change.
RATE 0–100, ŀ–Ō
song.
67
Effect Parameters
PHASER SLICER
By adding varied-phase portions to the direct sound, the phaser effect gives This consecutively interrupts the sound to create the impression that a
a whooshing, swirling character to the sound. rhythm backing phrase is being played.
Selects the number of stages that the phaser effect will use. Selects the slice pattern that will be used
PATTERN P01–P20
This is a four-phase effect. to cut the sound.
4STAGE
A light phaser effect is obtained. Adjust the rate at which the sound will
be cut.
This is an eight-phase effect.
8STAGE ** If this value is set as a note length,
TYPE It is a popular phaser effect.
This is a twelve-phase effect. “BPM” value in MASTER (p. 71). This
12STAGE
A deep phase effect is obtained. makes it easier to achieve effect sound
RATE 0–50–100, ŀ–Ō
This is the phaser with two phase shift settings that match the tempo of the
BiPHASE song.
circuits connected in series.
Adjust the rate of the phaser effect. ** If, due to the tempo, the time is longer
** If this value is set as a note length, is then synchronized to a period either
the effect operates according to the 1/2 or 1/4 of that time.
makes it easier to achieve effect sound Adjusts the attack volume of the slice
ATTACK 0–35–100
RATE 0–30–100, ŀ–Ō settings that match the tempo of the pattern.
song. Adjusts the length of the sound for the
DUTY 1–50–99
** If, due to the tempo, the time is longer slice pattern.
than the range of allowable settings, it Adjusts the depth to which the slice
is then synchronized to a period either DEPTH Ï 0–100
pattern is applied.
Resets the slicer pattern to its beginning.
DEPTH 0–50–100 Determines the depth of the phaser effect. TRIGGER OFF, ON ¹¹ It is assumed that this parameter will
Determines the amount of resonance be assigned to the footswitch.
(feedback).
RESONANCE 0–100
MANUAL 0–50–100
phaser effect.
ISOLATOR
Adjusts the cycle of the step function that Divides the audio input into three ranges (LO, MID, HI) and cuts the
changes the rate and depth. specified region.
change will be finer. You can cut in synchronization with the tempo.
Set this to “OFF” when not using the Step Parameter Value (Bold: default) Explanation
function.
BAND LOW, MID, HIGH Select the range that will be cut.
Adjusts the frequency that is cut.
STEP OFF, 0–100, ŀ–Ō the effect operates according to the
“BPM” value in MASTER (p. 71). This This lets you cut the low- or high-
makes it easier to achieve effect sound frequency range at intervals of the
settings that match the tempo of the specified note value in synchronization
song. with the tempo.
** If, due to the tempo, the time is longer ** If this value is set as a note length, the
0–30–100, ŀ–Ō
than the range of allowable settings, it effect operates according to the “BPM”
RATE
is then synchronized to a period either value in MASTER (p. 71). This makes it
1/2 or 1/4 of that time. easier to achieve effect sound settings
EFFECT LEVEL Ï 0–100 Adjusts the volume of the phaser.
DEPTH Ï 0–50–100 Adjusts the depth of modulation.
that is cut.
BAND LEVEL 0–80–100
DEPTH is cut at the rate specified by RATE.
produces stairstep change in the amount
that is cut.
function.
STEP OFF, 0–100, ŀ–Ō ** If this value is set as a note length, the
68
Effect Parameters
VIBRATO FREEZE
This effect creates vibrato by slightly modulating the pitch. This produces the Freeze function to hold sounds.
Adjusts the rate of the vibrato. Specifies the length to which FREEZE is
** If this value is set as a note length, applied.
the effect operates according to the Adjusts the fade time until the effect
“BPM” value in MASTER (p. 71). This ATTACK 0–30–100
sound is output when FREEZE turns “ON”.
Adjusts the fade time over which the
RELEASE 0–30–100 effect sound disappears when FREEZE
song.
turns “OFF”.
than the range of allowable settings, it DECAY 0–30–100 Adjusts the decay of the effect sound.
is then synchronized to a period either SUSTAIN 0–30–100 Adjusts the sustain of the effect sound.
DEPTH Ï 0–30–100 Adjusts the depth of the vibrato. BALANCE Ï 0–50–100
FREEZE sound and the direct sound.
Adjusts the time passing from the
When this turns “ON”, FREEZE is applied to
moment the TRIGGER is turned on until
the original sound.
the set vibrato is obtained. TRIGGER OFF, ON
¹¹ It is assumed that this parameter will
** When a patch with TRIGGER set to
“ON” is called up, the effect obtained
RISE TIME 0–50–100 is identical to what happens when
** If you want the vibrato effect to be
produced immediately after the GRANULAR
patches are switched, set RISE TIME
to “0”. Repeats a short portion of the input sound, giving it a buzzy character or
Selects on/off of the vibrato. producing the effect of playing a roll.
LEVEL 0–50–100 Adjusts the volume. TIME Ï 0–60–100 Adjusts the delay time.
the input.
PAN LEVEL 0–80–100
Adjusts the volume level of the effect.
Moves the stereo position (pan).
Selects the type of pan.
This varies the volume level on the left
AUTO and right according to the settings for
TYPE
MANUAL
POS.
POSITION*1
WAVE*2 0–100
change.
RATE*2 0–40–100, ŀ–Ō
song.
DEPTH Ï *2 0–100 Adjusts the depth of the effect.
turned on) of “0” (center).

69
Effect Parameters
DELAY PAN
This effect adds delayed sound to the direct sound, giving more body to the
sound or creating special effects. Adjusts the delay time of L channel delay.
Parameter Value (Bold: default) Explanation time relative to R channel delay time
Selects the type of delay. (considered as 100%).
SINGLE This is a simple mono delay.

DUAL-S, DUAL-P, DUAL-L/R
effect that divides the delay time, then Parameter Value (Bold: default) Explanation
deliver them to L channel and R channel.
PAN ** If this value is set as a note length,
1–500–2000 ms,
Ō–ŀ
TIME2 settings that match the tempo of the
song.
This is a delay comprising two different ** If, due to the tempo, the time is longer
delays connected in series. than the range of allowable settings, it
TYPE DUAL-S is then synchronized to a period either
This is a delay comprising two delays Adjusts the volume that is returned to
connected in parallel. the input.
DUAL-P A higher value will increase the number
This is a delay with individual settings When “FLAT” is selected, the low cut filter
available for L channel and R channel. will have no effect.
DUAL-L/R Sets the frequency at which the high cut

HIGH CUT2

Ō–ŀ
TIME
FFECT LEVEL Ï 0–60–120 Adjusts the volume of the delay sound.
the input.
HIGH CUT
DUCK DEPTH 0–100 being output from the delay.
70
Effect Parameters
CTL1–4 FUNCTION
MASTER (MST)
These settings are applied to the overall effect patch. OFF No function is assigned.
Parameter Value (Bold: default) Explanation EQ ON/OFF Switches the EQ on/off.
PATCH LEVEL 0–100–200 Adjusts the volume of the effect patch. NS ON/OFF Switches the NS on/off.
Sets the BPM of the effect patch. FX1, 2 ON/OFF Switches the FX1, 2 on/off.
** BPM (beats per minute) indicates the FX1, 2 SLICER TRIGGER Switches the slicer “TRIGGER” on/off for FX1, 2.
BPM 40.0–120.0–250.0
number of quarter note beats that FX1, 2 VIBRATO TRIGGER Switches the vibrato “TRIGGER” on/off for FX1, 2.
occur each minute.
FX1, 2 FREEZE TRIGGER Switches the freeze “TRIGGER” on/off for FX1, 2.
Sets the key for FX1 when you’re using
PITCH CORRECT (p. 65) and when
SCALE is set to “KEY”.
Major
EXP1, 2 FUNCTION
KEY C(Am)–C–B(C#m) OFF No function is assigned.
Minor
FX1, 2 FILTER RATE Controls the filter “RATE” for FX1, 2.
Major
FX1, 2 FILTER STEP RATE Controls the filter “STEP RATE” for FX1, 2.
Controls “RATE1” for FX1, 2 when the chorus “TYPE”
FX1, 2 CHORUS RATE
Minor is set to “DUAL”.
Sets the function that’s controlled by the effect pads, or by the FX1, 2 FLANGER RATE Controls the flanger “RATE” for FX1, 2.
CTL1–4 FUNCTION footswitch or GA-FC connected to the FOOT SW jack. FX1, 2 FLANGER STEP RATE Controls the flanger “STEP RATE” for FX1, 2.
FX1, 2 TREMOLO RATE Controls the tremolo “RATE” for FX1, 2.
Sets the lower limit (MIN) and the upper FX1, 2 PHASER RATE Controls the phaser “RATE” for FX1, 2.
CTL1–4 MIN limit (MAX) of the variable range for the
FX1, 2 PHASER STEP RATE Controls the phaser “STEP RATE” for FX1, 2.
– parameter.
** The value changes depending on the FX1, 2 SLICER RATE Controls the slicer “RATE” for FX1, 2.
CTL1–4 MAX
function assigned. FX1, 2 ISOLATOR RATE Controls the isolator “RATE” for FX1, 2.
Sets the function that’s controlled by the expression pedal FX1, 2 ISOLATOR STEP RATE Controls the isolator “STEP RATE” for FX1, 2.
EXP1, 2 FUNCTION connected to the FOOT SW jack or to the GA-FC. FX1, 2 VIBRATO RATE Controls the vibrato “RATE” for FX1, 2.
ØØ “EXP1, 2 FUNCTION” FX1, 2 PAN RATE Controls the pan “RATE” for FX1, 2.
Sets the lower limit (MIN) and the upper PATCH LEVEL Controls “PATCH LEVEL” for MASTER.
EXP1, 2 MIN limit (MAX) of the variable range for the
parameter.
–
when the pedal is fully advanced.
function assigned.
71
Effect Parameters
EFFECTS CATEGORY: CONSOLE

COMPRESSOR (COMP) FX
This is an effect that produces a long sustain by evening out the volume With FX, you can select the effect to be used from the following.
level of the input signal.
Selects the effects to use for FX.
Adjust this as appropriate for the input FX TYPE
signal. ØØ “FX TYPE”
THRESHOLD -24–-9–0 dB When the input signal level exceeds
this threshold level, compression will be
applied. FX TYPE
Adjusts the strength of the attack when Type Explanation
ATTACK 0–50–100
picking.
DIST
RATIO 1:1–INF:1 Selects the compression ratio. Produces a distorted voice.
Distortion
Adjusts the range (time) over which low- RADIO Produces a radio voice.
RELEASE 0–50–100 level signals are boosted.
This effect intentionally degrades the sound to create a
Larger values will result in longer sustain. LO-FI
LEVEL 0–60–100 Adjusts the volume of the direct sound.
A filter modifies the brightness or thickness of the sound by
FILTER
T.WAH You can produce a wah effect with the filter changing in
ENHANCE (EH) Touch wah
RING MOD
response to level.
Gives a metallic character to the sound, creating the
ENHANCE is an effect that makes the sound more sharply defined.
It also contains DE-ESS (DE-ESSER) which suppresses sibilance. CHORUS
Parameter Value (Bold: default) Explanation The flanging effect gives a twisting, jet-airplane-like character
FLANGER
to the sound.
TREMOLO Tremolo is an effect that creates a cyclic change in volume.
Adjusts the depth of ENHANCE.
ENHANCE 0–20–100 The sound becomes more sharply By adding varied-phase portions to the direct sound, the
defined as this value is increased. PHASER phaser effect gives a whooshing, swirling character to the
sound.
Adjusts the depth of DE-ESSER.
DE-ESS 0–30–100 Sibilance is suppressed more strongly as SLICER
the tempo.
NOISE SUPPRESSOR (NS) VIBRATO

PAN
This effect creates vibrato by slightly modulating the pitch.
This effect reduces the noise. FREEZE This produces the Freeze function to hold sounds.
GRANULAR Repeats a short portion of the input sound, giving it a buzzy
Parameter Value (Bold: default) Explanation Granular delay character or producing the effect of playing a roll.
SW OFF, ON Turns this effect on/off. This effect adds delayed sound to the direct sound, giving
DELAY
Adjust this parameter as appropriate for more body to the sound or creating special effects.
THRESHOLD 0–30–100 If the noise level is high, a higher setting is
appropriate.
If the noise level is low, a lower setting is DIST
appropriate.
Adjusts the time from when the noise Produces a distorted voice.
RELEASE 0–30–100 suppressor begins to function until the
noise level reaches “0”. Parameter Value (Bold: default) Explanation
This specifies the input volume used for activating the noise DIST 0–30–100 Adjusts the degree of distortion.
suppressor. TONE -50–0–+50 Adjusts the tonal character.
Input volume from Channel 1–4 jacks. EFFECT LEVEL 0–50–100 Adjusts the volume of the effect sound.
INPUT ** Ordinarily, DETECT should be set to DIRECT LEVEL 0–40–100 Adjusts the volume of the direct sound.
“INPUT”.
RADIO
should set DETECT to “NS INPUT”. Produces a radio voice.
DLY NS Parameter Value (Bold: default) Explanation

LO-FI 1–7–10 Adjusts the amount of blurring.
72
Effect Parameters
LO-FI T.WAH
This effect intentionally degrades the sound to create a distinctive You can produce a wah effect with the filter changing in response to level.
character.
BIT 32–24–1BIT Specifies the bit depth. Low pass filter.
SAMPLE 1/1–1/16–1/32 Specifies the sampling rate. LPF This creates a wah effect over a wide
Adjusts the volume balance between the TYPE frequency range.
BALANCE 0–100
direct sound and the effect sound. Band pass filter.
BPF This creates a wah effect in a narrow
frequency range.
Selects the direction in which the filter will change in response
FILTER POLARITY
to the input.
A filter modifies the brightness or thickness of the sound by cutting a UP The frequency of the filter will rise.
specific frequency range.
Adjusts the sensitivity at which the filter
Parameter Value (Bold: default) Explanation will change in the direction determined
SENS 0–50–100 by the polarity setting.
Selects the type of filter.
Higher values will result in a stronger
This reduces the volume of all frequencies response.
LPF
This leaves only the frequencies in the FREQ 0–30–100
TYPE effect.
the rest.
This cuts the frequencies in the region frequency.
HPF
below the cutoff frequency. Higher values will produce a stronger
PEAK 0–50–100
Adjusts the rate of modulation. tone which emphasizes the wah effect
** If this value is set as a note length, more.
the effect operates according to the With a value of “50” a standard wah sound
“BPM” value in MASTER (p. 77). This will be produced.
makes it easier to achieve effect sound EFFECT LEVEL 0–50–100 Adjusts the volume of the effect sound.
song.
1/2 or 1/4 of that time. RING MOD
DEPTH 0–55–100 function that varies the modulation in Gives a metallic character to the sound, creating the impression that the
stairstep fashion. sound is going out of focus.
When it is set to a higher value, the Parameter Value (Bold: default) Explanation
FREQ 0–50–100 Adjusts the frequency of the internal
CUTOFF 0–50–100 oscillator.
function.
stairstep fashion.
function.
STEP RATE OFF, 0–100, ŀ–Ō the effect operates according to the
song.
MODE AUTO
by RATE.
73
Effect Parameters
CHORUS FLANGER
depth and breadth.
STEREO This is a stereo chorus effect that adds song.
Adjust the speed of the chorus effect for is then synchronized to a period either
the high frequency range. 1/2 or 1/4 of that time.
effect.
RATE 0–15–100, ŀ–Ō MANUAL 0–75–100
apply the effect.
1/2 or 1/4 of that time. Adjusts the diffusion. The diffusion
SEPARATION 0–100
Adjusts the depth of the chorus effect. increases as the value increases.
has been output. EFFECT LEVEL 0–100 Adjusts the volume of the flanger.
can obtain an effect that sounds like
stairstep fashion.
function.
OFF, 0–100, ŀ–Ō
HIGH CUT STEP the effect operates according to the
EFFECT LEVEL 0–100 Adjusts the volume of the effect sound. settings that match the tempo of the
TREMOLO
WAVE 0–50–100
change.
RATE 0–85–100, ŀ–Ō
song.
DEPTH 0–75–100 Adjusts the depth of the effect.
74
Effect Parameters
PHASER SLICER
PATTERN P01–P20
4STAGE Adjust the rate at which the sound will
be cut.
TYPE It is a popular phaser effect. the effect operates according to the
12STAGE
A deep phase effect is obtained. RATE 0–50–100, ŀ–Ō
This is the phaser with two phase shift
BiPHASE song.
Adjust the rate of the phaser effect. than the range of allowable settings, it
“BPM” value in MASTER (p. 77). This Adjusts the attack volume of the slice
makes it easier to achieve effect sound ATTACK 0–100 pattern.
DUTY 1–50–99 slice pattern.
DEPTH 0–100 pattern is applied.
1/2 or 1/4 of that time. Resets the slicer pattern to its beginning.
Determines the depth of the phaser TRIGGER OFF, ON ¹¹ It is assumed that this parameter will
DEPTH 0–50–100
effect. be assigned to the footswitch.
(feedback).
RESONANCE 0–100
effect, creating a more unusual sound. ISOLATOR
MANUAL 0–50–100
phaser effect. Divides the audio input into three ranges (LO, MID, HI) and cuts the
Adjusts the cycle of the step function that specified region.
changes the rate and depth. You can cut in synchronization with the tempo.
change will be finer. Parameter Value (Bold: default) Explanation
Set this to “OFF” when not using the Step BAND LOW, MID, HIGH Select the range that will be cut.
function.
** If this value is set as a note length, This lets you cut the low- or high-
STEP OFF, 0–100, ŀ–Ō the effect operates according to the frequency range at intervals of the
“BPM” value in MASTER (p. 77). This specified note value in synchronization
makes it easier to achieve effect sound with the tempo.
song. ** If this value is set as a note length, the
0–50–100, ŀ–Ō
** If, due to the tempo, the time is longer RATE
than the range of allowable settings, it easier to achieve effect sound settings
is then synchronized to a period either that match the tempo of the song.
EFFECT LEVEL 0–100 Adjusts the volume of the phaser. than the range of allowable settings, it
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. is then synchronized to a period either
that is cut.
that is cut.
function.
STEP OFF, 0–100, ŀ–Ō ** If this value is set as a note length, the
75
Effect Parameters
VIBRATO FREEZE
song.
turns “OFF”.
1/2 or 1/4 of that time. Adjusts the volume balance between the
BALANCE 0–50–100
DEPTH 0–30–100 Adjusts the depth of the vibrato. FREEZE sound and the direct sound.
Adjusts the time passing from the When this turns “ON”, FREEZE is applied to
moment the TRIGGER is turned on until the original sound.
TRIGGER OFF, ON
the set vibrato is obtained. ¹¹ It is assumed that this parameter will
** When a patch with TRIGGER set to be assigned to the footswitch.
ON is called up, the effect obtained
RISE TIME 0–100 is identical to what happens when
produced immediately after the
GRANULAR
producing the effect of playing a roll.
Selects on/off of the vibrato.
TRIGGER OFF, ON ¹¹ It is assumed that this parameter will Parameter Value (Bold: default) Explanation
TIME 0–80–100 Adjusts the delay time.
the input.
PAN LEVEL 0–100 Adjusts the volume level of the effect.

TYPE
MANUAL
POS.
POSITION*1
WAVE*2 0–100
change.
0–40–100, makes it easier to achieve effect sound
RATE*2 ŀ
–Ō settings that match the tempo of the
song.
DEPTH*2 0–100 Adjusts the depth of the effect.

76
Effect Parameters
DELAY PAN

This delay is specifically for stereo output. DUAL-S, DUAL-P, DUAL-L/R
1–500–2000 ms,
Ō–ŀ
song.
TYPE DUAL-S is then synchronized to a period either
DUAL-P of the delay repeats.
LOW CUT2
This is a delay with individual settings 20–800 Hz When “FLAT” is selected, the low cut filter
available for L channel and R channel. will have no effect.
DUAL-L/R filter begins to take effect.
630 Hz–12.5 kHz,
HIGH CUT2

MASTER (MST)
** If this value is set as a note length, the These settings are common for all CONSOLE effects.
value in MASTER (p. 77). This makes it Parameter Value (Bold: default) Explanation
Ō–ŀ
TIME Sets the BPM of the CONSOLE.
** If, due to the tempo, the time is longer BPM 40.0–120.0–250.0 ** BPM (beats per minute) indicates the
than the range of allowable settings, it number of quarter note beats that
is then synchronized to a period either occur each minute.
1/2 or 1/4 of that time. Sets the key that’s used when KEY PREF
EFFECT LEVEL 0–60–120 Adjusts the volume of the delay sound. (p. 28) is set to “CH1”.
Major
the input.
A higher value will increase the number KEY C(Am)–C–B(C#m) Minor
Major
When “FLAT” is selected, the low cut filter Minor
HIGH CUT
77
Effect Parameters
Dedicated Effects for USB/MOBILE/BLUETOOTH Channels

ENHANCE (EH) FX
ENHANCE is an effect that makes the sound more sharply defined. With FX, you can select the effect to be used from the following.
It also contains COMP (COMPRESSOR) which makes the volume more
consistent, DE-ESS (DE-ESSER) which suppresses sibilance.
Selects the effects to use for FX.
SW OFF, ON Turns this effect on/off. FX TYPE
ØØ “FX TYPE”
Adjusts the depth of ENHANCE.
ENHANCE 0–20–100 The sound becomes more sharply
defined as this value is increased. FX TYPE
Adjusts the depth of COMPRESSOR.
COMP 0–30–100 Type Explanation
The volume becomes more consistent as
this value is increased. DIST
Distortion
Adjusts the depth of DE-ESSER.
DE-ESS 0–30–100 Sibilance is suppressed more strongly as RADIO Produces a radio voice.
this value is increased. This effect intentionally degrades the sound to create a
LO-FI
A filter modifies the brightness or thickness of the sound by
FILTER
NOISE SUPPRESSOR (NS) T.WAH You can produce a wah effect with the filter changing in
This effect reduces the noise. RING MOD Gives a metallic character to the sound, creating the
CHORUS
SW OFF, ON Turns this effect on/off. sound to add depth and breadth.
Adjust this parameter as appropriate for The flanging effect gives a twisting, jet-airplane-like character
FLANGER
the volume of the noise. to the sound.
THRESHOLD 0–30–100 If the noise level is high, a higher setting is TREMOLO Tremolo is an effect that creates a cyclic change in volume.
appropriate. By adding varied-phase portions to the direct sound, the
If the noise level is low, a lower setting is PHASER phaser effect gives a whooshing, swirling character to the
appropriate. sound.
Adjusts the time from when the noise This consecutively interrupts the sound to create the
RELEASE 0–30–100 suppressor begins to function until the SLICER
noise level reaches “0”.
This specifies the input volume used for activating the noise ISOLATOR cuts the specified region. You can cut in synchronization with
suppressor. the tempo.
Input volume from USB port, Mobile jack, VIBRATO This effect creates vibrato by slightly modulating the pitch.
or mobile device.
INPUT PAN Moves the stereo position (pan).
** Ordinarily, DETECT should be set to
“INPUT”. FREEZE This produces the Freeze function to hold sounds.
Noise suppressor input volume. GRANULAR Repeats a short portion of the input sound, giving it a buzzy
DETECT Granular delay character or producing the effect of playing a roll.
** When connected as illustrated below,
and you want to prevent a spatial-type This effect adds delayed sound to the direct sound, giving
DELAY
effects sound (such as a delay sound) more body to the sound or creating special effects.
should set DETECT to “NS INPUT”.
DLY NS
DIST
DIST 0–30–100 Adjusts the degree of distortion.
TONE -50–0–+50 Adjusts the tonal character.
DIRECT LEVEL 0–40–100 Adjusts the volume of the direct sound.
RADIO
Produces a radio voice.
LO-FI 1–7–10 Adjusts the amount of blurring.
78
Effect Parameters
LO-FI T.WAH
This effect intentionally degrades the sound to create a distinctive You can produce a wah effect with the filter changing in response to level.
character.
BIT 32–24–1 BIT Specifies the bit depth. Low pass filter.
SAMPLE 1/1–1/16–1/32 Specifies the sampling rate. LPF This creates a wah effect over a wide
Adjusts the volume balance between the TYPE frequency range.
BALANCE 0–100
direct sound and the effect sound. Band pass filter.
BPF This creates a wah effect in a narrow
frequency range.
FILTER POLARITY
to the input.
A filter modifies the brightness or thickness of the sound by cutting a UP The frequency of the filter will rise.
specific frequency range. Adjusts the sensitivity at which the filter
Parameter Value (Bold: default) Explanation will change in the direction determined
SENS 0–50–100 by the polarity setting.
Selects the type of filter.
Higher values will result in a stronger
This reduces the volume of all frequencies response.
LPF
FREQ 0–30–100
TYPE This leaves only the frequencies in the effect.
the rest.
This cuts the frequencies in the region frequency.
HPF
below the cutoff frequency. Higher values will produce a stronger
PEAK 0–50–100
Adjusts the rate of modulation. tone which emphasizes the wah effect
more.
the effect operates according to the With a value of “50” a standard wah sound
“BPM” value in MASTER (p. 83). This will be produced.
makes it easier to achieve effect sound EFFECT LEVEL 0–50–100 Adjusts the volume of the effect sound.
song.
1/2 or 1/4 of that time. RING MOD
Gives a metallic character to the sound, creating the impression that the
RESONANCE 0–50–100 Adjusts the intensity of the effect.
sound is going out of focus.
CUTOFF 0–50–100 Adjusts the cutoff frequency of the filter.
Adjusts the frequency of the step FREQ 0–50–100 Adjusts the frequency of the internal
function that varies the modulation in oscillator.
stairstep fashion. EFFECT LEVEL 0–100 Adjusts the volume of the effect sound.
When it is set to a higher value, the DIRECT LEVEL 0–100 Adjusts the volume of the direct sound.
function.
STEP RATE OFF, 0–100, ŀ–Ō the effect operates according to the
song.
MODE AUTO
by RATE.
79
Effect Parameters
CHORUS FLANGER
depth and breadth.
STEREO This is a stereo chorus effect that adds
song.
Adjust the speed of the chorus effect for
the high frequency range.
effect.
RATE 0–15–100, ŀ–Ō MANUAL 0–75–100
apply the effect.
Adjusts the diffusion. The diffusion
Adjusts the depth of the chorus effect. SEPARATION 0–100
increases as the value increases.
has been output.
EFFECT LEVEL 0–100 Adjusts the volume of the flanger.
When “FLAT” is selected, the low cut filter change will be finer.
Sets the frequency at which the high cut function.
630 Hz–12.5 kHz, filter begins to take effect. ** If this value is set as a note length,
HIGH CUT
FLAT When “FLAT” is selected, the high cut filter STEP OFF, 0–100, ŀ–Ō the effect operates according to the
will have no effect. “BPM” value in MASTER (p. 83). This
TREMOLO
WAVE 0–50–100
change.
RATE 0–85–100, ŀ–Ō
song.
80
Effect Parameters
PHASER SLICER
PATTERN P01–P20
4STAGE Adjust the rate at which the sound will
be cut.
TYPE It is a popular phaser effect. the effect operates according to the
12STAGE
A deep phase effect is obtained. RATE 0–50–100, ŀ–Ō
This is the phaser with two phase shift
BiPHASE song.
Adjust the rate of the phaser effect. than the range of allowable settings, it
“BPM” value in MASTER (p. 83). This Adjusts the attack volume of the slice
makes it easier to achieve effect sound ATTACK 0–100 pattern.
DUTY 1–50–99 slice pattern.
DEPTH 0–100 pattern is applied.
1/2 or 1/4 of that time. Resets the slicer pattern to its beginning.
Determines the depth of the phaser TRIGGER OFF, ON ¹¹ It is assumed that this parameter will
DEPTH 0–50–100
effect. be assigned to the footswitch.
(feedback).
RESONANCE 0–100
effect, creating a more unusual sound. ISOLATOR
MANUAL 0–50–100
phaser effect. Divides the audio input into three ranges (LO, MID, HI) and cuts the
Adjusts the cycle of the step function that specified region.
changes the rate and depth. You can cut in synchronization with the tempo.
change will be finer. Parameter Value (Bold: default) Explanation
Set this to “OFF” when not using the Step BAND LOW, MID, HIGH Select the range that will be cut.
function.
** If this value is set as a note length, This lets you cut the low- or high-
STEP OFF, 0–100, ŀ–Ō the effect operates according to the frequency range at intervals of the
“BPM” value in MASTER (p. 83). This specified note value in synchronization
makes it easier to achieve effect sound with the tempo.
song. ** If this value is set as a note length,
** If, due to the tempo, the time is longer RATE 0–50–100, ŀ–Ō “BPM” value in MASTER (p. 83). This
than the range of allowable settings, it makes it easier to achieve effect sound
is then synchronized to a period either settings that match the tempo of the
1/2 or 1/4 of that time. song.
EFFECT LEVEL 0–100 Adjusts the volume of the phaser. ** If, due to the tempo, the time is longer
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. than the range of allowable settings, it
that is cut.
that is cut.
function.
STEP OFF, 0–100, ŀ–Ō the effect operates according to the
song.
81
Effect Parameters
VIBRATO FREEZE
song.
turns “OFF”.
TRIGGER OFF, ON
GRANULAR
Selects on/off of the vibrato.
TRIGGER OFF, ON ¹¹ It is assumed that this parameter will Parameter Value (Bold: default) Explanation
TIME 0–80–100 Adjusts the delay time.
the input.

TYPE
MANUAL
POS.
POSITION*1
WAVE*2 0–100
change.
RATE*2 0–40–100, ŀ–Ō
song.

82
Effect Parameters
DELAY PAN

DUAL-S, DUAL-P, DUAL-L/R
1–500–2000 ms,
Ō–ŀ
song.
TYPE is then synchronized to a period either
DUAL-S
DUAL-P A higher value will increase the number
This is a delay with individual settings LOW CUT2 FLAT, 20–800 Hz
DUAL-L/R Sets the frequency at which the high cut
HIGH CUT2

Adjusts the delay time. MASTER (MST)
effect operates according to the “BPM” These settings are the same for each dedicated effect.
1–400–2000 ms, easier to achieve effect sound settings Parameter Value (Bold: default) Explanation
Ō–ŀ
TIME
Sets the common BPM used for each
** If, due to the tempo, the time is longer dedicated effect.
than the range of allowable settings, it BPM 40.0–120.0–250.0 ** BPM (beats per minute) indicates the
is then synchronized to a period either number of quarter note beats that
1/2 or 1/4 of that time. occur each minute.
EFFECT LEVEL 0–60–120 Adjusts the volume of the delay sound.
the input.
HIGH CUT
83
Effect Parameters
Dedicated Effects for SOUND PAD Channel

FX TYPE LO-FI
Type Explanation This effect intentionally degrades the sound to create a distinctive
character.
DIST
Distortion Parameter Value (Bold: default) Explanation
RADIO Produces a radio voice. BIT 32–24–1BIT Specifies the bit depth.
This effect intentionally degrades the sound to create a SAMPLE 1/1–1/16–1/32 Specifies the sampling rate.
LO-FI
A filter modifies the brightness or thickness of the sound by BALANCE 0–100
FILTER direct sound and the effect sound.
T.WAH You can produce a wah effect with the filter changing in
impression that the sound is going out of focus.
FILTER
Ring modulator

CHORUS
The flanging effect gives a twisting, jet-airplane-like character A filter modifies the brightness or thickness of the sound by cutting a
FLANGER
to the sound. specific frequency range.
TREMOLO Tremolo is an effect that creates a cyclic change in volume. Parameter Value (Bold: default) Explanation
By adding varied-phase portions to the direct sound, the Selects the type of filter.
PHASER phaser effect gives a whooshing, swirling character to the
sound. This reduces the volume of all frequencies
LPF
SLICER This leaves only the frequencies in the
impression that a rhythm backing phrase is being played. TYPE
Divides the audio input into three ranges (LO, MID, HI) and the rest.
the tempo. This cuts the frequencies in the region
HPF
below the cutoff frequency.
VIBRATO This effect creates vibrato by slightly modulating the pitch.
Adjusts the rate of modulation.
PAN Moves the stereo position (pan).
FREEZE This produces the Freeze function to hold sounds. effect operates according to the “BPM”
GRANULAR Repeats a short portion of the input sound, giving it a buzzy value specified in BPM PREF (p. 28).
Granular delay character or producing the effect of playing a roll. This makes it easier to achieve effect
This effect adds delayed sound to the direct sound, giving RATE 0–50–100, ŀ–Ō sound settings that match the tempo
DELAY of the song.
DIST DEPTH
RESONANCE
0–55–100
0–50–100
Adjusts the depth of modulation.
Adjusts the intensity of the effect.
Produces a distorted voice. CUTOFF 0–50–100 Adjusts the cutoff frequency of the filter.
Parameter Value (Bold: default) Explanation LEVEL 0–100 Adjusts the volume of the effect sound.
DIST 0–30–100 Adjusts the degree of distortion. Adjusts the frequency of the step
TONE -50–0–+50 Adjusts the tonal character. stairstep fashion.
EFFECT LEVEL 0–50–100 Adjusts the volume of the effect sound. When it is set to a higher value, the
DIRECT LEVEL 0–40–100 Adjusts the volume of the direct sound. Set this to “OFF” when not using the Step
function.
STEP RATE OFF, 0–100, ŀ–Ō effect operates according to the “BPM”
value specified in BPM PREF (p. 28).
RADIO This makes it easier to achieve effect

sound settings that match the tempo
of the song.
Produces a radio voice. ** If, due to the tempo, the time is longer
Parameter Value (Bold: default) Explanation is then synchronized to a period either
LO-FI 1–7–10 Adjusts the amount of blurring. 1/2 or 1/4 of that time.
LEVEL 0–50–100 Adjusts the volume of the effect sound. Selects the filter mode.
MODE AUTO
by RATE.
84
Effect Parameters
T.WAH CHORUS
You can produce a wah effect with the filter changing in response to level. In this effect, a slightly detuned sound is added to the original sound to add
depth and breadth.
Selects the type of filter. Parameter Value (Bold: default) Explanation
Low pass filter. Selects the type of chorus.
LPF This creates a wah effect over a wide MONO This chorus effect outputs the same
TYPE frequency range. sound from both L channel and R
TYPE channel.
Band pass filter.
BPF This creates a wah effect in a narrow STEREO This is a stereo chorus effect that adds
frequency range. different chorus sounds to L channel and
R channel.
to the input. Adjust the speed of the chorus effect for
POLARITY the high frequency range.
UP The frequency of the filter will rise. effect operates according to the “BPM”
Adjusts the sensitivity at which the filter value specified in BPM PREF (p. 28).
will change in the direction determined This makes it easier to achieve effect
RATE 0–15–100, ŀ–Ō
SENS 0–50–100 by the polarity setting. sound settings that match the tempo
Higher values will result in a stronger of the song.
response. ** If, due to the tempo, the time is longer
Adjusts the center frequency of the Wah than the range of allowable settings, it
FREQ 0–30–100 is then synchronized to a period either
effect.
applies to the area around the center Adjusts the depth of the chorus effect.
frequency. DEPTH 0–30–100 To use it for doubling effect, set the value
Higher values will produce a stronger to “0”.
PEAK 0–50–100
tone which emphasizes the wah effect Adjusts the time needed for the effect
more. sound to be output after the direct sound
With a value of “50” a standard wah sound has been output.
will be produced. PRE DELAY 0.0–20.0–60.0 ms By setting a longer pre delay time, you
EFFECT LEVEL 0–50–100 Adjusts the volume of the effect sound. can obtain an effect that sounds like
more than one sound is being played at
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. the same time (doubling effect).
RING MOD 630 Hz–12.5 kHz,
HIGH CUT
Gives a metallic character to the sound, creating the impression that the
sound is going out of focus.
FREQ 0–50–100 Adjusts the frequency of the internal
oscillator.
85
Effect Parameters
FLANGER PHASER
The flanging effect gives a twisting, jet-airplane-like character to the sound. By adding varied-phase portions to the direct sound, the phaser effect gives
a whooshing, swirling character to the sound.
Adjusts the rate of the flanging effect. Parameter Value (Bold: default) Explanation
** If this value is set as a note length, the Selects the number of stages that the phaser effect will use.
effect operates according to the “BPM” This is a four-phase effect.
value specified in BPM PREF (p. 28). 4STAGE
This makes it easier to achieve effect
RATE 0–25–100, ŀ–Ō sound settings that match the tempo
8STAGE
of the song. TYPE It is a popular phaser effect.
** If, due to the tempo, the time is longer This is a twelve-phase effect.
than the range of allowable settings, it 12STAGE
A deep phase effect is obtained.
1/2 or 1/4 of that time. This is the phaser with two phase shift
BiPHASE
DEPTH 0–50–100 Adjust the rate of the phaser effect.
effect.
Adjusts the center frequency at which to
MANUAL 0–75–100 effect operates according to the “BPM”
apply the effect.
Determines the amount of resonance This makes it easier to achieve effect
(feedback). RATE 0–30–100, ŀ–Ō sound settings that match the tempo
Increasing the value will emphasize the of the song.
effect, creating a more unusual sound. ** If, due to the tempo, the time is longer
Adjusts the diffusion. The diffusion than the range of allowable settings, it
SEPARATION 0–100
increases as the value increases. is then synchronized to a period either
Adjusts the frequency at which the low
cut filter begins to take effect. Determines the depth of the phaser
LOW CUT FLAT, 55–800 Hz DEPTH 0–50–100
When “FLAT” is selected, the low cut filter effect.
will have no effect. Determines the amount of resonance
EFFECT LEVEL 0–100 Adjusts the volume of the flanger. (feedback).
RESONANCE 0–100
DIRECT LEVEL 0–100 Adjusts the volume of the direct sound. effect, creating a more unusual sound.
Adjusts the frequency of the step Adjusts the center frequency of the
function that varies the modulation in MANUAL 0–50–100
phaser effect.
stairstep fashion.
Adjusts the cycle of the step function that
changes the rate and depth.
function.
OFF, 0–100, ŀ–Ō
function.
STEP effect operates according to the “BPM”
value specified in BPM PREF (p. 28). ** If this value is set as a note length, the
This makes it easier to achieve effect STEP OFF, 0–100, ŀ–Ō effect operates according to the “BPM”
sound settings that match the tempo value specified in BPM PREF (p. 28).
of the song. This makes it easier to achieve effect
** If, due to the tempo, the time is longer of the song.
is then synchronized to a period either ** If, due to the tempo, the time is longer
1/2 or 1/4 of that time. than the range of allowable settings, it
EFFECT LEVEL 0–100 Adjusts the volume of the phaser.
TREMOLO
WAVE 0–50–100
change.
RATE 0–85–100, ŀ–Ō
of the song.
86
Effect Parameters
SLICER ISOLATOR
This consecutively interrupts the sound to create the impression that a Divides the audio input into three ranges (LO, MID, HI) and cuts the
rhythm backing phrase is being played. specified region.
Parameter Value (Bold: default) Explanation You can cut in synchronization with the tempo.
Selects the slice pattern that will be used Parameter Value (Bold: default) Explanation
PATTERN P01–P20
to cut the sound.
BAND LOW, MID, HIGH Select the range that will be cut.
Adjust the rate at which the sound will
be cut.
This lets you cut the low- or high-
** If this value is set as a note length, the frequency range at intervals of the
effect operates according to the “BPM” specified note value in synchronization
value specified in BPM PREF (p. 28). with the tempo.
RATE 0–50–100, ŀ–Ō ** If this value is set as a note length, the
of the song. effect operates according to the “BPM”
RATE 0–50–100, ŀ–Ō value specified in BPM PREF (p. 28).
** If, due to the tempo, the time is longer This makes it easier to achieve effect
than the range of allowable settings, it sound settings that match the tempo
is then synchronized to a period either of the song.
Adjusts the attack volume of the slice than the range of allowable settings, it
ATTACK 0–100
pattern. is then synchronized to a period either
Adjusts the length of the sound for the 1/2 or 1/4 of that time.
DUTY 1–50–99
slice pattern. DEPTH 0–50–100 Adjusts the depth of modulation.
Adjusts the depth to which the slice Adjusts the reference volume of the band
DEPTH 0–100
pattern is applied. that is cut.
Resets the slicer pattern to its beginning. The portion between BAND LEVEL and
TRIGGER OFF, ON ¹¹ It is assumed that this parameter will DEPTH is cut at the rate specified by RATE.
be assigned to the footswitch. Adjusts the rate of the step function that
that is cut.
function.
STEP OFF, 0–100, ŀ–Ō effect operates according to the “BPM”
of the song.
87
Effect Parameters
VIBRATO FREEZE
** If this value is set as a note length, the applied.
effect operates according to the “BPM” Adjusts the fade time until the effect
value specified in BPM PREF (p. 28). ATTACK 0–30–100
RATE 0–80–100, ŀ–Ō sound settings that match the tempo
of the song.
turns “OFF”.
TRIGGER OFF, ON
patches are switched, set RISE TIME GRANULAR
to “0”.
Selects on/off of the vibrato. Repeats a short portion of the input sound, giving it a buzzy character or
be assigned to the footswitch. Parameter Value (Bold: default) Explanation
LEVEL 0–100 Adjusts the volume. TIME 0–80–100 Adjusts the delay time.
the input.

TYPE
MANUAL
POS.
POSITION*1
WAVE*2 0–100
change.
RATE*2 0–40–100, ŀ–Ō
of the song.
turned on) of “0” (center).

88
Effect Parameters
PAN
DELAY
This effect adds delayed sound to the direct sound, giving more body to the Adjusts the delay time of L channel delay.
sound or creating special effects. This setting adjusts L channel delay
TAP TIME 0–50–100
time relative to R channel delay time
Selects the type of delay.
This delay is specifically for stereo output. DUAL-S, DUAL-P, DUAL-L/R
effect that divides the delay time, then
deliver them to L channel and R channel. Adjusts the delay time.
PAN effect operates according to the “BPM”
1–500–2000 ms,
Ō–ŀ
TIME2 sound settings that match the tempo
of the song.
This is a delay comprising two different than the range of allowable settings, it
delays connected in series. is then synchronized to a period either
TYPE DUAL-S 1/2 or 1/4 of that time.
DUAL-P of the delay repeats.
This is a delay with individual settings
DUAL-L/R 630 Hz–12.5 kHz, filter begins to take effect.
HIGH CUT2

1–400–2000 ms,
Ō–ŀ
TIME sound settings that match the tempo
of the song.
EFFECT LEVEL 0–60–120 Adjusts the volume of the delay sound.
the input.
HIGH CUT
89
GCS-8 Audio Routing
Gigcaster 8: Audio Routing Overview
USB: AUDIO MODE
(2-MIX/MULTI)
CH USB
USB
USB AUDIO CH USB
MAIN-AUX
CH 1-AUX
CH 2-AUX USB: AUDIO MODE
CHANNEL1 REVERB
CH 3-AUX GAIN LEVEL (2-MIX/MULTI)
CH 4-AUX SEND MAIN
CH SOUND PAD INPUT METER EQ EFFECTS EQ METER USB
TALKBACK: MONITOR
USB
AUDIO
GUITAR EQ PAN LEVEL CHANNEL CH 1
GUITAR SING CH 2
IN1 MAIN
CH 3
IN1&2 CH 4
GAIN CH USB
USB OUT
INT.MIC +48
CTL CH MOBILE
HEADSET CH BLUETOOTH
REC
MONITOR CH SOUND PAD
OFF TALK CONSOLE RECODER
OUTPUT: REC: REC: MULTITRACK
MONITOR MULTITRACK (2-MIX/MULTI) CALENDER
MAIN
REVERB SEND(MONITOR)
REC
TIME & DATE
CH 1 ( 2 MIX / MULTITRACK )
REVERB SEND (MAIN)

USB AUX(INSERT) CH 2 Micro SD
USB: INPUT SELECT
CH 3
INPUT ≠HEADSET
BLUETOOTH: MIX MINUS

CH 1-AUX LEVEL CH 4
HEADSET: MIX MINUS

CH USB
MOBILE: MIX MINUS
CHANNEL=OFF
USB: MIX MINUS
PLAYBACK
CHANNEL=ON
GUITAR CH MOBILE
GUITAR GAIN
CH BLUETOOTH ( 2 MIX )
MONITOR
TALKBACK:
USB:
USB OUT
CH SOUND PAD
MULTITRACK
MAIN
REC
CHANNEL2 REVERB
GAIN LEVEL SEND
INPUT METER EQ EFFECTS EQ METER
+48V TALKBACK:
IN2 EQ PAN LEVEL CHANNEL
SING OUTPUT
IN1&2 MAIN LEVEL
INT.MIC USB: MAIN METER
GAIN
HEADSET +48 MONO STREAM
CTL EQ LEVEL
IN1 OFF MIX DELAY
INPUT1 GAIN MONITOR
USB:
TALK CONSOLE MAIN-AUX
GAIN
+48V
STEREO IN1&2 TALKBACK REC
LINK
USB AUX(INSERT)
INPUT SELECT LEVEL
USB:
≠HEADSET
CH 2-AUX LEVEL
SOUND PAD:
INPUT2 GAIN IN2 CUT IN(PLAY) EFFECTS
REVERB SEND LEVEL
(MAIN) MAINOUT METER
GAIN CHANNEL3 REVERB REV
+48V GAIN LEVEL EQ
STREAM
LEVEL OUT-L
SEND DELAY
INPUT METER EQ EFFECTS EQ METER MAIN OUT-R
TALKBACK: MULTI
IN3 CHANNEL COMP
EQ PAN LEVEL
IN3&4 TALK CONSOLE
MAIN
USB:
GAIN IN3
INT.MIC
INPUT3 GAIN
LEVEL
HEADSET +48 USB: MIX MINUS USB: MONITOR METER
CTL MIX MINUS
OFF
MONITOR MONO
+48V GAIN EQ LEVEL
MIX
STEREO IN3&4
LINK
EFFECTS
USB AUX(INSERT) REVERB SEND
INPUT SELECT (MONITOR)
USB:
INPUT4 GAIN IN4 ≠HEADSET HEADSET: PHONES1
CH 3-AUX LEVEL REV LEVEL
MIX MINUS METER
GAIN MONITOR
MULTI
COMP
EQ LEVEL HEADSET
CHANNEL4 REVERB
GAIN LEVEL SEND HEADSET:
INPUT METER EQ EFFECTS EQ METER MIX MINUS
TALKBACK:
IN4 EQ PAN LEVEL CHANNEL
TALK CONSOLE PHONES2
IN3&4 MAIN LEVEL
INT.MIC METER
SOUND PAD: CUT IN

HEADSET GAIN HEADSET HEADSET GAIN
+48
CTL EQ LEVEL PHONES2
OFF
MONITOR
PHONES3
USB AUX(INSERT) LEVEL
USB: INPUT SELECT METER
=_HEADSET
INT.MIC GAIN INT.MIC CH 4-AUX LEVEL
INT.MIC EQ LEVEL PHONES3
P-IN PWR
CH USB REVERB
GAIN LEVEL SEND
INPUT METER EQ EFFECTS EQ METER PHONES4
LEVEL
USB: TALKBACK:
METER
CH USB GAIN EQ PAN DUCK LEVEL CHANNEL
MOBILE GAIN MOBILE CONSOLE
MAIN
EQ LEVEL PHONES4
MONITOR
MOBILE:
MIX MINUS
BLUETOOTH MOBILE: TRRS

MIX MINUS RTN
MOBILE
TALKBACK: AUX IN
GAIN
AUX METER TALKBACK:
AUX IN GAIN
AUX IN
REVERB BLUETOOTH:
CH MOBILE MIX MINUS
GAIN LEVEL SEND BLUETOOTH:
INPUT METER EQ EFFECTS EQ METER MIX MINUS
TALKBACK:
MOBILE CHANNEL
BLUETOOTH
EQ CONSOLE PAN DUCK LEVEL
INT.MIC MAIN
HEADSET
GAIN P-IN TALKBACK
OFF
CTL PWR
MONITOR THRU
OUT MAIN:
TALKBACK
INPUT SELECT TALKBACK: MON:

=_HEADSET AUX IN TALKBACK
OUTPUT
CH BLUETOOTH REVERB
GAIN LEVEL SEND
INPUT METER EQ EFFECTS EQ METER
TALKBACK:
BLUETOOTH CHANNEL EFFECTS
GAIN EQ CONSOLE PAN DUCK LEVEL
MAIN
CATEGORY:GUITAR(Selectable Chain)
PDL
DIST AMP NS EQ FX1 FX2 FX3 REV
MONITOR FX
CATEGORY:SING
EH DYNAMICS
+ NS PCR HRM EQ FX1 FX2 FX3 REV REMAIN
COMP
CATEGORY :TALK
SOUND PAD: 8 x 8 bank, Internal Storage CH SOUND PAD REVERB
LEVEL SEND EH
EFFECTS METER + NS EQ FX1 FX2
COMP
EFFECT SEND=ON
FX DUCK LEVEL
USB: MAIN
CH SOUND PAD
CATEGORY :CONSOLE(CH1~4) CATEGORY :CONSOLE(CH USB, MOBILE, BLUETOOTH)
EH
EFFECT SEND=OFF COMP EH NS FX + NS FX
MONITOR
COMP
CUT IN=ON
90

GCS 8 Parameter

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GCS 8 Parameter

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Parameter Guide

© 2023 Roland Corporation 01

GCS-8 Audio Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

EFFECTS CATEGORY: GUITAR

EFFECTS (EFFECTS PAD)

These settings configure how the pads operate.

ÃÃ FUNCTION List (EFFECTS PAD)

*1 Shown when CATEGORY is “CH1”.

FUNCTION B–D Explanation

FUNCTION B–D Explanation

Sets how the footswitch works.

ÃÃ FUNCTION List (CTL1, 2)

*1 Shown when CATEGORY is “CH1”.

FUNCTION B–D Explanation

FUNCTION B–D Explanation

ÃÃ FUNCTION List (EXP)

FUNCTION B–D Explanation

Sets how the footswitch works.

ÃÃ FUNCTION List (PEDAL1–6)

*1 Shown when CATEGORY is “CH1”.

FUNCTION B–D Explanation

FUNCTION B–D Explanation

ÃÃ FUNCTION List (EXP1, 2)

FUNCTION B–D Explanation

USB MAIN, USB MONITOR

: This effect sound is output with two channels.

: These effects take a mono input and output it on two channels.

EFFECTS CATEGORY: GUITAR

DISTORTION Type Explanation

SOLO LEVEL 0–70–100

PEDAL FX (PDL) FOOT VOLUME

When the pedal is When the pedal is

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

FLANGER Parameter Value (Bold: default) Explanation

This consecutively interrupts the sound to create

AUTO WAH Parameter Value (Bold: default) Explanation

CHORUS BASS CLASSIC-VIBE

Adjust this as appropriate for the input

*1 This is shown if TYPE is set to “X-BASS COMP”.

DEFRETTER Type Explanation

This simulates a fretless bass. CENTA OD This models a KLON CENTAUR.

DISTORTION 60S FUZZ

FEEDBACKER FLANGER/FLANGER BASS

VIB DEPTH *2 0–50–100

*1 FLANGER: 80.0 Hz, FLANGER BASS: 31.5 Hz

HARMONIST When HR1 (HR2): HARMONY is “USER”

1VOICE HR1 (HR2): Bb -24 (Bb)–+24 (Bb)

2STEREO Two-voice pitch-shifted sound (HR1, HR2)

PAN Parameter Value (Bold: default) Explanation

Selects the number of stages that the

PITCH SHIFTER Parameter Value (Bold: default) Explanation

SITAR SIM Parameter Value (Bold: default) Explanation

S-BEND TOUCH WAH BASS

UP The frequency of the filter will rise.

REVERSE This produces an effect where the sound

TAPE ECHO PX This models the sound of the Maestro

BIN DRUM ECHO This models the sound of the Binson

Settings common to all types SHIMMER

Parameter Value (Bold: default) Explanation SPACE ECHO

*1 This is shown if MODE is set to “RISEÓFALL”.

DELAY/REVERB (DLY/REV) Parameter Value (Bold: default)

This models the sound of the Roland

TAPE ECHO PX This models the sound of the Maestro

VIB DEPTH *2 0–50–100